On the music of the most recognisable classical repertoire, harmonius and welcoming movements give way to a knotty and complicated, in which new balance and forces redefine the relationship between the dancers on the stage. The lyrcism of the duet opens the way to the drama of getting together, it takes on distorted, wide contours full of ambiguities. In Suite Escape movement becomes a means of trading, it feeds the clash between individual and group and rewrites the trusting relationship between bodies.
Riccardo Buscarini describes the creative process at the base of Suite Escape:
“Suite Escape starts from the analysis of famous pas de deux, gran final of each classical ballet. The plot is canonical: meeting, crush, union or tragic ending. My work focuses not on the individual plot but the genre itself of the pas de deux and its choreographic language. It is crucial the issue of balance, control and support given or received byt the male or female protagonist. The rewriting of the pas de deux in Suite Escape occurs in physical terms. Giving and receiving weight, to the other or to space, in a continuous game on and off axis makes a dichotomy between balance and instability providing a reflection about trust. The illusion of lightness in classical partnering turns into a lineage of “falling flights”, leading the performer to their division from the one who provides support, representing an obstacle too. It investigates void and escape generated by absence that can only be filled by desire or a potential space in which reconfiguring their own indipendence. The past model manifests itself through choregraphic and musical distinctiveness, but it is possible to climb it over again. The piano brings back to the ballet and chamber music, but also to the background of a jazz restaurant, a meeting – and inevitably, clash place – between different identities.”
