IN GIRUM IMUS NOCTE ET CONSUMIMUR IGNI<\/h2><\/div>2015<\/h4><\/div><\/div><\/div><\/div><\/div>![\"IN](\"https:\/\/www.aldesweb.org\/wp-content\/uploads\/2020\/07\/IN-GIRUM_phCristianaRubbio_21_s.jpg\")
<\/a><\/span><\/div>IN GIRUM.., by Roberto Castello, ph. Cristiana Rubbio<\/p>\n<\/div>
“\u2026 a total work of art that you can not escape \u2026”<\/em>
\nVon Helmut Jasny. Westfalische Nachrichten, Germany<\/strong><\/p>\n\u201cThe show is a shock. Look for it at all costs! \u2026\u201d<\/em>
\nThomas Hann. DANSER Canal historique, France<\/strong><\/p>\n\u201c\u2026 a dancing masterpiece\u2026\u201d<\/em>
\nRodolfo di Gianmarco. La Repubblica, Italy<\/strong><\/p>\n\u201cA fascinating interplay of space, time and movement.\u201d
\nKerstin Hergt. Hannoversche Allgemeine, Germany<\/strong><\/em><\/p>\n\u201c\u2026 one hour of exceptional dance theatre between video art and electronic avant-garde.”
\nGiulia Sanzone. Che teatro fa, Italy<\/strong><\/p>\n\u201c\u2026 It is impossible not to be overwhelmed by In Girum Imus Nocte\u2019s infectious patrol\u201d
\nAttilio Scarpellini. Doppiozero, Italy<\/strong><\/p>\n\u201c\u2026a wonderful choreographic machine\u2026\u201d<\/em>
\nGiuseppe Distefano. Il sole 24 ore, Italy<\/strong><\/p>\n<\/div><\/div><\/div>Mention, Dance Theatre at BE FESTIVAL – Birmingham 2016
\n_____________________________________<\/strong>
\n<\/em><\/p>\n<\/div>by ROBERTO CASTELLO
\nperformers MARIANO NIEDDU, STEFANO QUESTORIO, GISELDA RANIERI, ILENIA ROMANO; second cast: ERICA BRAVINI, RICCARDO DE SIMONE, MICHAEL INCARBONE
\nassistant ALESSANDRA MORETTI
\nlight, music, costumes ROBERTO CASTELLO
\ncostumes by Sartoria Fiorentina, Csilla Evinger
\nproduction ALDES
\nwith the support of\u00a0 MIC\/Ministero della Cultura, REGIONE TOSCANA\/Sistema Regionale dello Spettacolo<\/p>\n<\/div>
A rugged black and white, and a hypnotic music make up the environment in which the micro stories of this peripatetic night show are linked together, a mixture between cinema, dance and theatre. The cold light of a video projector articulates the spaces, times and geometry, and the black costumes turn the characters translucent, projecting them into a timeless past inhabited by a dispersed humanity that moves on, struggling, with a brusque, emotional, disorganized gestuality, beyond exhaustion, slowly falling into a trance. The pulsing rithm of the music and movement carries one, little by little, to a dimension that is hypnotic, and an empathy that is close to being physical with the fatigue of the interpreters. \u201dIn girum imus nocte et consumimur igni\u201d (“We go around at night burnt up by fire”), enigmatic latin palindrome with uncertain origin, which was already chosen as title by Guy Debord for his famous movie in 1978, it therefore goes beyond its possible interpretation as a metaphor of living endlessly consumed in desires, to become a cathartic experience of its comical and grotesque exhaustion.<\/p>\n<\/div>
IN-GIRUM-dossier-Review-EN.pdf<\/h2><\/a><\/div><\/div><\/div><\/div><\/div>Presentation by ANDREA PORCHEDDU<\/strong><\/p>\nArtists are miles ahead: they explore unknown areas that we \u2013 critics or, at least, those of us who think they are critics \u2013 try to structure, codify and urbanize.
\nOccasionally, then, some creations shed light on what we are, or what we will be, in advance. They give meaning to the tiring work of writing our own biographies: they tell us what we are going to experience. And then, we understand more. It happened to me with In girum imus nocte et consumimur igni (We go around at night consumed by fire): the performance by Roberto Castello and his most refined group ALDES perfectly shows reality in Italy and beyond. We are worn out, tired, exhausted, and lost. Sad and disheartened, but nevertheless we are no quitters or losers.
\nThat handful of heroes that are repeatedly advancing, and yet staying put, is the perfect incarnation of a widespread state of being. The mysterious Latin palindrome, which makes up the title of the performance, is the hint to a fresco worthy of Bosch or Bruegel, which immerses us into a pure contemporary medieval age: they are the \u201ctribes\u201d dear to the philosopher Michel Maffessoli when, in L\u2019istante eterno (The eternal instant), he evokes the return of tragedy in the postmodern age. The tragedy by ALDES is not a violent one: on the contrary, it is acquired, introjected, co-experienced by a tired humanity, which continues to march relentlessly on the spot, while struggling and fighting in a race without any finish line. They are tormented souls, they are exhausted pilgrims, they are \u2013 with sudden pain \u2013 today\u2019s migrants.
\nThe dancers have bodies, faces, hands which tell stories: they walk, tormented by an obsessive loop of electronic music, in an alternating sequence of light and dark marked by a diaphanous Beckettian voice which pushes everything to absurdity. It is the human condition that Mr Castello is talking about. The choreographer does not condemn; on the contrary, with the most human empathy, he evokes moments of contact and, perhaps, tenderness, and overall scenes, where wandering seems to lead to peace. But there is no way to escape from the closed box, which is a black and white world marked by fragments projected like rain or scratches, oblique, claustrophobic cuts of light, details as suffocating as the general vision. In the race between the last, even those who save themselves are lost.<\/p>\n<\/div><\/div><\/div><\/div><\/div>
![\"IN](\"https:\/\/www.aldesweb.org\/wp-content\/uploads\/2015\/07\/IN-GIRUM_ph-Paolo-Porto-4267_C_M-320x202.jpg\" "\\"\\"")
<\/a><\/div><\/div>![\"IN-GIRUM_phCristianaRubbio_00\"](\"https:\/\/www.aldesweb.org\/wp-content\/uploads\/2020\/07\/IN-GIRUM_phCristianaRubbio_00_s-1-320x202.jpg\" "\\"\\"")
<\/a><\/div><\/div>![\"IN](\"https:\/\/www.aldesweb.org\/wp-content\/uploads\/2020\/07\/IN-GIRUM_ph-ilariascarpa_3751_s-1-320x202.jpg\" "\\"\\"")
<\/a><\/div><\/div>![\"IN](\"https:\/\/www.aldesweb.org\/wp-content\/uploads\/2015\/07\/IN-GIRUM-foto-Paolo-Porto-4604_bn-M-320x202.jpg\" "\\"\\"")
<\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>REVIEW<\/h5><\/div><\/div><\/div>Rodolfo di Gianmarco - La Repubblica - 20\/09\/2015<\/h2><\/a><\/div><\/div>“[\u2026] One second and a half of sound obtained from the udu, an african percussive instrument, scans serially, for an hour, the 67 paintings (interspersed in darkness) of a dancing masterpiece, that studies, with touching dynamics, the human body, prey to hysteria, hypnosis, and abuse.”<\/div><\/div><\/div>Andrea Porcheddu - Gli Stati Generali - 20\/09\/2015<\/h2><\/a><\/div><\/div>“[\u2026] The five formidable black-clad interpreters (Elisa Capecchi, Mariano Nieddu, Giselda Ranieri, Ilenia Romano, Irene Russolillo) are damned souls, exhausted pilgrims, today’s migrants. They walk, tormented by an obsessive electronic music loop, alternating between darkness and light, punctuated by a thinning voice reminiscent of Beckett which leads everything to the absurd. What Castello is actually narrating is the human condition, not without irony: and this is the reality of a daily fight, where everyone finishes last. The persisting opening of show is striking: the posture of the bodies, that vane rambling, those heavy stares are the tragic emblem of the eternal return of the present.”<\/div><\/div><\/div>Thomas Hann - DANSER Canal historique \u2013 23\/05\/2018<\/h2><\/a><\/div><\/div>\u201c[\u2026] Roberto Castello [\u2026] a \u00e9crit, avec les membres de sa compagnie ALDES, une m\u00e9taphore universelle de la condition humaine. En tournant en rond dans la nuit, nos anti-h\u00e9ros marchent et courent, sans but apparent ou bien sans pouvoir l\u2019atteindre. (\u2026) Les tableaux s\u2019encha\u00eenent sur un rythme fr\u00e9n\u00e9tique, laissant appara\u00eetre des lambeaux d\u2019histoires ayant \u00e9t\u00e9 d\u00e9chir\u00e9es et rassembl\u00e9es dans le d\u00e9sordre. L\u2019ambiance est ataviste et contemporaine \u00e0 la fois, comme dans un film muet qu\u2019on regarderait en acc\u00e9l\u00e9r\u00e9 [\u2026]. Entre mimes burlesques et personnages de r\u00e9cits fondateurs, c\u2019est peut-\u00eatre la dimension beckettienne qui l\u2019emporte, comme pour une version techno de May B de Maguy Marin. [\u2026] Les interpr\u00e8tes font ici preuve d\u2019une capacit\u00e9 \u00e0 r\u00e9sister absolument stup\u00e9fiante. Totalement rel\u00e2ch\u00e9s de l\u2019int\u00e9rieur, mais soumis \u00e0 une \u00e9preuve d\u2019endurance qui peut m\u00eame \u00e9puiser le spectateur, ces mimes-athl\u00e8tes repr\u00e9sentent quatre h\u00e9ros absurdes de la condition humaine…\u201d<\/div><\/div><\/div>Christian Raimo - Internazionale - 25\/10\/2015<\/h2><\/a><\/div><\/div>\u201c[…] In both [France and Belgium] however, since the eighties it was decided to invest millions of Euros in contemporary theatre, and now finally we can see the fruits of this labour that created a European theatre, and we can see huge productions worldwide: Teresa De Keersmacher and Jan Fabre, who we have just greeted at the Romaeuropa Festival. [\u2026]\nIf I need to conclude with two examples to represent everything I would take them from dancing.<\/p>\n
One of these examples is Roberto Castello: his company is one of the excellences among European dancing. His show in 1985 – an Ubu Award – Il cortile, produced with Sosta Palmizi, is justly considered seminal in the history of Italian choreography of the last thirty years, and his last show, In girum imus nocte (et consumimur igni), is no less beautiful. […]\u201d<\/div><\/div><\/div>
2015<\/h4><\/div><\/div><\/div><\/div><\/div><\/a><\/span><\/div>IN GIRUM.., by Roberto Castello, ph. Cristiana Rubbio<\/p>\n<\/div>
“\u2026 a total work of art that you can not escape \u2026”<\/em>
\nVon Helmut Jasny. Westfalische Nachrichten, Germany<\/strong><\/p>\n\u201cThe show is a shock. Look for it at all costs! \u2026\u201d<\/em>
\nThomas Hann. DANSER Canal historique, France<\/strong><\/p>\n\u201c\u2026 a dancing masterpiece\u2026\u201d<\/em>
\nRodolfo di Gianmarco. La Repubblica, Italy<\/strong><\/p>\n\u201cA fascinating interplay of space, time and movement.\u201d
\nKerstin Hergt. Hannoversche Allgemeine, Germany<\/strong><\/em><\/p>\n\u201c\u2026 one hour of exceptional dance theatre between video art and electronic avant-garde.”
\nGiulia Sanzone. Che teatro fa, Italy<\/strong><\/p>\n\u201c\u2026 It is impossible not to be overwhelmed by In Girum Imus Nocte\u2019s infectious patrol\u201d
\nAttilio Scarpellini. Doppiozero, Italy<\/strong><\/p>\n\u201c\u2026a wonderful choreographic machine\u2026\u201d<\/em>
\nGiuseppe Distefano. Il sole 24 ore, Italy<\/strong><\/p>\n<\/div><\/div><\/div>Mention, Dance Theatre at BE FESTIVAL – Birmingham 2016
\n_____________________________________<\/strong>
\n<\/em><\/p>\n<\/div>by ROBERTO CASTELLO
\nperformers MARIANO NIEDDU, STEFANO QUESTORIO, GISELDA RANIERI, ILENIA ROMANO; second cast: ERICA BRAVINI, RICCARDO DE SIMONE, MICHAEL INCARBONE
\nassistant ALESSANDRA MORETTI
\nlight, music, costumes ROBERTO CASTELLO
\ncostumes by Sartoria Fiorentina, Csilla Evinger
\nproduction ALDES
\nwith the support of\u00a0 MIC\/Ministero della Cultura, REGIONE TOSCANA\/Sistema Regionale dello Spettacolo<\/p>\n<\/div>
A rugged black and white, and a hypnotic music make up the environment in which the micro stories of this peripatetic night show are linked together, a mixture between cinema, dance and theatre. The cold light of a video projector articulates the spaces, times and geometry, and the black costumes turn the characters translucent, projecting them into a timeless past inhabited by a dispersed humanity that moves on, struggling, with a brusque, emotional, disorganized gestuality, beyond exhaustion, slowly falling into a trance. The pulsing rithm of the music and movement carries one, little by little, to a dimension that is hypnotic, and an empathy that is close to being physical with the fatigue of the interpreters. \u201dIn girum imus nocte et consumimur igni\u201d (“We go around at night burnt up by fire”), enigmatic latin palindrome with uncertain origin, which was already chosen as title by Guy Debord for his famous movie in 1978, it therefore goes beyond its possible interpretation as a metaphor of living endlessly consumed in desires, to become a cathartic experience of its comical and grotesque exhaustion.<\/p>\n<\/div>
IN-GIRUM-dossier-Review-EN.pdf<\/h2><\/a><\/div><\/div><\/div><\/div><\/div>Presentation by ANDREA PORCHEDDU<\/strong><\/p>\nArtists are miles ahead: they explore unknown areas that we \u2013 critics or, at least, those of us who think they are critics \u2013 try to structure, codify and urbanize.
\nOccasionally, then, some creations shed light on what we are, or what we will be, in advance. They give meaning to the tiring work of writing our own biographies: they tell us what we are going to experience. And then, we understand more. It happened to me with In girum imus nocte et consumimur igni (We go around at night consumed by fire): the performance by Roberto Castello and his most refined group ALDES perfectly shows reality in Italy and beyond. We are worn out, tired, exhausted, and lost. Sad and disheartened, but nevertheless we are no quitters or losers.
\nThat handful of heroes that are repeatedly advancing, and yet staying put, is the perfect incarnation of a widespread state of being. The mysterious Latin palindrome, which makes up the title of the performance, is the hint to a fresco worthy of Bosch or Bruegel, which immerses us into a pure contemporary medieval age: they are the \u201ctribes\u201d dear to the philosopher Michel Maffessoli when, in L\u2019istante eterno (The eternal instant), he evokes the return of tragedy in the postmodern age. The tragedy by ALDES is not a violent one: on the contrary, it is acquired, introjected, co-experienced by a tired humanity, which continues to march relentlessly on the spot, while struggling and fighting in a race without any finish line. They are tormented souls, they are exhausted pilgrims, they are \u2013 with sudden pain \u2013 today\u2019s migrants.
\nThe dancers have bodies, faces, hands which tell stories: they walk, tormented by an obsessive loop of electronic music, in an alternating sequence of light and dark marked by a diaphanous Beckettian voice which pushes everything to absurdity. It is the human condition that Mr Castello is talking about. The choreographer does not condemn; on the contrary, with the most human empathy, he evokes moments of contact and, perhaps, tenderness, and overall scenes, where wandering seems to lead to peace. But there is no way to escape from the closed box, which is a black and white world marked by fragments projected like rain or scratches, oblique, claustrophobic cuts of light, details as suffocating as the general vision. In the race between the last, even those who save themselves are lost.<\/p>\n<\/div><\/div><\/div><\/div><\/div>
<\/a><\/div><\/div><\/a><\/div><\/div><\/a><\/div><\/div><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>REVIEW<\/h5><\/div><\/div><\/div>Rodolfo di Gianmarco - La Repubblica - 20\/09\/2015<\/h2><\/a><\/div><\/div>“[\u2026] One second and a half of sound obtained from the udu, an african percussive instrument, scans serially, for an hour, the 67 paintings (interspersed in darkness) of a dancing masterpiece, that studies, with touching dynamics, the human body, prey to hysteria, hypnosis, and abuse.”<\/div><\/div><\/div>Andrea Porcheddu - Gli Stati Generali - 20\/09\/2015<\/h2><\/a><\/div><\/div>“[\u2026] The five formidable black-clad interpreters (Elisa Capecchi, Mariano Nieddu, Giselda Ranieri, Ilenia Romano, Irene Russolillo) are damned souls, exhausted pilgrims, today’s migrants. They walk, tormented by an obsessive electronic music loop, alternating between darkness and light, punctuated by a thinning voice reminiscent of Beckett which leads everything to the absurd. What Castello is actually narrating is the human condition, not without irony: and this is the reality of a daily fight, where everyone finishes last. The persisting opening of show is striking: the posture of the bodies, that vane rambling, those heavy stares are the tragic emblem of the eternal return of the present.”<\/div><\/div><\/div>Thomas Hann - DANSER Canal historique \u2013 23\/05\/2018<\/h2><\/a><\/div><\/div>\u201c[\u2026] Roberto Castello [\u2026] a \u00e9crit, avec les membres de sa compagnie ALDES, une m\u00e9taphore universelle de la condition humaine. En tournant en rond dans la nuit, nos anti-h\u00e9ros marchent et courent, sans but apparent ou bien sans pouvoir l\u2019atteindre. (\u2026) Les tableaux s\u2019encha\u00eenent sur un rythme fr\u00e9n\u00e9tique, laissant appara\u00eetre des lambeaux d\u2019histoires ayant \u00e9t\u00e9 d\u00e9chir\u00e9es et rassembl\u00e9es dans le d\u00e9sordre. L\u2019ambiance est ataviste et contemporaine \u00e0 la fois, comme dans un film muet qu\u2019on regarderait en acc\u00e9l\u00e9r\u00e9 [\u2026]. Entre mimes burlesques et personnages de r\u00e9cits fondateurs, c\u2019est peut-\u00eatre la dimension beckettienne qui l\u2019emporte, comme pour une version techno de May B de Maguy Marin. [\u2026] Les interpr\u00e8tes font ici preuve d\u2019une capacit\u00e9 \u00e0 r\u00e9sister absolument stup\u00e9fiante. Totalement rel\u00e2ch\u00e9s de l\u2019int\u00e9rieur, mais soumis \u00e0 une \u00e9preuve d\u2019endurance qui peut m\u00eame \u00e9puiser le spectateur, ces mimes-athl\u00e8tes repr\u00e9sentent quatre h\u00e9ros absurdes de la condition humaine…\u201d<\/div><\/div><\/div>Christian Raimo - Internazionale - 25\/10\/2015<\/h2><\/a><\/div><\/div>\u201c[…] In both [France and Belgium] however, since the eighties it was decided to invest millions of Euros in contemporary theatre, and now finally we can see the fruits of this labour that created a European theatre, and we can see huge productions worldwide: Teresa De Keersmacher and Jan Fabre, who we have just greeted at the Romaeuropa Festival. [\u2026]\nIf I need to conclude with two examples to represent everything I would take them from dancing.<\/p>\n
One of these examples is Roberto Castello: his company is one of the excellences among European dancing. His show in 1985 – an Ubu Award – Il cortile, produced with Sosta Palmizi, is justly considered seminal in the history of Italian choreography of the last thirty years, and his last show, In girum imus nocte (et consumimur igni), is no less beautiful. […]\u201d<\/div><\/div><\/div>
<\/a><\/span><\/div>IN GIRUM.., by Roberto Castello, ph. Cristiana Rubbio<\/p>\n<\/div>
“\u2026 a total work of art that you can not escape \u2026”<\/em> \u201cThe show is a shock. Look for it at all costs! \u2026\u201d<\/em> \u201c\u2026 a dancing masterpiece\u2026\u201d<\/em> \u201cA fascinating interplay of space, time and movement.\u201d \u201c\u2026 one hour of exceptional dance theatre between video art and electronic avant-garde.” \u201c\u2026 It is impossible not to be overwhelmed by In Girum Imus Nocte\u2019s infectious patrol\u201d \u201c\u2026a wonderful choreographic machine\u2026\u201d<\/em> Mention, Dance Theatre at BE FESTIVAL – Birmingham 2016 by ROBERTO CASTELLO A rugged black and white, and a hypnotic music make up the environment in which the micro stories of this peripatetic night show are linked together, a mixture between cinema, dance and theatre. The cold light of a video projector articulates the spaces, times and geometry, and the black costumes turn the characters translucent, projecting them into a timeless past inhabited by a dispersed humanity that moves on, struggling, with a brusque, emotional, disorganized gestuality, beyond exhaustion, slowly falling into a trance. The pulsing rithm of the music and movement carries one, little by little, to a dimension that is hypnotic, and an empathy that is close to being physical with the fatigue of the interpreters. \u201dIn girum imus nocte et consumimur igni\u201d (“We go around at night burnt up by fire”), enigmatic latin palindrome with uncertain origin, which was already chosen as title by Guy Debord for his famous movie in 1978, it therefore goes beyond its possible interpretation as a metaphor of living endlessly consumed in desires, to become a cathartic experience of its comical and grotesque exhaustion.<\/p>\n<\/div> Presentation by ANDREA PORCHEDDU<\/strong><\/p>\n Artists are miles ahead: they explore unknown areas that we \u2013 critics or, at least, those of us who think they are critics \u2013 try to structure, codify and urbanize. If I need to conclude with two examples to represent everything I would take them from dancing.<\/p>\n One of these examples is Roberto Castello: his company is one of the excellences among European dancing. His show in 1985 – an Ubu Award – Il cortile, produced with Sosta Palmizi, is justly considered seminal in the history of Italian choreography of the last thirty years, and his last show, In girum imus nocte (et consumimur igni), is no less beautiful. […]\u201d<\/div><\/div><\/div>
\nVon Helmut Jasny. Westfalische Nachrichten, Germany<\/strong><\/p>\n
\nThomas Hann. DANSER Canal historique, France<\/strong><\/p>\n
\nRodolfo di Gianmarco. La Repubblica, Italy<\/strong><\/p>\n
\nKerstin Hergt. Hannoversche Allgemeine, Germany<\/strong><\/em><\/p>\n
\nGiulia Sanzone. Che teatro fa, Italy<\/strong><\/p>\n
\nAttilio Scarpellini. Doppiozero, Italy<\/strong><\/p>\n
\nGiuseppe Distefano. Il sole 24 ore, Italy<\/strong><\/p>\n<\/div><\/div><\/div>
\n_____________________________________<\/strong>
\n<\/em><\/p>\n<\/div>
\nperformers MARIANO NIEDDU, STEFANO QUESTORIO, GISELDA RANIERI, ILENIA ROMANO; second cast: ERICA BRAVINI, RICCARDO DE SIMONE, MICHAEL INCARBONE
\nassistant ALESSANDRA MORETTI
\nlight, music, costumes ROBERTO CASTELLO
\ncostumes by Sartoria Fiorentina, Csilla Evinger
\nproduction ALDES
\nwith the support of\u00a0 MIC\/Ministero della Cultura, REGIONE TOSCANA\/Sistema Regionale dello Spettacolo<\/p>\n<\/div>IN-GIRUM-dossier-Review-EN.pdf<\/h2><\/a><\/div><\/div><\/div>
\nOccasionally, then, some creations shed light on what we are, or what we will be, in advance. They give meaning to the tiring work of writing our own biographies: they tell us what we are going to experience. And then, we understand more. It happened to me with In girum imus nocte et consumimur igni (We go around at night consumed by fire): the performance by Roberto Castello and his most refined group ALDES perfectly shows reality in Italy and beyond. We are worn out, tired, exhausted, and lost. Sad and disheartened, but nevertheless we are no quitters or losers.
\nThat handful of heroes that are repeatedly advancing, and yet staying put, is the perfect incarnation of a widespread state of being. The mysterious Latin palindrome, which makes up the title of the performance, is the hint to a fresco worthy of Bosch or Bruegel, which immerses us into a pure contemporary medieval age: they are the \u201ctribes\u201d dear to the philosopher Michel Maffessoli when, in L\u2019istante eterno (The eternal instant), he evokes the return of tragedy in the postmodern age. The tragedy by ALDES is not a violent one: on the contrary, it is acquired, introjected, co-experienced by a tired humanity, which continues to march relentlessly on the spot, while struggling and fighting in a race without any finish line. They are tormented souls, they are exhausted pilgrims, they are \u2013 with sudden pain \u2013 today\u2019s migrants.
\nThe dancers have bodies, faces, hands which tell stories: they walk, tormented by an obsessive loop of electronic music, in an alternating sequence of light and dark marked by a diaphanous Beckettian voice which pushes everything to absurdity. It is the human condition that Mr Castello is talking about. The choreographer does not condemn; on the contrary, with the most human empathy, he evokes moments of contact and, perhaps, tenderness, and overall scenes, where wandering seems to lead to peace. But there is no way to escape from the closed box, which is a black and white world marked by fragments projected like rain or scratches, oblique, claustrophobic cuts of light, details as suffocating as the general vision. In the race between the last, even those who save themselves are lost.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/a><\/div><\/div><\/a><\/div><\/div><\/a><\/div><\/div><\/a><\/div><\/div>REVIEW<\/h5><\/div><\/div><\/div>
Rodolfo di Gianmarco - La Repubblica - 20\/09\/2015<\/h2><\/a><\/div>
Andrea Porcheddu - Gli Stati Generali - 20\/09\/2015<\/h2><\/a><\/div>
Thomas Hann - DANSER Canal historique \u2013 23\/05\/2018<\/h2><\/a><\/div>
Christian Raimo - Internazionale - 25\/10\/2015<\/h2><\/a><\/div>