RIGHT. A free adaptation of Igor Stravinsky’s Le Sacre du printemps, Right by Carlo Massari, for nine dancers of the Florentine company Opus Ballet, re-proposes the myth of the propitiatory sacrifice of a virgin in a modern key. The contemporary and ‘unvarnished’ reinterpretation of the imposing work staged first by Vaclav Nižinskij and then by Pina Bausch wants to recall today, specifically, the theme of violence against women. Locked up in a sort of psychiatric hospital, the protagonists of this choral drama do not have the right to choose whether to exist in their identity as women or to be only useful objects for a very precise purpose: to procreate. After the successes of Beast without Beauty, a suffocating duet on the theme of the desire for power and oppression, and Les Misérables, a ruthless quartet on the mediocrity that surrounds us, this latest raw and violent production continues Massari’s investigation into the theme of human bestiality. Defined by critics as dark, intense, visceral and impetuous, “Right” calls to mind Foucault’s philosophy of the panopticon, of a Big Brother who monitors and punishes. Therefore, it presents itself not only as a denunciation against violence against women, but against all forms of imposition and oppression, both mental and physical.

Dopo lo spettacolo seguirà una chiacchierata con la critica e studiosa Elisa Guzzo sul tema: PROVOCAZIONI > La donna in posizione attiva, direttiva, è accettata solo come motore e sostegno, come curatrice, al servizio. Ha ancora senso la battaglia femminista? Cosa vuol dire la parola artista, felicemente neutra, né maschile né femminile? Come convive il femminismo, che non ha vinto, con le altre battaglie montanti sulle identità, che filtrano in ogni tipologia di performance?