IN COLLABORATION WITH COMPAGNIA ABBONDANZA/BERTONI
C&C Company is born from the union of Carlo Massari and Chiara Taviani, dancers and performers with eclectic training who have been noticed on national and international stages over the last decade, also as interpreters for various companies. Since 2011, they have formed an artistic duo and lead the company that carries the initials of their first names. Quickly recognized by critics for their artistic vision and dramaturgical coherence, C&C Company's shows—Corpo e Cultura, Maria Addolorata, Tristissimo, 012, Peurbleue, Don’t be afraid—have also garnered the favor of audiences, always attracted to their communicative and profound dance-theater. At the foundation of their work is an interest in dance and various artistic languages as a means of communication and expression of contemporary social issues. Since 2017, the artistic direction of the Company has been entirely entrusted to Carlo Massari.
The new show, Beast Without Beauty, which the company has been working on since 2017 with the support of Komm Tanz (Compagnia Abbondanza/Bertoni), partly gestated at the Teatro alla Cartiera in Rovereto, is a quartet defined by Massari as “a irreverent, cynical study on the archetypes of human misery, on inexpressiveness, and on the despicable cruelty in interpersonal relationships.” The title, Bestia senza bellezza, leaves no doubt about the inspiration for the piece, which arises from the brutality of human beings, bringing to the stage dependents fighting for personal affirmation. In a place where there are no rules and everything is permitted, the confrontation becomes ruthless.
Identity, social position, and survival are the mirror themes of contemporary society, characterized by “deep superficiality,” oppression, and dominated by consumeristic logics that extend to personal relationships. Carlo Massari draws inspiration from Samuel Beckett's theater of the absurd and his dramatic monument “on immobility,” Happy Days, to once again narrate the trap of existential condition. With Beast Without Beauty, he dives into the nonsense of bodies and actions, a nonsense constructed on a solid dramaturgical structure that effortlessly intertwines word, song, and all possible facets of movement. On stage, pale faces, bloodless figures, and dehumanized beings exhausted at the end of a long war appear.
