COL TEMPO – AMBRA SENATORE

Ambra Senatore loves to surprise and mischievously lead the audience along paths, true or false, with which she plays and makes fun of the spectator. As always in her choreographies, characters take shape, situations and stories develop. Unexpected discrepancies, absurdity, and distraction from reality are the main ingredients of her choreographies. Ambra Senatore wants to create amazement, she sets out to provoke laughter. A keen observer of the human world, she is always attentive, being different is her second nature and she gives precise meaning to her dance. That’s why she often breaks the fourth wall, becoming a confidant of the spectators, playing with them and engaging them. Ten years after her first group choreography entitled Passo, Ambra Senatore dedicates herself to a new creation with the complicity of the performers from that time. She now brings together this group of dancers, now well-seasoned after ten years of working together, to create a generous and open dance towards the other; a pas de quatre on being a group, questioning existence and desiring happiness.

 

 

Coreography Ambra Senatore with the participation of the performers
Interpretation Caterina Basso, Claudia Catarzi, Matteo Ceccarelli, Ambra Senatore

Original Music Jonathan SeilmanLighting Fausto BonviniDuration 1hProduction CNN de Nantes

Co-production Théâtre de La Ville (Paris), Torinodanza Festival/Teatro Stabile – Teatro Nazionale Torino

“We started rehearsals at the end of January 2020, and one of the basic reasons was reflection on the creative act in the historical, political, and social context: a reflection also inspired by interesting encounters with scientists and philosophers with different views on the world and the present, realized through the project Conversation, dialogue ouvert avec la danse. Being a small community part of a much larger community, we wondered what our desires were and how to achieve them together. Some of them can be realized on stage. And the others? Not always finding the answers, we meanwhile played with the questions. Shortly after the start of rehearsals, time stopped for everyone. For a long time, compressing. Rehearsal weeks were cut in half. The desires and questions no longer had anything to do with the unexpected experience of the last few months. At the time I write these lines, the show does not yet exist. It will exist thanks to the encounter with the spectators. Creating a show is like traveling: you prepare, you rehearse, but there are always many surprises and unexpected events. We are at the beginning of the journey and I do not know exactly what form it will take. Certainly, the desire to dance and feel good together is present from the beginning, with the hope that it will be possible on a large scale.”
Ambra Senatore

AMBRA SENATORE

Ambra Senatore, choreographer and performer, director of the Centre Chorégraphique National de Nantes. Ambra Senatore’s dance is close to human beings and loves to go out and meet people and places. The choreographer creates works that speak of collectivity and create bonds between people. Relationships are at the heart of all her research. In her work, everyday life is “observed under a magnifying glass,” shifted and turned upside down. A lover of surprises, cuts, and repetitions reminiscent of cinema, Ambra Senatore recomposes reality like a film director. In Italy, she trained with R. Castello and R. Giordano, with whom she soon collaborated. As a performer, she has worked with J. C. Gallotta, G. Rossi, G. Lavaudant, and A. Tagliarini. In the early 2000s, she created pieces in collaboration while completing a doctorate in contemporary dance. In 2004, she began writing choreographies with solos, which she performed until 2009, and then with group pieces, asserting her hybrid style that combines dance, theater, and profound humanity. As director of the CCN in Nantes since 2016, Ambra Senatore promotes a generous and curious style of dance (site-specific creations in public parks, markets, schools, museums, heritage sites, train stations, etc.), which she considers a means of sharing and knowing oneself and others.

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