KULTURA / CULTURE
ly after its world premiere in Bassano del Grappa. The second time they came was with Pasionaria during the pandemic in 2020. Morau will use the upcoming fes- tival to present the beautiful work Notte Morricone, a creation made for the re- nowned Aterballetto from Reggio Emil- ia. Morau was obsessed with Ennio Mor- ricone’s music from an early age. When he received an invitation from Aterbal- letto to create something “original”, he proposed an homage to the legendary composer. “Morricone belongs to the kind of music you don’t discover on your own – you inherit it. It lives in family memo- ry, in the emotional upbringing of those of us who grew up with images that were not ours, yet shaped us. The greatest challenge was not to turn that heritage into nostalgia. To resist the comfort of quotation, of scenes, the complete effect of shared memory… The most beau- tiful discovery was that when you ap- proach his work with respect and risk, Morricone opens the doors to a space where the epic is not pathetic, but the most natural sigh, where emotion is not a demonstration but a form of lucidity,” says Morau.
BELGRADE DANCE FESTIVAL Morricone as living matter, and not a monument The work required that we strip the music of its cinematic glory, so we could listen to it again, and experience it as something new, and the composer gave us something truly special – a trembling line between beauty and woundedness, says famous choreographer Marcos Morau, who has been obsessed with Ennio Morricone’s music since childhood B arcelona is a city that lives
intriguing detail in itself. For more than two decades, La Veronal and its founder have been pushing the boundaries of ex- perimentation in contemporary dance, tirelessly exploring the intersections of different artistic practices, guided by an avant-garde spirit that questions itself continually. And it is precisely because of this that they often succeed in anticipat- ing perceptions and interpretations of contemporary dance, as well as of socie- ty as a whole. La Veronal has appeared twice at the Belgrade Dance Festival. First with the piece Siena (2013), almost immediate-
and survives thanks to its dif- ferences. Visionary and im- possible, like the Sagrada Família. Somewhere between New York and Algiers lies a complex mir- acle of layered mythologies, carefully shaped to fit into one another perfectly, transcending distances. And it was pre- cisely there – in Barcelona – that Mar- cos Morau established his own contem- porary dance company, La Veronal, back in 2005. His dance company’s name is actual- ly the name of a well-known sedative, an
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