Le Stagioni Invisibili – Ciclo Coreografico Infinito
Concept and choreography Fabrizio Favale
A special project by Agorà and Compagnia Le Supplici
Assistance for the realization and invention Andrea Del Bianco
Dancers – variable cast Daniele Bianco, Daniel Cantero, Vincenzo Cappuccio, Andrea Del Bianco, Martina Danieli, Fabrizio Favale, Francesco Leone, Valentina Palmisano, Mirko Paparusso, Angelo Petracca, Filippo Scotti
Images, scene and costumes First Rose
For the company, the project is in charge by Andrea A. La Bozzetta
Supported by MIBACT / Regione Emilia-Romagna / Fondazione Del Monte / ATER / h(abita)t – Rete di Spazi per la Danza / Sementerie Artistiche, Crevalcore
In collaboration with Agorà – Special project and AMAT
Project born of a conversation between Fabrizio Favale, Elena Di Gioia and Andrea A. La Bozzetta
Cover image Andrea Macchia and Fabrizio Favale
Live photos Paolo Cortesi
Autunno Inverno Primavera Estate
Project dedicated to Ermanno Olmi.
An almost unique project in its kind of dance epidodes realized entirely in agricultural environments. A traveling and nomadic project that starting from a research of the company based on the cycle of the Seasons and the archaic popular culture, projects itself into the invention of still unexplored choreographic possibilities.
The cycle is potentially articulates to infinity and is realized in meetings with the public in the marvelous and timeless peasant landscape. The appointments fall roughly in the seasonal changes: the dance manifests itself in the form of epiphanic encounters with beings, forms and profiles of animals, plants or humans that are not clearly identifiable, in visual realizations that evoke hybrid forms from natural world, but also the refer to unknown, invented, alien worlds.
Each event is unique, site-specific and takes place in different locations for each season. Places also change from year to year, accumulating over time as if drawing a new geographical map, made of the singularities of each landscape but also of the different local imaginative worlds. The performances are confirmed with any weather condition (sun, rain, snow …) that unites dancers and spectators.
A celebration of the Four Seasons, marked each time by innovative relationships between dance and landscape, between waiting and the appearance of extraordinary forms, to rediscover the vision of an almost extinct archaic world, but strongly present in our collective imagination. A project never realized before, which reveals and enhances wonderful glimpses of agricultural landscape, and at the same time offers the public the chance to meet dance in its most unusual and dreamy forms, as if to celebrate new events not written in the calendar, or as to want to establish a new transhumance.
A commentary on Le Stagioni Invisibili – Ciclo Coreografico Infinito
by Fabio Acca, theater critic
“To understand easily what is meant when we talk about the” third landscape of dance “, we should participate in the” invisible seasons “created by Fabrizio Favale Le Supplici. In the fourth “summer” episode, for example, we have fallen into a creatural condition, in which the choreographic design merges with the landscape. Silence acts as a sounding board to the intimate rhythm of nature, in an extraordinarily touching symmetry between art and life. ”
Show seen on 19/05/2019 at the repopulation oasis La Rizza di Bentivoglio (BO)
Dance. The four traveling seasons by Fabrizio Favale
by Giuseppe Distefano 8 June 2019
With a peculiarity of great breadth, of perceptual dilation, of organic mapping, of participatory “transhumance” of parables between poetry and reality, is the project The invisible seasons created by Fabrizio Favale with the Compagnia Le Supplici. Taking part in only one of the four choreographic performances over a year, which mark the passage of the four seasons, is above all an experience. Sharing. Where the landscape becomes nourishment for the soul.
It is a physical immersion, outdoors, in natural, agricultural or industrial settings, which require silence, listening, and a shared vision. As explorers. As is the choreographer Fabrizio Favale, who has always dedicated himself to explore with geography and natural landscapes evoking them on the scene, in museums, or in other non-traditional locations, giving rise to views, concrete places and infinite spaces. Or living the places directly. As for the project The invisible seasons – infinite choreographic cycle (special project of Agorà with the artistic direction of Elena Di Gioia, and promoted by the Union of Reno Galliera, with the support of the Emilia-Romagna Region, production of the Liberty Cultural Association), aimed at discovering “territories of enchantment and apparition”, as defined by the same choreographer who, with nature, a motif of continuous inspiration, cultivates a symbiotic, concrete and almost sensual relationship.
For four events, from October of last year to May 2019, we found ourselves, itinerant spectators next to the dancers of the company, in unexplored areas of the Bolognese territory in a collimating path exactly with the alternation of the cycle of the seasons, lived in any, unexpected, climatic condition, whether of sun, rain or snow. From the naturalistic area of reforestation and the glades of Boscovivo to Argelato for the arrival of autumn, to the lunar landscape of sand dunes of the industrial plant of Concave for the winter; from the geometry of a poplar grove with the warm light of the sunset that filtered through it, to celebrate spring; to the silence and the secret sounds of the naturalistic oasis La Rizza, finally, at the beginning of the summer. “It is a nomadic work that can be reproduced everywhere” – explains Favale -, “which needs an open and ample agricultural space, an area where to disappear and a point of view of the public relatively far from the esplanade where the event takes place”.
In each of these the dancers breathed the place, its energy, its beauty, the surrounding natural elements. They have captured the light, the sounds, the shapes; they perceived the hidden figures, camouflaging and giving us back in movements and gestural sequences an epiphanic, unknown, hidden imagery, that “feeling” the landscape with the whole body that is above all the performers whose actions make themselves the vehicle of transmission of meditative states and contemplatives.
The vegetation and the fauna of the La Rizza Nature Reserve, where we participated, rich in different species of birds, together contributed to creating the ideal soil for a work on the body which, starting from sensory perception, leads to dance in osmosis with the ‘natural environment. In going quietly, stopping in different areas, we first met a dancer in a blue costume, standing next to bushes, listening to chirps coming from multiple sources to which he, too, became feathery, replied with movements consistent with those sounds . Farther on, in the middle of the trees, two figures perched on large, motionless trunks and with open arms like scarecrows dressed in tunics and colored hoods, and us to identify ourselves in their static nature to absorb, listening, the spellcasters of neighboring birds . An invitation to even more attentive listening, to a greater expansion of silence, and to imagine a swarming of animal species or to wait for sudden apparitions, was the pause in front of a vast expanse of grass, a boundless field that was lost in sight d ‘eye. No human or volatile presence surfaced, as might mistakenly be thought, but a solicitation to pause to contemplate, to create a temporal breach in the grip of our personal inner space. From there, resumed the journey, immediately another stop to observe, in the middle of a clearing between the fields, a swarm of dancers with flesh-colored costumes dancing in the silence and giving life, in the abstraction of postures, single and in unison , in the references to shapes and profiles of animals and plants not clearly identifiable, to a sample of volatile fauna, of collective nesting, which fades continuously into relations of human consistency. Grouped together and finally disappeared among the green, we found them on the shores of a small lake lined up one behind the other in a slow procession. In advancing step by step, systematically repeating gestures with one leg, with two, accompanied by opening of arms, sinuousness of the bust, vibration of the whole body, they seemed to draw a flock traveling on the ground until they disappeared to our eyes, dots far away from the vegetation that welcomes them as its creatures.