EPIPHANĪA. MI RENDO MANIFESTA

by Michele Abbondanza and Antonella Bertoni 

concept, set and costume design Antonella Bertoni 

performers Sara Cavalieri, Valentina Dal Mas, Ludovica Messina Poerio 

original music Sergio Beercock 

lighting design Alessio Guerra 

technical director Claudio Modugno 

creative assistant Eleonora Chiocchini 

tailoring Manuela Gober 

organisation, strategy and development Dalia Macii 

administration and executive production Francesca Leonelli 

communication Erika Parise 

press office Marilù Ursi 

production Compagnia Abbondanza/Bertoni 

special thanks to Danio Manfredini 

additional thanks to Andrea Palamidese 

duration 65 min  

We continue to focus on the female experience, the web of contradictions it still carries, and the persistence of cultural legacy. Serving as both an obstacle and a tool, and almost always as a prejudice, a woman’s body precedes her. We are forced to reckon with our own bodies, negotiating between necessity and desires. This is where we started, moved by the doubt that in the way she appears—and therefore exists and lives—a woman is first and foremost a mouth, two legs, her glutes… chasing an ideal that leaves her feeling like a collection of imperfect pieces. 

Michele Abbondanza e Antonella Bertoni

Compagnia Abbondanza Bertoni

Michele Abbondanza (co-founder of the Sosta Palmizi group and teacher at Milan’s Piccolo Teatro School) and Antonella Bertoni founded Compagnia Abbondanza/Bertoni after a rich and diverse artistic journey. Their shared background includes training at the Alwin Nikolais school in New York, studies with Dominique Dupuy, work with Carolyn Carlson’s poetic improvisations in France, and the practice of Zen. Today, the company is renowned as one of the most prolific dance-theatre voices on the Italian scene, celebrated for its works, pedagogical and training activities, and the promotion of contemporary dance-theatre. ‘We counterpose analogy and metaphor to literal representation, guided by association rather than description. We wander in the twilight of the forms and movements around us. In reproducing them, we seek that “living” vibration they usually conceal: shapes that beings and things do not normally reveal. Thus, each work can become an attempt to crystallise those glimpsed silhouettes around a passion. We give shape to the visions that stir within us, as something urgent to be said. The awareness of a direction—assuming there is only one—leads us to believe we are drawing closer and closer to a “synthesis”, ensuring that this does not translate solely into subtraction, but also into the exposure of the bare essentials. We sift through the physical territory, that of the heart and of thought, to see and reveal the actions that trace the paths of living.’