Born in Salerno, Italy, Francesco Scavetta studied at National Academy of Dance of Rome, graduated in Theatre and Performing Arts and Post-graduated in Sciences of Communication. Along his artistical path, he regards as a particularly valuable his meetings with such choreographers, teachers and director as Anne Theresa De Keersmaeker/Rosas, Giorgio Rossi/Sosta Palmizi, Dominique Dupuy, Adriana Borriello, Lans Gries/Trisha Brown and Bernardo Bertolucci.
Scavetta’s theatricality have often been associated with the atmosphere of a weird dream or to a playful world of a child: strange, funny, poetic and, at the same time, surprising. The created performances change in format and aesthetics. To the delicate memories of “Daddy always wanted me to grow a pair of wings” (1998), that looked like an old black and white movie found in the loft, we contra-posed the complex use of technology of performances like “Live*” (2002), co-produced by the Biennale of Venice and the unconventional dramaturgical structure of the latest projects.
The core of the research has always been to deal with fragility and paradox, epiphany and dream, empathy and surprise, avoiding narrative and physical cliché, questioning reality and identity with humoristic disbelief.
“Francesco possesses an intelligence which is alive, knowledge which is both anarchical and surprising: for him, being an artiste involves an exploration of “subtraction”, subtraction which is also physical, he himself having become an agitated, thin, collection of dancer’s bones. Subtraction of all that is superficial, of that pompousness and pretentiousness that connotes a great deal of current young Italian artistes. His loose-jointed, uncertain gait – the result of knowledgeable work on his body – is emblematic of his stage productions. Scavetta’s work fills your heart with such ease, and with poetry, which is as joyous, lively, bitter and agonizing as the ingredients of life itself. His wild defenseless expression, timid hand, the contagious desire to laugh and joke, his sapid taste for irony, to look at the world with childhood eyes – not affected or unnatural but adult. The game that Scavetta directs is a little party, and the dance (a careful meticulous construction of gestures, sequences, but also expressions and words) is a tale about every one of us. Memories, feelings and dreams heap together, becoming entwined as they are whispered and suggested. The outcome conserves the affable sweetness of a Chaplin film, the surreal comicality of Kaurismaki, the tragicomical nonsense of some Beckett, the nostalgic beauty of a country circus. Francesco who knows how to laugh and joke, with himself and others, animated by a healthy and contagious madness…..” Andrea Porcheddu, Prima Fila