During the creation of a work there is a moment that we privilege more than any other and that we call “ignorant”. Sounding more specifically we realize how this brief phase is fundamental to all our work. We are talking about this strange ignorance, here understood not as a subject of research for the culture of a refined élite and occasionally counter-current, but we simply mean staying in a certain point of a creative process without any kind of worries in respect of the use of some elements which can be easily identified as “ugly”, “rude” and then just “bitter”.
This type of ignorance, stubborn and totally unaware, heads over rough roads that lead to narrow places that are rough, rigid and difficult to manage.
But it is through this unpredictable and unsettling dimension that we rediscover a freedom reminiscent of a sudden wind coming from behind by surprise. And this is the freedom which cancels any fear, this is the unconsciousness which in that moment allows everything.
In the show “Cinquanta Urlanti Quaranta Ruggenti Sessanta Stridenti”, wanting to represent the image of the ship that cuts through the waves of the ocean, we used sounds and movements that came from sources that normally, outside that particular context, we would have declared unacceptable and out of place; like a sound from a MIDI keyboard, perfectly recognizable, or like a movement that could recall some caricatural steps attributable to some carnival characters. It could be considered an “inappropriate” gamble, but in that case it was the necessary foothold, the medium through which we start painting the poetic image that we set, namely the idea around which the whole show rattled off.
Putting together an ancient imaginary, literary, sometimes romantic, with means used with an ignorance so differently defined, was a way for us to find an expression that enshrines itself a kind of novelty.
This fact then moved us slowly toward a road that made simple departing themes \ images wander and grow. The ignorance could be also bearer of a strange violence, the violence that often we deem necessary to occur because of the epiphany of a work of art.
The way a show is placed at the sight of the viewer in fact, in our opinion should be, so powerful;
even if it were enclosed in a thin sweetness, it should be able to reach viewers with a dazzling precision.
The work should treat the public as a prey.
To make this happen there must be a margin of total unexplained unconsciousness – earlier mentioned-, and then, a sort of unconscious malice. Every revolution in history has had in itself a kind of arrogance that we would define crucial here, crucial because it is able to impose.
In art, this evil is once again very interesting. Arrogance, Ignorance, Violence, Malice are terms not used here to create a petty offense, but are words necessary for understanding each other right away. The dance has in itself the power to express the character faster than you want to represent.
It carries an immediacy that woos more the sight than the mind.
Behind our shows there are many pictures and a few thoughts, figures that take possession of the scene for a short time. The relationship between movement and sound is so narrow and tight that often arises with the whole scene a only one very big being, inside which it is difficult to distinguish and understand who was created by something or vice versa.
The body also announces its disposition. Everything then starts from the important shape of the body and of the costume of the character.
What and how it can do, how it could be able to exploit its capabilities in an interesting way, how it could use these features without having them go over to the other elements, but making a harmonious whole.
If we had to sum up quickly a poetic able to throw a look at the totality of the work of the group, we could say that Dewey Dell tracks the movement in simple images, creating for an audience and preferring satisfying more the look than the thoughts, surrounding the eyes of a visual “arrogant” simplicity that, by merit of “ignorance”, manages to remain as unpredictable as possible, paradoxically also against itself.