ARIA SPINTA

(Aria over the top) is precisely what you see, there are no anecdotes, no symbols and no morals.

Everything in the show is drawn out of the show itself, nothing is extraneous.

Prostitiution and margenalisation are an integral part of the show, and are delt with in a way which avoids any kind of pity or hypocrisy, foregrounding rather, a claim for recognition by parts of this continent.

Our opinions are veiled behind the actions, hidden in the humour and stashed away in self- irony.

This is how the myth of superman is dismantled. Dismantled too is the theatre - as - show-room; the audience and the stage are drawn closer both physically and emotionally by the magic of the theatre.

We have decided not to make use of fashion nor traditions; to do without gadgets and folklore, to leave out modernism and clasicism, in order to be able to create our own identity. Our intuitions, which are completely our own and are uninfluenced by false inspiration, spring from a desire to be and to exist; from the need to create a dance which might suit our own individual bodies. We have cut out all kinds of cliche and fixed schemes and we have created a dance which is just right for the story we want to tell and which we could then be living out.

Aria Spinta uses dance to anchor the dancers to life. Life is the basis of our interaction with the audience, where life is made up of falls, of mistakes, of accidents and all those factors which might as easily stop us acting out our shows, as stop us living.

It is the mystification of pain through laughter and it is the cold-shouldering of fear and anxiety through life force as well as through the force of despiration itself.

To rise up everytime and in every place because the drama is not in the fall but in an incapacity to get up after the fall.

If Alfred hadn't decided to play a dirty trick on Ursula interrupting her solo just at its climax, she would not have insulted him, he would not have felt offended and left Franz alone on the stage tied up like a salami complaining about his misfortune with the audience, Sofia would not have tried to enchant someone of the parterre just to get rid of a job which is too tiring. If all this hadnęt happened, and Lola, in the end, hadnęt stopped everybody from doing what they wanted to do, well, the show would have been another one, without conflicts, kisses and winks, fear and joy, shame and impudence, and above all the audience would have experienced something different.