With the support of
Pesadilla has been nominated as best Belgium circus creation 2017.
The show is deeply inspired by the movie Brazil by Therry Gilliam and by some of the most famous books of Chunk Palhaniunk.
Pesadilla tells of the fragility of a man shifted between insomnia and narcolepsy, in a daydream reality where the weirdness and the burlesque flirt with each other, going towards a border where grotesque humor and a sweet melancholia share the same space.
Pesadilla is a funny touching confrontation between a man and his imaginary alter ego: a giant Panda.
Direction/ Concept/ Choreography: Piergiorgio Milano
Performed by: Piergiorgio Milano, Nicola Cisternino
Artistic Advisers: Elsa Dourdet/Florent Hamon
Light design: Simone Fini
Music: Florent Hamon
Light and sound technician: Luca Carbone
Production: Fondazione musica per Roma
Co-production: Festival Torino Danza (Torino), Les Halles Du Schaerbeek (Bruxelles), ERT- Fondazione Emilia Romagna Teatro(Modena), Teatro della Caduta (Torino)
With the great contribution of the Fédération Wallonie – Bruxelles
With the support of: Le Prato Pôle National des arts du Cirque Lille France, Progetto Corpi eVisioni Teatro Asioli di Correggio (Reggio Emilia), Espace Périphérique Parc du la Villette (Paris), Fondation Piemonte dal vivo Turin, Flic circus school of Turin, Kilowatt Festival San Sepolcro (Arezzo), Anghiari dance Hub Anghiari (Arezzo), Centre international de création des arts du Cirque Espace Catastrophe, Le Garage 29 (Bruxelles)
Many thanks to: Elena Burani, Lucia Ferina Claudio Stellato, Nicanor De Elia, Florencia Demestri, Samuel Lefauvre, Julien Vitecoq,Boris Gibe,Sabina Scarlat,Le Garage29, Michele Meneghini
Jury of Prize Equilibrio : Eddie Nixon The Place Londres, Marc Olivé Lopez Mercat de las Flores, Barcelone Spain, Benjamin Perchet Dublin Dance Festival, Nicolas Six dance critic France:
“We saw the attitude of Piergiorgio to invent multiple narrative paths developed around scenes of every day life, which have the power to capture the attention of all audiences.
We appreciated his ability to use the physical language, blurring the lines between dance and circus.”