contemplation piece, involving piece, dead piece From The Dying Swan danced by Anna Pavlova in 1924

Concept, Choreography and with Cristina Kristal Rizzo Text and Sound Cristina Kristal Rizzo Video Luca Mattei and Cristina Kristal Rizzo Historical consultant Stefano Tomassini Technical direction Giulia Pastore Production CAB 008 With the support of Regione Toscana and MiBACT Residence Castello In Movimento, Teatro Studio di Scandicci/Compagnia Krypton, CANGO/Cantieri Goldonetta, Teatro Cantiere Florida, I Macelli Certaldo YEAR 2012 RUNNING 50 min.

While the audience is confronted with the video of the Pavlova's original 'Dying Swan' projected on a monitor in the proscenium, the choreographer/interpreter, in the middle of the stage, translates on her own body the old version organizing an imaginary body landscape in which all the movements suddenly betray the initial score and became ambiguous and out of control. The Invisible Piece is a perpetual choreography of allucination and prophecy putting strain on different levels of the proprium of expression: simulation / dissimulation, real / unreal, apearence / disapearence. Therefore generating an 'entertainment theater' of echo, delay and hazard.

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With INVISIBLE PIECE the choreographer Cristina Rizzo starts from the re-consideration of a very famous dance piece from the western history , The Dying Swan, to present her own work in a critical and complementary way just before being submerged (as the leading animal in the original poem by Alfred Ternyson) by an ocean of further cross-references, of images and words. In fact, it is the author herself to introduce the piece to the audience, bringing forward the events: the re-proposition on a monitor of the original dance fragment, the own proper translation of it, the vision of a film/video concluding the performance. This "solo" display a solitude full of figures. Anna Pavlova, on the monitor proceeding and almost producing the live choreography, is overlapped with a multitude of persons whom Cristina Rizzo evokes in repeating alive some of their quotes: Lady Gaga and Domenico Modugno, Kurt Cobain, Casanova, Berlusconi and many more. These suggestions and the film coming at the end, seems to compose a sort of intimate but at the same time impersonal diary, opening up to different forms of representation. For the spectators and the choreographer the commune horizon is the disappearance, the passing by produced by the theme itself. With INVISIBLE PIECE, the artist affirms her own presence without imposing it, she makes a step back, she lets herself being submerged temporarily. But the complexity and horizontality of the show are completely exceeded by the quality of the gesture which stands out on everything, linking all the images to the concluded universe of her particular sensibility. The transparency with which every single image, every word is throw out, makes space to an analytic attitude able to detain movement up to its total close scrutiny using decomposition, re-presentation and new impulses. In the perpetual flow of the performance this is what remains really impressed. Cristina Rizzo, even when hiding from sight, touches the imagination and leaves the spectator with the desire to watch her again and to newly share her artistic visions, pulling nearer the histories of a past, searching for a present to be newly constructed.
Andrea Falcone - To affirm oneself in the disappearance / MYWORD.IT TEATRO 2/2013
Maria Vittoria Bellingeri / KRAPP’S LAST POST 3/2011


W. Benjamin - The author as producer >