The Momix are on stage at the Teatro Romano from this evening (at 21.30) to August 9 with W Momix Forever, which has the best production of Moses Pendleton, with four new choreographies. The show celebrates the thirty-five years of the American company, an opportunity to take stock with Julio Alvarez, town manager and producer of the dance group known throughout the world for its scenic inventions and transformations of the bodies of the dancers through stunts, flights, lights and colors. “A fantastic budget, no one imagined that could last so lungoe the journey is not yet finished. It began with a coincidence. It has grown, and continues to grow, “he explains. For the occasion, the Stone Bridge will be illuminated and decorated with flowers.
There is the risk of being considered a classic irreconcilable with innovation and change?
“We are considered a classic! But Momix are always changing, are a brand and style, are recognized. But the style evolves in time. “
How do you renew a classic?
” For example, the technological part was an evolution: shows more groomed, sophisticated. At first they were simple, they were content to four lights fixed, now working with the projections on the move, and this revolution has given new spectacle. “
Momix is a trademark as well as a content?
“The brand is the first thing, then you sell the news. Every three or four years it creates something new. Because people ask us something new. The company has always been drawn to the theaters where she has gone, that we like, we went twenty times in the same theater in thirty-five years in business. “
Unlike some companies, such as Nedherlands, you’re a private company. How does it work?
“Momix is a private enterprise, commercial. No sponsors, workers living in what the public pays to see or that institutions pay, is self-financing, no public funding. “
How is the process for the realization of a product?
“The director Moses Pendleton, the project starts from him then me offers. We talk about it and decide if you do or do not do. I from the commercial side, I try where we can go and how to develop it. Sure I know something of the artistic part, because I come from dance, but in Momix tasks are well separated and divided. The artistic part was created in collaboration with artists, the artists taking part, together develop a collective work. Changing the artists through the years change the ideas and then the shape of the show. A variety that allows you to change over time. Bejart Bejart was, and it was recognizable, here there is a small group of 10:00 to 12:00 that thinks and creates in that line that is the aesthetics of Moses. “
From what understand if a show works?
“We always have an idea of what works and what does not. We know for example that the public loves us and is fond of certain shows. But we are not parties to please someone, then we realized that these ideas like. From young to adults. “
It influences by other artists can be a road?
” Our shows are family, have a wide audience. We did shows, years ago, on tour with Renato Zero, at the beginning I had doubts, I thought that his audience was not interested in us. But the show is liked, they had discovered something new. “
I know there is a choreography in” W Momix forever, “dedicated to her …
“Yes, a lot of fun, is a piece called daddy long legs. I thought it was for the Fred Astaire movie instead it is a spider, with the small body and long legs. Moses did the dancers dance with a long leg and one short. He knows we are dating years together, a life, an unmarried couple since 1980, Moses calls me “the gaucho” because they are Argentinian. “
A Verona stay 12 nights. It could be a format or replicas debase the show for over-exposure?
“Look we did it one more, would still be full. But it is a unique phenomenon, which can only happen in big cities like Rome or Madrid where we are from four to six weeks. In Verona we will do more than nineteen thousand spectators. Momix are a unique phenomenon “.o
Simon Azzoni
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