variations and experiments
A dance work by Fabrizio Favale
Choreographed and performed by Fabrizio Favale
Set, costume and art work First Rose
Co-produced by Fondazione Teatro Comunale di Vicenza, Festival Danza in Rete, Festival MILANoLTRE, KLm – Kinkaleri / Le Supplici / mk
Supported by MIC / Regione Emilia-Romagna / Comune di Bologna
With the support of h(abita)t – Network of Spaces for Dance
This work is selected by ResiDanceXL – luoghi e progetti di residenza per creazioni coreografiche, azione del Network Anticorpi XL
Work selected by NID – Platform 2023
Photo Sara Deidda, Agostino Mela, First Rose
Moving away from purely spectacular settings this work presents a series of dance sequences as if they were exercises or training in which the dancer, starting from some techniques and modalities of American Modern and Postmodern dance with which it was trained, articulates them and projects them towards the future in free and experimental development possibilities.
Fabrizio Favale (currently 53 years old) returns to dance a choreographic work in the form of a solo, a work that chooses to focus attention on the techniques (not on the choreographies) conceived and developed in particular by Merce Cunningham and José Limón and on some objectives of Trisha Brown’s dance (who never codified a specific technique).
The intent is to collect and question the legacies of those practices, in an investigation and rediscovery of the dynamic, qualitative, compositional, postural contents and use them as a springboard towards unknown destinations.
By constructing and deconstructing sequences, architectures and complexities of articulation of the body’s movement, the dancer, through “live” experimentation, seeks from time to time the junctions that allow possible evolutions, suggestions and drifts.
Finally Danze Americane is also an experiment with memory, first of all with the body’s memory, compared to what it learned many years before, compared to the adaptation strategies it implements as it grows older.
The work presents a total of 7 sequences, of which 2 created starting from some objectives of Trisha Brown’s dance, 4 from the Cunningham technique and 1 from the Limón technique. Each sequence is repeated twice, the first time without music and the second with a different piece of music each time. Subsequently, the dancer freely breaks down and recomposes the sequences, in a sense of experimentation and search for new and original movements, combinations, quality of movement. The number, modalities or techniques to which the sequences refer are announced to the audience by the dancer himself as he performs them.
The ideal spaces for the presentation of American Dances are Theaters with dismantled stages, in which all the gears and lights are visible; industrial or exhibition spaces.
Dances out of this world and dances out of place at NID
Review by Stefano Tomassini, TEATROECRITICA.NET 10/09/2023
“Fabrizio Favale with the brilliant Danze Americane literally brought down the theater between a demonstration of Limón technique, then Brown and then Cunningham”.
Something about Danze Americane
by Agnese Doria, Altre Velocità, 29/10/2022
“It’s that whole visual experience” Cunningham seems to have said when talking about dance. A few nights ago I went to see Fabrizio Favale’s “Danze Americane”. I’m not very lucid and biased because Favale’s dance touches me buried strings and makes a mysterious part of me vibrate. Favale returns to dance after perhaps a decade in which he had dedicated himself to choreography, after having therefore chosen to cross that thin threshold which tries to transmit an energetic and gestural flow to others on his own. He returns to inhabit and exhibit his body by fighting with memory: learning and retaining certain dance languages is a non-secondary game that requires a journey. In the suitcase that he packs for this journey, he chooses to return to his masters. He leans, in an original authorial path, on some crucial points of the research undertaken by Cunningham, Trisha Brown and Limón to return to them, with the maturity of a consolidated artist. An embodied, mature and thoughtful reflection on the legacy of the season of “American dance” experiments. As a spectator, I abandoned myself to visions and dilations, reverberations and drawings in the air, having the opportunity to listen to my body and to feel how well I felt in being freed from the background buzz of thoughts and worries, feeling how right it was to abandon the sense in favor of the senses. How great was the possibility offered by an abstraction free from interpretations, within which one can enter and exit, free from the taxonomic classification urgencies of which our today is greedy.