Now with “Abi/Tiamo”, he shows his choreographical talent in great style. Poetic images emerge right at the start, when in the backdrop of the stage Kihako Narisawa guards the scene in a supersized crinoline. She is the personified Inferno, with Spota hinting at the book “Invisible Cities” by Italo Calvino. In an imaginary dialogue it is made clear that Hell is not awaiting but already amongst us. But even without this knowledge, his piece is exciting from the beginning to the end, it’s associative and dreamy.
Three bow-shaped walls, cramped like a snail’s shell, open up more and more, pouring out the other dancers, among them the main characters Ayumi Sagawa and Frank Pedersen as a pair of lovers. They seek and find each other, put the walls between them and in the end build a bridge with them. Like Thoss, Spota also uses a sound collage, and works with video projection and symbolically charged figures.
Nevertheless, a very different atmosphere emerges in his choreography. Thoss’ pieces are cool and dark on this evening, Spota’s warm and sensual. They couldn’t complement each other better.