The House of Trouble | Patricia Apergi
A paean to individuals and their choices, to diversity and freedom and self-determination.
Six years after “Cementary”, choreographer Patricia Apergi is returning with the dance company Aerites to Onassis Stegi with an explosive party which reveals to us that we can still have a good time despite our lack of harmony and disagreements.
The Idea:
The House of Trouble explores the tension between chaos and control through contemporary dance. Patricia Apergi and the Aerites Dance Company use movement as a language to express human vulnerability, resilience, and the complexities of personal and collective struggles. The piece transforms abstract emotion into a visual and physical narrative, inviting audiences to feel, reflect, and connect with the raw energy of the performers.
The Impact:
The performance leaves a lasting impact by immersing audiences in a visceral exploration of human emotion, encouraging reflection, empathy, and a deeper appreciation for the power of movement and contemporary dance.
More info about the project
“I don’t know where to start. I have to share it with you. You have come this far. We will do everything to please you. We depend on you. We need you. Use us. We can do anything. The world is on our shoulders. You need us. There are no more of us. We are already facing extinction.”
The new work of the dance company Aerites aspires to converse with the concept of identity through the violence each one of us may undergo or inflict in order to define ourselves, the world, and our freedom. It is a paean to individuals and their choices, to diversity and self-determination. It is the beginning of a show that is staged to present us everything that deviates from what we are used to, a show made in order to admire the different, that dares to put in the spotlight everything that is not counted as “average” and that exists to remind us the majesty and the beauty of each body, of each existence. Just like it happens in a circus.
That luminous world we conjure at any age to define our ideal, special, and unique society, our tender and fair microcosm; where courage and boldness were applauded, provided that we were sure that all safety measures were followed; where violence was glorified as we were assured by the fact that it derives from faith, discipline, and obedience. But what happens when we are no more able to tame all these? When our visit to this world touches upon the darkest areas of our fears? When the dwarf we have been applauding all this time stops dancing cutely and decides to pull the trigger on us?
When violence erupts from the people who have fought not to accept violence?
Circus or life? Truth or spectacle?
That’s how we arrive at our glorious present time.
“The House of Trouble” is a party that incorporates all these reactions. It adopts the “outbursts” of the era to reveal to us that we can still have a good time despite our lack of harmony and disagreements. It is a love letter to the absurdity of the dipoles presented to us constantly by societies. A feast for the joy of transformation and multidimensionality of our bodies.
