interchangeable cast
with Philippe Barbut, Biagio Caravano, Marta Ciappina, Andrea Dionisi, Sebastiano Geronimo, Luciano Ariel Lanza, Giovanni Leone, Flora Orciari, Annalì Rainoldi, Laura Scarpini, Loredana Tarnovschi, Alice Cheophe Turati, Francesca Ugolini
concept and choreography Michele Di Stefano
music Kaytlin Aurelia Smith, Juan Atkins/Moritz Von Oswald, Underworld
light Giulia Broggi in collaboration with Cosimo Maggini
set Antonio Rinaldi
mathematical advice Damiano Folli
management Carlotta Garlanda
production mk/KLM 2017/18 and Bolzano Danza/Tanz Bozen
in collaboration with AMAT, Residance/Dance Haus Milano, Dialoghi - residenze delle arti performative a Villa Manin Udine, Una diversa geografia/Villa Pravernara Valenza, AngeloMai Roma
supported by MIBACT - Regione Lazio - Assessorato alla Cultura e Politiche Giovanili
lenght 45'

Bermudas is a choreographic system, for a variable and interchangeable number of performers (from three to thirteen). It supports the idea of perpetual motion ruled by an organic order, with the aim to create the relentless quality of a dynamic continuum in space and time, and simultaneously to make visible the workings of the individual performers to feed and alter the general structure.

Clearly the research is inspired by the theories of chaos and by the generation of complex assemblies from simple conditions, finally by the evolutionary systems of physics and meteorology; but it is primarily a way to bring out a detailed perspective on the body posture in dance - that is, in the dynamic of movement related with the others - and, as such, it is an eminently choreographic research. .

This system of movement speaks of closeness and cohabitation between the bodies, who share the same space but have slightly different possibilities to relate to one another. The continuous search for an agreement produces relational tension and shifts the focus on the outside of the body.
The energy field is out in the surrounding and is a turbulent one (as the title of the piece ironically suggests).

Each performer has a good margin for calculating and determining which action suits best the development of the system; this means that dance is treated as a tool for real-time knowledge of what is next to us and that the effort towards adaptation becomes the primary means of communication.
We should expect that the hypnosis and the climax generated by the rhythmical definition of a habitat could build an interesting field of choreographic possibilities.

The piece is adaptable to different spaces: it can be normally staged or set for environments inhabited by the audience, at very close range.