ILINX Concept Simona Bertozzi, Marcello Briguglio<\/strong> Organization and promotion Beatrice Capitani<\/strong> Production Nexus 2019<\/strong> for Biennale Danza Venezia Re-arrangement of ILINX_ playing vertigo created in 2009 in the frame of the International Choreographic Project Choreoroam with the support of: British Council\/The place, Operaestate Festival\/Veneto, Dansateliers\/Rotterdam. Creation residency at: Theaterhaus Gessnerallee-Zurigo and CSC garage Nardini Operaestate Festival\u00a0<\/span><\/p>\n<\/div><\/div><\/div> ILINX Concept Simona Bertozzi, Marcello Briguglio<\/strong> Organization and promotion Beatrice Capitani<\/strong> Production Nexus 2019<\/strong> for Biennale Danza Venezia Re-arrangement of ILINX_ playing vertigo created in 2009 in the frame of the International Choreographic Project Choreoroam with the support of: British Council\/The place, Operaestate Festival\/Veneto, Dansateliers\/Rotterdam. Creation residency at: Theaterhaus Gessnerallee-Zurigo and CSC garage Nardini Operaestate Festival\u00a0<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div> In 2008 <\/span>ILINX<\/span><\/i> debuted as the first action of <\/span>Homo Ludens,<\/span><\/i> a choreographic project created around the four play categories of Roger Caillois: Ilinx, Alea, Agon, Mimicry.\u00a0<\/span><\/p>\n According to the French sociologist, Ilinx is a fully individual game, a singularity condition directed at vertigo, “stomach void” and thrill.\u00a0<\/span><\/p>\n Ten years later, the opportunity to work a re-arrangement of the piece has allowed me not only to stop on imaginative, visual and sound elements of that time to understand a possible re-actualization but, above all, has deployed an unprecedented reflection on the solitude of the performer and of his playful universe.\u00a0<\/span><\/p>\n The status of the game is strict: fascination and adherence to the here-and-now.\u00a0<\/span><\/p>\n In this precarious island (Caillois, again) how do we act to maintain the constant thrill of simultaneity? We take the risk: precipitating in the movement.\u00a0<\/span><\/p>\n ILINX \u2013 don\u2019t stop the dance<\/i><\/strong> tries to draw a horizon of presence for this condition, structuring a sort of ceremonial in which the actions follow each other by close seduction, not for cause-effect or propagation of meaning.\u00a0<\/span><\/p>\n We do not regulate the accounts with memory, nor do we proceed towards the prediction of a compliant materiality.\u00a0<\/span><\/p>\n Scrolling without passing, crossing without dwelling in the symmetry of the simulation, the reiterated attempt is to inhabit an elastic space: plasticine folded towards the vertigo.<\/span><\/p>\n<\/div><\/div><\/div>
\n<\/b>don\u2019t stop the dance<\/p><\/h2><\/div><\/div><\/div>
\n<\/span>Creation and choreography Simona Bertozzi<\/strong>
\n<\/span>Live music Egle Sommacal\u00a0<\/strong>
\n<\/span>Lighting and set design Simone Fini<\/strong>
\n<\/span>Costumes Katia Kuo<\/strong><\/span><\/p>\n
\n<\/span>Press office Michele Pascarella<\/strong><\/span><\/p>\n
\n<\/span>With the support of Mibac e Regione Emilia-Romagna
\n<\/span>Creation residency\u00a0H(ABITA)T \u2013 Rete di Spazi per la Danza\/Mousik\u00e9
\n<\/span>Thanks to Laminaire for the support and the creation residency at DOM la cupola del Pilastro<\/span><\/p>\n
\n<\/b>don\u2019t stop the dance<\/p><\/h2><\/div><\/div><\/div>
\n<\/span>Creation and choreography Simona Bertozzi<\/strong>
\n<\/span>Live music Egle Sommacal\u00a0<\/strong>
\n<\/span>Lighting and set design Simone Fini<\/strong>
\n<\/span>Costumes Katia Kuo<\/strong><\/span><\/p>\n
\n<\/span>Press office Michele Pascarella<\/strong><\/span><\/p>\n
\n<\/span>With the support of Mibac e Regione Emilia-Romagna
\n<\/span>Creation residency\u00a0H(ABITA)T \u2013 Rete di Spazi per la Danza\/Mousik\u00e9
\n<\/span>Thanks to Laminaire for the support and the creation residency at DOM la cupola del Pilastro<\/span><\/p>\n