By Cristina Kristal Rizzo
Created in collaboration with and performed by Annamaria Ajmone, Linda Blomqvist, Vera Borghini, Tiana Hemlock-Yensen, Leonardo Maietto, Alice Raffaelli, Charlie Laban Trier
Music Simone Bertuzzi aka Palm Wine
Costumes CanediCoda
Light Design Giulia Pastore
A Production CAB008
with Regione Toscana and MiBACT



An affection is associated with every bodily function and the affection is simply the body’s movement in its potentiality, its ability to be, or better to do, moving from one action to the other. To allow itself to be captured, caught by an event, this may be the sort of freedom capable of making us expand, thus founding further affinities with existence. Individual performance, so spectacular in its trite appearances, could therefore take part in a ritual organization of energetic phenomena.
It is in fact this collective dimension of the mirror game ritual and this ritualizing of the self’s image towards others that structures the choreographic idea behind this new project.
The work is built on the presence of an ENSEMBLE constituted by a lot of different dancing bodies who individually and simultaneously reveal transitional behaviours, a continuous reconfiguration of a proximity space.
A long sequenze made of 'empty moves' will be the durational tone of the moving together of the comrades in outer space, allowing the gathering of very simple geometric figures such as the line and the diagonal, symbols of choreographic architecture, enlarging synchronicity between body design and the appearance of further emotional and narrative space.
The music once more entrusted to the sound research of Visual Artist Simone Bertuzzi aka Palm Wine, forms around an idea of total sound system dreamscape – dub music, synth, trombones, syntetic sounds – and comes alive on the stage too in a sound space time continuum designed and created in the studio specifically for the choreography, as a concrete metabolism between external objects and inner intensity.
I’m particular attracted by the renewed existential focus connecting the production of a body, the on going self-design of one’s own immage, to an aestethic of the virtual and therefore – as never before – to that space of dialogue between the inner and the outer. It becomes more and more evident to me the stranger is no longer étranger, but crosses the new world geography on the back of his camel.
The torsion of thought I to wish to investigate is built around new theories such as Queer Ecology and OOO (Object Oriented Ontology), that aim to transform or at least to understand from a different perspective out of anthropocentrism, the very idea of the human person’s identity in relation to nature, objects, ecology, the charisma and casualty of time and space.
From the old theories widening the difference between the masculine and the feminine, to a more fluid humanity within the universal diaspora, as an expression of a more sensual connectivity in which everything may partake.
Prelude is a word borrowed by music terminology describing a short musical composition, a standalone piece of music improvisatory in nature, usually played before a Sonata or Cantata. A prelude is an overture to something that still has to take form.
From my perspective as a dance maker, it illuminates an interesting approach to the idea of an open partiture, with no real beginning and no real ending, allowing to play with structures and motifs. PRELUDE may be simply a way of playing with the words in an attempt to widen outlook and thought on the existence policies of a body that, playing on a stage that is both as a mirror and a come on, discovers an intimacy immeasurably more spacious, the uncanny pleasure of plurality. An ENSEMBLE of bodies, projected into the future, asking to partake with them this momentary pleasure of the multiple, of a Narcissus’s excess, a pleasure with deep roots in the history of dance, from the Swan Lake Ballet, to the Rockets, to the more contemporary Vogueing Battles.

Cristina Kristal Rizzo