CIRCEO

Concept and choreography Fabrizio Favale
Dancers Daniele Bianco, Vincenzo Cappuccio, Francesco Leone, Mirko Paparusso, Stefano Roveda,
Gianmarco Martini Zani

Original music Daniela Cattivelli
Sound design Fabrizio Favale
Scene, costums and lights design Andrea Del Bianco and Fabrizio Favale
Co-production Theatre National de la Danse Chaillot, Paris (FR) / KLm (IT)
Supported by MIBACT – Ministero per i Beni e le Attività Culturali, Regione Emilia-Romagna and Fondo per la Danza d’Autore/Regione Emilia-Romagna.

 

Artistic Residency plan 2016 / 2017

1-28 February 2016, Ateliersì, Bologna (IT)
11-20 March 2016, Scenario Pubblico
Choreographic and National Production Centre for Dance in Catania (IT)
10-22 July, 29 August-01 September and 11-15 October 2016, Ateliersì, Bologna (IT)
28 February – 5 March 2017, Fondazione Nazionale della Danza Aterballetto Reggio Emilia (IT)

 

Photographs Alfredo Anceschi

 

Cover image Roberto Viccaro 

 

 

Studies Narvalo, Vavilov, Hekla

 

 

Circeo is a promontory that overlooking to the Tyrrhenian Sea. It’s also a mythical place of landing of Ulysses and meeting with Circe.

In an extended horizon, with no usual landmarks, the dancers go deeply and completely into a slight and mutable universe, made by refinement of the movement and its dynamic qualities, made by speed and slowness, by simultaneities glimpsed and immediately collected, by heat and cold, by distances, approximations, meeting, kisses, energy consumed, bodies exhausted and beached. In the uncertainty between the mental and the factual, between the nocturnal and diurnal, the dancers speak a language that seems to belong more to a stormy sea.

The work presents a parallel track of actions that runs togheter with the choreographic one, and it is acted by Fabrizio Favale and Andrea Del Bianco (First Rose). These actions, that happen in the two sides, left and right, of the dance area, in the shadow zones, change and influence the atmospheres and the mood of the entire work. These actions want to create a deep visual impact, and are related with electricity, with the light changes, with changes of color and density of the air, with fire, volcanology instruments, ice blocks, rocks, coal, concrete slabs, uncertain animal figures. .. atmospheres that are in the half way from an archaic imaginal world and an hypothetical and unspecified technological world.

 

PRESS RELEASE
WITH LE SUPPLICI A VOLCANIC CIRCEO

Writtten by Rodolfo di Giammarco – la Repubblica 25/06/2018

 

In “Circeo” by Fabrizio Favale something bursts the exhalations of a volcano, on one side of the stage there are the installations of a couple of speleologists of eruptive faults, the reflections of lit craters can be glimpsed on the bottom-stage, and then the smooth and ice-made backdrop melts to give space to a wall of lava. In this context shaped by nature, twinned to an Iceland this mythical promontory of the Tyrrhenian Sea where Ulysses meets Circe, Favale materializes a choreography of rare anthropological force, a primitive upheaval which gives body, in addition to the two scientific performers mentioned, a group of seven brutal, virulent dancers, I would say mostly wild, with impressed in their skin the roughness of the ancestral men of the portraits of the naive genius Gino Covili. As if this were not enough, this beautiful, very mysterious and very telluric “Circeo” – a real international show with a co-production baptism at the Théatre National de la Danse Chaillot in Paris, and now landed in Teatro Argentina as part of the “Grandi Pianure” Roma – this work rakes zoomorphic presences, and adopts passages of interpreters camouflaged by skins of animals, as to evoke even a bestiary, a graffiti from a remote cave. And yet this work by Favale and his company Le Supplici, precisely because it is not narrative, because is dark or blinding, because is energetically tribal, I find it pervaded by a contemporaneity that metabolizes our unconscious, our aphasia, our hidden compulsiveness. It is another more brusque and otherwise corporative race than that of Jan Fabre’s warriors of beauty, the race of these intrepid explorers, synchronous anti-heroes, solitary wolves of the scene, but something similar to the DNA seems to me to exist, beyond the American roots that legitimately Favale attributes to his practice of overseas. Then, of course, some dynamics follow the serial cadences of the original sound-noise by Daniela Cattivelli and the assets chosen by the Mountains, by Sigur Ros, by Alex Somers, by Windy & Carl. But there is also a rhythm emitted by the anatomies of these creatures in captivity, in storm.