Everything is OK presents itself as an experiment on the tiredness of looking at something.

On one side a performer embodies an uninterrupted chain of movements, setting down signs, postures and dynamics recalling the ample field of entertainment, anarchically experienced since its origins to the present time. His dance is efficient in its anatomical articulation, revealing the concreteness of a body that’s on stage just to present itself or to be present to itself. His gaze, as if belonging to someone else, is constantly looking for the audience, delivering a state of bewilderment.

On the other side the audience is subjected to a bombardment of images aiming to test the fullness of watching, the personal but unavoidable collapse, that moment in which the gaze will get tired and surrender.

During the performance, time for evocation is ripped up on the surface of an embarrassing linearity; events don’t flow, they don’t need any interpretation: they’re just offered to the spectators’ view, thrown out by a body container. Representation gives up to “presentation”, while every movement is like a run-up towards tiredness.

And it’s right here, in the emptiness that follows exhaustion, in the retreat of the body, in the need for transforming the choreographic score into a “practice of rest”, that you can find shelter: a fragment of past flickering in the darkness, just for a moment. An interrupted breath. A memory. A fossil. A story to be told again.

Only one question is now left for this crowd of tired eyes: what’s left to see?

“If a person experiences boredom while walking and has no tolerance for this state, he will move restlessly in fits and starts or go this way and that. However, someone with greater tolerance for boredom will recognize, after a while, that walking as such is what bores him. Consequently, he will be impelled to find a kind of movement that is entirely different. Running, or racing, does not yeld a new gait. It is just accelerated walking. Dancing or gliding, however, represent entirely new forms of motion. Only human beings can dance. It may be that boredom seized him while walking, so that after – and through – this “attack” he would make the step from walking to dancing. Compared with linear walking, straight ahead, the convoluted movement of dancing represents a luxury; it escapes the achievement-principle entirely”.
(Byung-Chul Han, The bornout society)

Marco D’Agostin is a performer and choreographer active in the fields of theatre, dance and cinema. He has trained as a dancer with Yasmeen Godder, Nigel Charnock, Emio Greco/Accademia Mobile, Sharon Friedman, Jorge Crecis, Rachel Krische, Guillermo Weickert, among others.

Over the years he has performed for chroeographers including: Claudia Castellucci/Socìetas Raffaello Sanzio, Alessandro Sciarroni, Iris Erez, Liz Santoro, Tabea Martin, William Collins, Giorgia Nardin. He has deepened his choreographic skills with Rosemary Butcher, Tabea Martin, Peggy Olieslaegers, Gitta Wigro, Guy Cools, Lucy Cash, Ginelle Chagnon.

Since 2010 Marco has been developing his own choreographic work, mainly through his involvement in international projects such as Choreoroam Europe and Act Your Age. Viola  was winner of the Premio Gd’A Veneto in 2010, and was selected by Aerowaves in 2011 and Anticorpi XL 2011, Spic & Span won the Segnalazione Speciale Premio Scenario 2011, and let sleeping dragons lie won the Premio Prospettiva Danza 2012. Last day of all and Last day of M. were created as part of Act your Age in 2013. Everything is ok premiered in June 2015 and has been selected by Dancenet Sweden network to tour in Sweden during autumn 2016.

Created and performed by: Marco D’Agostin
Original Music: LSKA
Lights: Rocco Giansante
Dramaturgical advice: Kristin De Groot
Technical care: Paolo Tizianel
Pics and Video:
Alice Brazzit

Coproduced by VAN, CSC/Operaestate Festival Veneto, Dansateliers & Kilowatt Festival supported by inTeatro, D.ID Dance Identity, C.L.A.P.Spettacolo dal vivo, Teatro Fondamenta Nuove



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