REDMILK MEETS WITH PHOTOGRAPHER PIERLUIGI ABBONDANZA. FOREVER FASCINATED WITH THE DISCIPLINE OF CLASSICAL BALLET. HE PASSIONATELY SHOOTS BODIES IN MOVEMENT, MAKING THE VIEWER VIRTUALLY STAND ON THEIR TOES. HE CREATES UNIQUE IMAGES WHERE THE BODY BECOMES THE ONE AND ONLY EMOTIONAL TOOL.
How did you become interested in classical ballet ?
When a ballet teacher invited me to take pictures, she liked my portraits and wanted to see if she could have the same aesthetic quality of my portraits also with ballet.
And when did you become passionate about ballet?
When I got closer to ballet I saw these aesthetic canons which I did not know about and that were incredibly fascinating, I had the feeling it had been there, waiting for me, and like with love at first sight we immediately clicked.
Do you think that today the symbolism of the body has changed?
It has, definitely. In this western, increasingly more materialistic culture the idea that a spirit gives life and shape to a body and a story (like in the fairytales used in ballet) gives more and more space to an idea of a body in movement embracing an aesthetic that is more connected a physiologic idea of the body. Dancing on stage today is increasingly more focused on the aesthetic of movement with its contractions, leaps, tensions and relationships with other physiologies . I believe they are different symbolisms, although both fascinating .
What does the art of dancing mean to you?
The same meaning it has for itself. A minor art completely connected to another art, music, and wherever music describes emotions, dance provide a shapes upon which these emotions can rest.
What does being a stage photographer mean? What does the stage mean to you?
There is a border territory where dreams and emotions are smuggled until they reach us , the stage is a place where dancers (the new smugglers) enable me to savor them, and my stage photo must make it clear that this has happened.
How important it is to have an artistic sensitiveness?
It’s an art, artistic sensitiveness is essential for its description, without it we would only have a representation of its artisanal side, that is, only of its shape, which is not necessarily wrong, but also reductive
What strikes you the most about bodies in movement ?
The harmony of the movement itself, the elegance and the emotion ‘oozed’ on stage that, like a diapason, makes similar sensations inside of me vibrate, enabling me to live them all together.
Do you employ any particular technique?
The kind of technology available today has helped overcome the problems connected to the limitations in the use of lights on stage, and this allows me to focus only on capturing the beauty I see on stage. Technically speaking all I have to do is take the picture at the right moment.
Photo credit Royal Ballet