Photographs Antonio Agostini

“Second Prize for Best Choreography” at the 15MASDANZA the International Contemporary Dance Festival of the Canary Islands in October 2010 , “Special Mention Prize” at the National Theatre of Belgrade on May 2010, “Medal of the President of Italian Republic to the Italian choreographic talent 2011” during the presentation of the work at the Gran Theater of National Academy of Dance in Rome on July 2011. It’s been presented also in Shanghai Expo 2010, China in the 8th October 2010.
 

This choreographic piece is done in a line of three dancers. Every movement, every articulation, every dynamic done by one dancer is the wire of the movement that runs trough the empty space and the time, and this wire-movement is articulated, is twisted, is thinned, is rarefied, is thickened, is bifurcated, is tangled and is left disappear into the folds of the movements of the other dancers: as a needlework done on nothingness.

Review

Recensioni DANZA & DANZA: “Per un numero selezionato di spettatori Fabrizio Favale Le Supplici deposita il suo Un ricamo fatto sul nulla nei sotterranei della Pinacoteca Nazionale: quello che disegna è un gesto rapido e leggero, che addomestica il tempo (tutto quello che occorre, fino alla quasi-immobilità) e rende palpabile lo spazio con le torsioni del busto, i guizzi delle braccia e un impulso rotatorio di ascendenza orientale. E’ una danza quasi sacra, densa di pensiero e mai superflua, unricamo volatile e tanto più prezioso”.
di Maria Cecilia Bizzarri

“Le Supplici Fabrizio Favale, with Un ricamo fatto sul nulla, has embroidered in a trio the impermanence that is the dance, with tapered arms, bodies out of phase, dislocated, reassembled, in the long shot of Piazza Maggiore (Bologna). Are aligned, the three very good dancers, in control and ready to hyperbolic transformation of a gesture, a bend, an imbalance, a interlacement. They go together. They discompose. They capture, cling, protect themselves, they detach. The three performers, Marta Cappaccioli, Samuele Cardini, Martina Danieli, now insinuate, make soft sculpture groups that immediately they wriggle, they pivot, they meet, they triplicate, they melt like planets, like moths, and again they support themselfs (in a fain stellar music). A gesture. Another. A fire, a flame made of bodies, of hands and arms, a sacred form (an idol), a slight suspension of time that grinds and transform the presence of the body, the design in progress, in the flow and disappears. A wind that carries away and holds. A look inside by a poet-choreographer capable of giving a philosophical and internal voice to the technic. The sun set heats the dome of Santa Maria della Vita little away, the building of benches Vignola, cut the culmination of San Petronio. The trio goes to the end with one dancer in dash, captured, stuck, slow, inevitable, and the withdrawal of the other two dancers, slowly: lift to the essence. ”
Massimo Marino