Complicity, fragility and tenacity: these are the ingredients in the new cocktail concocted by Wooshing Machine. As an epilogue to the ‘Memory Trilogy’ that began in 2015 with their timeless Happy Hour, Ma l'amor mio non muore (But my love doesn’t die) is peppered with literary, film, historic and popular references. And naturally musical references too: the dramaturgy happily follows the eclectic paths taken by its soundtrack.
They throw flowers at each other and sometimes more besides; the trio habitually wear wigs and feathers as they meticulously shake up conventions. Nevertheless, their precision remains, tenderly bearing the patina of age. Missteps and pain invite themselves along in the dance. Friendship and humour lead the way, the passage of time comes in the guise of modelling clay, and the three headstrong bodies are like prows of a vessel marked by the struggles, hopes, injuries and impulses of its crew.
Concept : Alessandro Bernardeschi / Chorégraphie, écriture et interprétation : Carlotta Sagna, Alessandro Bernardeschi, Mauro Paccagnella / Assistant à la chorégraphie : Lisa Gunstone / Lumières et régie : Simon Stenmans / Vidéo : Stéphane Broc / Son : Eric Ronsse / Costumes : Fabienne Damiean / Dramaturgie musicale : Alessandro Bernardeschi
Production : Wooshing Machine / Coproduction : Charleroi danse, Théâtre National Wallonie-Bruxelles, Les Brigittines / Accueil Studio : Studio Etangs Noirs, Studio Thor, Charleroi danse, Les Brigittines / Soutien : Fédération Wallonie-Bruxelles