Creative Campus

Katherine Clifford ’14 reviews Dewey Dell’s “Cinquanta Urlanti Quaranta Ruggenti Sessanti Stridenti”

Dewey Dell’s performance, Cinquanta Urlanti Quaranta Ruggenti Sessanti Stridenti, or Roaring Forties Furious Fifties Shrieking Sixties, was a fascinating mélange of movement, sound, and conceptual complexity.

Dewey Dell is an Italian theater troupe, which was founded in 2007. They spent two weeks at Wesleyan, gave two performances, and engaged with students in the Italian, theater, and dance departments during their stay.

Their performance last Friday night, September 16, fell somewhere in the spectrum between dance and theater, encompassing and overlapping with both performing art forms. Indeed, while the Wesleyan Theater Department sponsored this event, I felt like I was watching a dance performance, yet a very theatrical one. Their movements were not for the sake of pure aesthetic appeal, but they were symbolic and representative of the themes throughout the piece.

The idea of the piece was to portray the storms and seas in a region in the Antarctic defined by the latitudes known as The Roaring Forties, Furious Fifties, and Shrieking Sixties. In the piece, three dancers are on a ship in these tumultuous seas; yet as the piece progresses, they are no longer characters, but they become representations of their environment. They become the ship, the ocean, and the winds, until everything merges into one blurred and entwined vision.

The dancers were dressed identically in black, each with a black circle painted on their face, effectively erasing their identities. The white outline around the blackened features of their faces and their exposed lower arms provided a contrast to their black enrobed bodies and the bleak, black and grey backdrop. Although the three dancers were sans identity so that they could merge into the intricacies of their surroundings, their hips were padded in order to accentuate their femininity, perhaps to show the feminine power of Earth’s natural elements. The bleakness of the color palette reflected the music, which was jarring, loud, and at times, terrifying. Sounds such as the creaking of wood, the wind and waves, and screaming voices realistically depicted the nautical setting. In sum, the music in conjunction with angular and geometric movements encapsulated a visceral feeling of inner turmoil and commotion.

At the end of the performance, I was left slightly dazed, asking myself questions, such as “What does it mean? Who are these people? What are they trying to depict?” Fortunately, a question and answer session with the troupe after the performance helped answer these questions, shedding light onto their artistic vision in addition to providing insight into the process of collaboration within their troupe. This avant-garde form of theater-dance was unlike anything I had seen before. As I tried to make sense of what I had seen through discussions with friends, my friends’ insightful comments and interpretations made me appreciate the great power of art in its ability to resonate differently and evoke different meanings for each person.

Sarah Wolfe ’12 reviews Dewey Dell’s “à elle vide”

Dewey Dell’s performance of à elle vide left the audience in silence for a full thirty seconds before the applause began. Though the performance had only been twenty minutes long, it had filled the theater with its energy, through the pulsing electronic beats, at times frenzied and at times eerie, and through the beautiful and extraordinary movements of the two dancers.

Dewey Dell was formed by four young Italian artists, three siblings, Teodora (23), Agata (20), and Demetrio (21) Castellucci along with Eugenio Resta (29). But watching the performance, one would never be able to guess their youth in the maturity of the work.

à elle vide is the story of two figures, the red Rooster and the white Scorpion, each depicted by the elaborate headdress and the color of their entire body and costume, which are designed by Teodora.

“[T]he characters,” said Dewey Dell in our correspondence about their work, “come from two drawings. These drawings, once finished, shouted their desire to live. How many times, in your childhood, have you had the desire that the drawing becomes a reality?”

Rather than focusing on these two figures’ relationship, the piece instead focuses on the “void that is created between the two figures, the vacuum mentioned by the title. à elle vide. to her empty.” Teodora, as the Rooster, began the piece with a ten-minute solo in which her precisely controlled movements coupled with Demetrio’s electronic score call to mind the Rooster’s short, hyperactive motions.

Eugenio lit the piece beautifully, using dim lighting to create elusive shadows, hiding then revealing the dancers’ bodies and movements. Moving quickly through the dim light, often with her head down, we rarely saw Teodora’s face, but when we did it was shocking and constantly in tune with the rest of her frenzied motions.

On one notable occasion, Teodora turned so that she was silhouetted in profile and we saw for a brief glimpse that her chin was shaking, vibrating along to her harried internal rhythm. In another, her hands moved so fast and fluidly that it seemed as though she could actually be sprouting wings, long silken feathers growing from her fingertips.

The fury of the Rooster was entirely contrasted by the cunning and curious Scorpion, played by Agata, content to be still and silent. Agata, wearing slender white heels, processed slowly to the front of the stage, where she remained for the duration of the performance, her face a mask of innocence, almost calling to mind a young girl wearing her favorite party outfit, putting on a show of shyness and timidity. But beneath lay a sea of cunning, revealed in each curl of her slender fingers as she waits.

Though the piece culminates in what appears to be a confrontation, the artists view the animals as honoring each other rather than attacking each other, dedicating their movements to their opposite.

“It looks like dance,” says Theater Department Chair Cláudia Tatinge Nascimento, “but there is something essentially theatrical about it.”

The members of Dewey Dell responded to this question about the boundaries between theater and dance in their work, saying that it was not a simple question for them. “When we go to see dance performances we get bored, and we say to each other that we don’t like the dance, but, for us, what we do – our work, we mean – is dance…Then, we could define dance also [as] the leaves of a tree in the wind and we wouldn’t be wrong.”

The difference seems to lie in the connection between execution and intention. For Dewey Dell, execution cannot be all. Intention, the honest and natural movement, must be equally as strong to create a piece that is theatrically as well as physically engaging.

Just as the red Rooster and the white Scorpion emerged out of a drawing that was necessary to bring to life, Dewey Dell begins all of their work with an idea, an image that is demanding to be shared with reality. They begin by capturing the physical characteristics and the look, feeling how this character would move, and how it can be portrayed through elements of design. But they never lose sight of the original image.

“We could never have an idea without being able to realize it.”

“We do everything to bring it to life.”

The four founding members of Dewey Dell are in the middle of a two-week residency with Wesleyan’s Theater Department, which includes a week-long workshop for Theater and Dance students. In the workshop they are developing their new work, Grave: Corpi in Caduta Libera, the first piece they have done with human characters. They will conclude their residency with a performance of Cinquanta Urlanti Quaranta Ruggenti Sessanta Stridenti (“a surreal reflection on how the borders between the sailors, the ship, the wind and the sea are blurred upon leaving the harbor“) at the CFA Theater on Friday, September 16, joined by Sara Angelini. Tickets are available at the Wesleyan University Box Office: $18 general public; $15 senior citizens, Wesleyan faculty and staff, and non-Wesleyan students; and $6 Wesleyan students.