THE GREENHOUSE

The essential and nevralgic gesture of the project is the writing of a 'choreographic score' and the movement this score attempts in its passing to someone else.
This passage it's synthetized with only one concept/word: Interpretation.
This first phase has concerned a serious of preparatory periods of work which took place with the title of Jungle In: 'performative acts' conceived as in a 'greenhouse', an artificial and isolated place where what is developped it's cherished in a mild and temperate climate.
A first residency has taken place in March 2008 in Raum (Bologna); the second one in October 2008 after a one-week residency at the Crisalide Festival (Forlì); the third one in January 2009 at Rialto in Rome.
An active part in this first phase of the process was played by the collaboration of Lucia Amara, a theatre researcher at the University of Bologna, directly contributing to the writing and witnessing all the project phases.
The presence of the linguist and scholar, a conversing element within the writing itself, had actively accompanyed the choreographer in pouring down a potential "word" expressing the flow, the spelling of gestures, the drafting of a 'lexicon'.
The directions towards the writing of the score have been developped in the space of this public exposures, in this sense the performances had functioned as a tool for observation.
The research, which can be said as a linguistic one, has concerned the re-nominate of 'body movements' starting from a personal and arbitrary imaginary world.
For example the reference to the lessicon utilized by Etienne Jules Marey in the study 'La circulation du sang' ( Marey it's known mostly for his discovery of the transcoder of movements).
The final draft of the score has been the last act of this first phase.
The script has taken finally the form of a Constellation of Lemmas of various natures: Keywords. Title of movies and videos. Title of books. Title of songs. Sound references. Name of artists. Concepts. Scientific references. Fragments of thoughts. Immages. Paradigms.
The re-opening of the metric space of this constellation has been the incipit for the creations.

TO STEP DOWN IN FAVOUR

This working phase was structured around the relay of the score to another choreographer and his/her reading, interpretation, transformation of it.
This has been the place of the interpretation of the body,preserved for a long time in a protected space and too fleeting to be entrusted by an arbitrary subjectivity.
The script has been the main tool for the possible interpretation of it: from Caos to Cosmo.
There is an english verb which has typified the concept of interpretation of this project: To Attend which means 'waiting for' but also to 'apply one's mind', 'one's energies to something foreign' (in latin- ad (to) tendere (to stretch) which is even more eloquent of the activity).
This phase has accomplished to the creation of three different solo pieces, choreographed by three different authors, but started from the same original score and interpreted by Cristina Rizzo.
In this transit, the subject/body of the interpret, matrix of a possible gaze, has supported a further transformation process: the articulation of a new material, constituted by multiple layers strictily connected with 'what happened before' but in a completely new perspective.

CONCLUSIVE

The last phase includes a further movement: the gaze of the audience.
The 'choreographic opera' is composed by three solos groupped in the dance piece, Dance N°3.
What it is organized for the spectator is a dispositive of interpretation or better say of proximity, a dispositive which belongs at the same time to who is dancing and who is watching dancing.
Magic word for both: To Attend. To install oneself, in otherness.