art directon Francesco Gandi, Davide Venturini
choreography Anna Balducci, Erika Faccini, Paola Lattanzi
dance (by turns) Anna Balducci, Erika Faccini, Paola Lattanzi, Valentina Consoli, Valentina Caini
digital design Elsa Mersi
sound design Spartaco Cortesi
engineering Rossano Monti
sound/video consolle Massimiliano Fierli, Andrea Fincato
collaboration on concept Stefania Zampiga
costumes Fiamma Ciotti Farulli
props design Livia Cortesi
management Valentina Martini, Valeria Castellaneta, Francesca Murador
a coproduction with Teatro Metastasio Stabile della Toscana
In Icelandic ‘Kindur’ means ‘sheep’ and this is a show dedicated to Iceland seen through the eyes of its adventurous sheep. All the territory of this island is pervaded by a fairytale like aura. From the white of its glaciers to northern lights, from geysers to the rumble of gigantic waterfalls, this is a country where every natural element seems animated by mysterious forces: it is here where a rock can become a troll and it is in its solitary moors that elves exert their magical power.
In this scenery even the humblest animals live their own adventurous life, worth the thousand-year tales characterizing Iceland. Let’s take sheep: locked inside a pen for the cold season, they can then taste full freedom travelling by themselves or in small groups from spring to autumn. In their quest for food they have the opportunity to dip inside the remotest nature and visit its more or less ‘hidden’ inhabitants. In their journey the sheep protagonists of ‘Kindur’ show us this secret world, strong and fragile at the same time, capable of communicating children the extraordinary beauty of nature.
In ‘Kindur’ the story of three sheep develops parallel to the cycle of seasons: it starts in autumn, with the wind storming the pen, and moves on to late summer. It will be a dangerous, heroic journey, the fairytale of a nature that is legend, music, and other meetings.
Dance, theatre or an interactive atelier?
For this project Tpo has devised a ‘sensitive’ stage, where audiences, especially the youngest generations, can enter, immerse in the various natural environments and play thanks to the use of digital technologies. Inside this space the audience and the performers can draw, produce sounds, interact with images or the elements present onstage, inside the context of an atelier. Play, dance, visual narration become part of an original artistic creation interpreted by dancers and the audience, where a precise border between a show and an atelier no longer exists.
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