Danze Americane
variations and experiments


A dance work by Fabrizio Favale



Choreographed and performed by Fabrizio Favale
Music Max Richter / Alva Noto
Set, costume and art work First Rose
Produced by KLm – Kinkaleri / Le Supplici / mk
Supported by MIC / Regione Emilia-Romagna / Comune di Bologna



Photo 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 modalities of Trisha Brown’s dance (who never codified a specific technique).


Danze Americane wants to collect and question the legacy of those practices, in an investigation and rediscovery of dynamic, qualitative, compositional, postural contents. By constructing and deconstructing sequences, architectures and articulation complexity of the movement of the body, the dancer through “live” experimentation seeks from time to time the junctions that allow possible evolutions, development suggestions, drifts.


The work presents a total of 7 sequences, of which 2 created starting from the Trisha Brown modality, 4 from the Cunningham technique and 1 from the Limón technique. Each sequence is repeated twice, the first time without music and the second time on a different piece each time taken from the iconic Vivaldi – The Four Seasons recomposed by Max Richter and from the Xerrox vol. 1 di Alva Noto. Then the dancer disassemble the sequences and experiments freely. The number, modalities or techniques to which the sequences refer are announced to the audience by the dancer himself as he performs them.


In case of presentation in theatrical spaces, the scene is made up of a large orange silk backdrop, in front of which the dancer moves through thin walls of white smoke obtained with special light effects (by First Rose), which continuously change the design and spatial depth.


The ideal spaces for the presentation of Danze Americane are theaters with dismantled stages, in which all gears and lights are visible; industrial or exhibition spaces.





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.