LA NAZIONE (17 May 2007)
“Mother Language puts together literature art and music. …. BORDERS the overwhelming show of MOTUS dance”
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In the crowd map of choreography in Tuscany, the territory of Siena is strongly expressing a productive activity unimaginable shortly ago. Thanks to whom, as the sisters Simona and Rosanna Cieri of the MOTUS company,work with passion since many years to impose an idea of dance that exceeds the ancient and reassuring boundaries of entertainment […] with stubborn engagement, determination and devotion they show that dance is a “traumatic” art able to investigate and also to interpret strong and sometimes difficult problems, because difficult it is life. With a clear and articulated choreographic dictionary, fed of classical language blended with contemporary influences, MOTUS declines an uncomfortable and “skinned” human comedy. It is said: art must be uncomfortable. These senesis authors seem to show us that, from now on, also in dance, it cannot be different.
Silvia Poletti
CORRIERE DELL’UMBRIA (12 April 2007)
” …the poetic narration passes from unreal and fantastic settings to real situations, in continuous counterpoint, to build a rhythm which turnes on the attention of the spectator, using the “coup de thèâtre” too. In BORDERS the choice of the combined use of media creates an overlap among the virtual images of the dancers on […]
Read MoreCORRIERE DELLA SERA (17 February 2007)
“BORDERS is the most recent proposal of the Motus dance company…. The style which countersigns this company is a complex language, structured on expressions in continuous comparison with communicative forms using body movements as well as the voices, always disclosed toward the social engagement that they pursue through denunciation.”
Read MoreCORRIERE DI SIENA (30 November 2006)
” BORDERS the new work of Motus …. a strong work, of great denunciation in which Palestine, Kurdistan or Cecenia, rise as symbols for all that people which a place of existence is denied……. The result is of great visual impact and particularly elevated quality…”
Read MoreLA PROVINCIA DI VARESE (21 November 2006)
” The strength of Motus is clearly focused in the ability to to define themselves ‘engagé’, i.e. engaged on ethical and moral fields, without boring or veering in tragedy: it is not a case that AQVA was awarded the international prize Teatarfest 2006. In the dictionary of the sisters Rosanna and Simona Cieri the challenge […]
Read MoreVARESENEWS (22 October 2006)
the challenge of the Motus dance company was not the simplest… to face the problem of the waste of the most precious resource, water… the experiment has succeeded, reaching peaks of strong emotionality
Read MoreCORRIERE DI SIENA (23 August 2006)
Garibaldi was wounded………..It is a trip through the Italian popular musical tradition, tied up to the thousand regional and geographical cultures, often expression of the lower classes, as witness of feelings, aspirations and struggles. In this way, geographical boundaries become cultural boundaries persistent during the time. As to say that, in the popular music, the […]
Read MoreIL FRIULI (7 July 2006)
“….The art has an ethical function because it is able to tell something to every day life. With the committed show AQVA of the MOTUS dance company the subject is water designed by bodies, words and images…The lyricism, the magic and the beauty of the element that gives life and the spectacularity of the whole […]
Read MorePress release TEATARFEST (May 2006)
“MOTUS dance, senesis company directed by Simona Cieri and resident in the Municipal Theatre Rinnovati in Siena, was awarded the International Prize TEATARFEST 2006 with the show AQVA, a multimedia work made of video and dance, that faces the problem of the water resource. The show was produced with the contribution of the Tuscany Region […]
Read MoreSIPARIO (April 2006)
“… AQVA is a multimedia work of great impact that links dance to communication through images, in a continuous interaction of the languages that entertains and makes to reflect. As of usual, the MOTUS have the strength of reinventing theirselves through the use of new expressive means, without forgetting the engagement that countersigns them and […]
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