Artistic Residency plan 2016 / 2017

1-28 February 2016, Ateliersì, Bologna (IT)
11-20 March 2016, Scenario Pubblico
Choreographic and National Production Centre for Dance in Catania (IT)
10-22 July, 29 August-01 September and 11-15 October 2016, Ateliersì, Bologna (IT)
28 February – 5 March 2017, Fondazione Nazionale della Danza Aterballetto Reggio Emilia (IT)

Photographs Alfredo Anceschi

Cover image Roberto Viccaro 

Studies Narvalo, Vavilov, Hekla

Circeo is a promontory that overlooking to the Tyrrhenian Sea. It’s also a mythical place of landing of Ulysses and meeting with Circe.

This work was born around a hypothesis of choreographic circularity, something that maintains a bare, primitive form, which remains in its infancy, acted out by a small group of dancers.

Alongside the choreography, the work presents a further sequence of actions that occurs in parallel with the danced structure, constantly influencing its atmospheres and development. These actions are mostly articulated on the sides of the performance area, in the shadows or darkness, and have to do with electricity, with changes in light and flashes, with the use of volcanological instruments, blocks of ice, rock, coal, profiles of animals that are not clearly identifiable…

PRESS RELEASE
WITH LE SUPPLICI A VOLCANIC CIRCEO

Writtten by Rodolfo di Giammarco – la Repubblica 25/06/2018

In “Circeo” by Fabrizio Favale something bursts the exhalations of a volcano, on one side of the stage there are the installations of a couple of speleologists of eruptive faults, the reflections of lit craters can be glimpsed on the bottom-stage, and then the smooth and ice-made backdrop melts to give space to a wall of lava. In this context shaped by nature, twinned to an Iceland this mythical promontory of the Tyrrhenian Sea where Ulysses meets Circe, Favale materializes a choreography of rare anthropological force, a primitive upheaval which gives body, in addition to the two scientific performers mentioned, a group of seven brutal, virulent dancers, I would say mostly wild, with impressed in their skin the roughness of the ancestral men of the portraits of the naive genius Gino Covili. As if this were not enough, this beautiful, very mysterious and very telluric “Circeo” – a real international show with a co-production baptism at the Théatre National de la Danse Chaillot in Paris, and now landed in Teatro Argentina as part of the “Grandi Pianure” Roma – this work rakes zoomorphic presences, and adopts passages of interpreters camouflaged by skins of animals, as to evoke even a bestiary, a graffiti from a remote cave. And yet this work by Favale and his company Le Supplici, precisely because it is not narrative, because is dark or blinding, because is energetically tribal, I find it pervaded by a contemporaneity that metabolizes our unconscious, our aphasia, our hidden compulsiveness. It is another more brusque and otherwise corporative race than that of Jan Fabre’s warriors of beauty, the race of these intrepid explorers, synchronous anti-heroes, solitary wolves of the scene, but something similar to the DNA seems to me to exist, beyond the American roots that legitimately Favale attributes to his practice of overseas. Then, of course, some dynamics follow the serial cadences of the original sound-noise by Daniela Cattivelli and the assets chosen by the Mountains, by Sigur Ros, by Alex Somers, by Windy & Carl. But there is also a rhythm emitted by the anatomies of these creatures in captivity, in storm.