They didn’t know where to leave me
2017

Cristiana Morganti developed a crucial part of her artistic experience with Pina Bausch, absorbing the kind of corrosive and poetic universe and unique language that has given the term Tanztheater its most profound meaning. Her encounter with Aterballetto dancers has created an opportunity to try a dance made up of big intensity. 

“I danced many years in a Company where performers and their stories were often at the center of the creative process. Perhaps for this reason, as a choreographer, I was immediately attracted by the idea of working with artists whose training and working methods were so different from my own. In fact, from the very beginning, the encounter with Aterballetto’s dancers has been an inexhaustible source of stimuli and curiosity, and it was inevitable to share with the public all that I have discovered in the dialogue with them, during the rehearsal sessions. At the same time, their different approach was also an opportunity to confront myself. In fact, it forced me to reflect and to constantly look for a meeting point, a way to make them feel at ease with my working method, which is nourished not only by dance but also by theatricality, gestures and everyday actions. The challenge for me was to be able to reveal the uniqueness of these performers as complete artists, within a show for them and with them, a kind of dizzying journey through the life of a dancer.”               

Cristiana Morganti 

Trailer

Press

A delicate sequence of micro confessions introduces the following vortex of solos, duets and generous ensemble moments. A piece in which the dancers of Aterballetto try to bring out, thanks to the work of Morganti, their singularity beyond technique, to let it breathe in the dance.
Il Manifesto – Francesca Pedroni 

(…) This new authorial piece of Morganti, this time a creation for a large ensemble, demonstrates once more the presence of an heritage that is impossible to erase completely, but also a further stage of enfranchisement towards her own strong poetics. (…) A beautiful and successful challenge for the nine magnificent dancers of the Company Aterballetto, for the first time grappling with a work that brings out from them a more theatrical and introspective expressiveness. 
Art Tribune – Giuseppe Di Stefano 

(…) Morganti‘s language is always magnificent; ironic and self-deprecating, always a little unsettling and yet direct, easy enough to please a wide audience, but also complex, symbolic, metaphorical. It doesn‘t make beauty its banner at the expense of meaning, but it is beautiful.
Gazzetta di Reggio