Concept, choreography, costumes Cristina Kristal Rizzo Dance Annamaria Ajmone, Marta Bellu, Jari Boldrini, Sara Sguotti, Violetta Cottini (variable cast) Live sound processing Cristina Kristal Rizzo Cinematic reference Memory of Apichatpong Weerasethakul (2021) Lighting design Gianni Staropoli Theoretical collaboration Laura Pante Production Fuori Margine Centro di Produzione di danza e Arti Performative della Sar-degna con il sostegno di Tir Danza Winning project of the Abitante call supported by the National Center for Dance Production Vir-gilio Sieni and the CR Firenze Foundation creative residences SpazioK, PARC winning project of the AIR Lavanderia a Vapore



Monumentum stands for: memory, document, sign of recognition, something that comes from the past. Something that lingers and that, stopping the continuous progression of the production flow, moves into the depths of memory, in a sort of temporal anachronism, multiplying the glances along the thread of the choreography.

Monumentum the second sleep / second part, the quartet has a temporal progression en-closed in the pure dance of an ensemble, an expression of a plural progression of relationships.

If the zones of ecstasy of reality are also zones of production of meaning, the latter manifests itself in Monumentum without erupting but in a kind of abandonment in the dance, a kind of perpetual sleep or second sleep, an altered state of consciousness in which bodies allow themselves to be penetrated and transformed while maintaining the ability to discern and assert.

In the first part the dancers play at dressing up with collective imaginations, sinking into them to re-main on the surface of the images: fragments of something we have already seen or heard appear and disappear. A collective memory made of gesture, music, outfit. In the second part the body emerges more and more soft, it literally becomes carnal, sensorial, emotional, a softness that leads to a certain nakedness, the nakedness of presence where the bodies are capable of touching or elevating each other and of re-establishing time and space.

Wrapped in chromatic visions in chiaroscuro and crossed by dreamlike dialogues, the piece agrees with the cardiac rhythm of the gaze and makes us feel that there are other levels of communication or language, the possibility of living beyond the confines of the useful.

Bodies feel and by feeling they feel felt and they feel felt and even animals participate in this ul-tra/haptic desiring game. And therefore the body is a magnet. Attracts or repels forces. Or the body is liquid, a substance among substances. The time of a life, lasts as long as it needs to last, 8 sec-onds or 80 years. There are animals that do not have a perceptive apparatus that gives them the possibility of seeing each other, this means that they therefore only have forms that are destined to appear, there is already something in the world that looks before there is a way to look . Words, sounds, rhythm, language, a monogram that already knows in itself to be a dance, a dance of rule in diversity. Synchronize the tension, the launch, the gesture, the cadence, the force of entry of the image into speed, make the form rise with the movement of the imagination. Rhythm, it's all about rhythm. All body One body Forever body All body One body Forever body All body One body For-ever body All body One body Forever body. The individual is an infinite plural community.
CKR