Contemplation piece, involving piece, dead piece
from The Dying Swan danced by Anna Pavlova in 1924

The Dying Swan can be a pop object ? A contemporary piece of art possible of re-interpretation and still a reference for everyone? What kind of role can play the gaze in relation with what is happening on stage?

While the audience is confronting itself with the vision of a video of The Dying Swan danced by Anna Pavlova, Cristina Kristal Rizzo, choreographer and interpreter, trough a simultaneous translation of the antique original version, actualizes alive on stage a gestural loop, an infinite precarious expressive landscape in which all the movements and the dynamic nuances of the ‘ bodies ‘ suddenly betray the initial score and become ambiguous, out of control and fragile, highlighting the hazard and the desire of amplifying and shift the borders of expression.

Invisible Piece is a political piece, it pushes the gaze of the viewer in a move of intensity, asking for a personal confrontation, a deeper connection. In the re-interpretation the dancer vision is mixed with two other personal visions: the objective one of the video and the subjective one each person is experimenting watching the piece, which in a way is in a different time/space dimension and at the same time existing in front of each ones eyes.

Invisible Piece is a choreography of hallucination and prophecy, involving with a pure choreographic gesture, in a sort of double staggered game, the very own gaze of the audience; It’s a dance that intertwines and re-forms the relation between the inconsistency of the image and the realness of the body.

Dancemaker living in Florence, Cristina Kristal Rizzo studied at the Martha Graham School of Contemporary Dance in New York and she attended the studios of Merce Cunningham and Trisha Brown. She also collaborated with various artistic Italian realities such as Teatro Valdoca, Roberto Castello, Stoa/Claudia Castellucci, Mk, Virgilio Sieni Danza, Santasangre. Founder of Kinkaleri, with whom she worked intensely until 2007 receiving numerous international awards, since 2008 she has embarked into a personal journey of production and experimental choreography, addressing her creations towards theory research studies with a strong dynamic impact.

concept, choreography and dance: Cristina Kristal Rizzo
historical consultant: Stefano Tomassini
sound and lights: Cristina Kristal Rizzo
film: Luca Mattei and Cristina Kristal Rizzo
production: CAB008
with the support of Regione Toscana and Ministero per i Beni e le Attività Culturali Residencies Castello In Movimento, Teatro Studio di Scandicci/Compagnia Krypton, CANGO Cantieri Goldonetta, Teatro Cantiere Florida, I Macelli Certaldo

[photo: Laura Arlotti]