May 9, 2018 20:30
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.