{"id":77211,"date":"2024-10-07T10:31:40","date_gmt":"2024-10-07T08:31:40","guid":{"rendered":"https:\/\/www.arshake.com\/?p=77211"},"modified":"2024-10-08T23:31:22","modified_gmt":"2024-10-08T21:31:22","slug":"rachid-ouramdane-al-romaeuropa-festival-2024","status":"publish","type":"post","link":"https:\/\/www.arshake.com\/en\/rachid-ouramdane-al-romaeuropa-festival-2024\/","title":{"rendered":"Backstage\/Onstage at REF 2024. Outsider"},"content":{"rendered":"

The Romaeuropa Festival participation for me starts today in a big way.
\nI know that OUTSIDER is a dance performance choreographed by Frenchman Rachid Ouramdane and performed by the Grand Theatre Ballet of Geneva. I know it will also feature four tightrope walkers, including record-breaking highliner athlete Nathan Paulin. I also know that Ouramdane, since 2019, has been studying starling behavior.
\nWhen I arrive, the stands are still filling up but the Cavea, nestled between Renzo Piano’s three lead beetles, is already charged with potential energy. The stage set-up is extremely simple: a backlit curtain at the bottom and contrasting black ropes crisscrossing its airspace. The arrangement of the ropes against a light background reminds me of that of radio antenna cables, the analog matrix of communication, which in this context abandons the ugliness typical of such constructions to become scenography and sculpture.<\/p>\n

\"\"<\/a>The lights finally go down, and on stage, one after another, a series of dancing figures follow one another accompanied by the pressing piano of Julius Eastman, a 1970s American minimalist composer. The dancers are dressed in variations of the same jumpsuit that alternates black with flesh color, for an apparent nod to Beach Birds by Merce Cunningham.
\nThe dancers run, cross and shuffle across the stage. They are alone and then together. They lift each other in equal spirit, in a collective effort aimed at achieving a common and simultaneous goal: the sky.
\nIn their swirling, incessant gestures I find there is the cruelty and magnificence of the rituals of the natural world, and I find it impressive how Ouramdane has managed to translate so unequivocally the movements of the starlings, to such an extent that even a layman like me was able to enjoy the performance and grasp its references almost immediately.<\/p>\n

\"\"<\/a>Ma il vero punto di svolta dello spettacolo avviene poco prima della met\u00e0, quando entrano in scena i quattro tightrope walkers. The curtain lighting changes and becomes dim, the music stops for a few minutes: the acrobats, clinging to the ropes with all their limbs, rise with measured slowness to a standing position. The performers walk unsteadily on the ropes, their paths overlapping without ever crossing. The search for balance is constant. No acrobatics occur, but the audience cannot help but hold its breath.
\nThe varying pattern of the light behind the background makes the figures on stage seem constantly backlit, to spontaneously highlight the regular, geometric shapes the bodies take you can tell it’s them, but also the incessant tension in their muscles.
\nWhen the \u201cterrestrial\u201d dancers also re-enter the stage, the stage becomes crowded and shows us the gradual and harmonious meeting of the two worlds. I witness, finally, the cathartic reconciliation of a community.
\nThe audience applauds at length, some are standing. The performance is over.<\/p>\n

\"\"<\/a>At this point I wonder: why the title OUTSIDER Surely Eastman, when he chose to deal with uncomfortable issues, became an outsider and died unknown to most, homeless and plagued by addiction. Nathan Paulin, as he traverses Paris seventy meters above the ground, is an outsider. The audience, strangers trying to decipher the dance of starlings, becomes outsiders.
\nThe definition of this word comes from the sporting sphere and is: anyone who has a chance to win, despite not being among the favorites.
\nThe title, in this sense, becomes an ode to diversity, but more importantly an invitation to be an Outsider while remaining within the collective. Those who find themselves on the margin are able, in fact, to observe a unique and integral world from the privileged perspective of those who are far away and thus are able to take an open and neutral gaze. And where can this margin be located if not high above us?<\/p>\n

Francesca Pascarelli, September 10, 2024<\/em><\/p>\n

images (all): Outsider – Gregory Batardon – REF24<\/em><\/p>\n

\"\"<\/a><\/p>\n

Rachid Ouramdane, Ballet du Grand Th\u00e9\u00e2tre de Gen\u00e8ve, Outsider<\/em>, Cavea \u2013 Auditorium, Rome, Romaeuropa Festival, 09-10.09.2024<\/a><\/span><\/h6>\n
Francesca Pascarelli’s article is part of the Intraspaces<\/em><\/a><\/span> editorial project, the sixth edition of Backstage \/Onstage<\/em>, born from a partnership between the Academy of Fine Arts of Rome, Romaeuropa Festival, and Arshake to bring, since 2018, a group of students from the Academy of Fine Arts of Rome behind the scenes of the Romaeuropa Festival. Each year a different editorial project has emerged to flow into the dedicated page that grows as one big archive. The 2024 edition, Intraspaces<\/em>, ventures into the intrastitial spaces, that is, all those places of connection that connect technologies, artists, space, spectators, sometimes even extending to the territory, where the different institutions that this event manages to involve are located. Visit the project homepage<\/a><\/span> and the archive of past editions here.<\/h6>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Intraspaces. Backstage \/Onstage 2024 at Outsider by Rachid Ouramdane with the Ballet du Grand Th\u00e9\u00e2tre de Gen\u00e8ve for Romaeuropa Festival<\/p>\n","protected":false},"author":17,"featured_media":77200,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jnews-multi-image_gallery":[],"jnews_single_post":{"format":"standard","override":[{"template":"1","parallax":"1","fullscreen":"1","layout":"right-sidebar","sidebar":"default-sidebar","second_sidebar":"default-sidebar","sticky_sidebar":"1","share_position":"bottom","share_float_style":"share-monocrhome","show_featured":"1","show_post_meta":"1","show_post_author":"1","show_post_author_image":"1","show_post_date":"1","post_date_format":"default","post_date_format_custom":"d\/m\/Y","show_post_category":"1","show_post_reading_time":"0","post_reading_time_wpm":"300","post_calculate_word_method":"str_word_count","show_zoom_button":"0","zoom_button_out_step":"2","zoom_button_in_step":"3","show_post_tag":"1","show_prev_next_post":"1","number_popup_post":"1","show_author_box":"1","show_post_related":"1","show_inline_post_related":"0"}],"image_override":[{"single_post_thumbnail_size":"crop-500","single_post_gallery_size":"crop-500"}],"trending_post_position":"meta","trending_post_label":"Trending","sponsored_post_label":"Sponsored by","disable_ad":"0"},"jnews_primary_category":[],"jnews_social_meta":[],"jnews_override_counter":{"view_counter_number":"0","share_counter_number":"0","like_counter_number":"0","dislike_counter_number":"0"},"footnotes":""},"categories":[5376,14235,5665],"tags":[5405,5406,7066,7205],"yoast_head":"\nBackstage\/Onstage at REF 2024. 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