Concept, Choreography, Sound Cristina Kristal Rizzo with Cristina Kristal Rizzo Music Igor Fedorovic Stravinskij recording by The Cleveland Orchestra directed by Pierre Boulez in 1992 Light Design Carlo Cerri Technical direction Giulia Pastore Production CAB 008 Supported by Regione Toscana and MiBACT Residence Summer Residences Bruxelles, Teatro Era Pontedera, I Macelli Certaldo, Aterballetto Technical collaboration Terni Festival YEAR 2013 RUNNING 40 min.

When movement becomes delirium, it has on reality an effect of distorsion, making it a malleable imaginary, a very strange territory with no deepnesses but only surfaces…The time of dance is now.

In occasion of the centenary of Stravinskij's The Rite of Spring, that interpreted by Nijinsky changed the world of dance forever, Cristina Rizzo presents a solo performance in which movement manifests itself through the raving fury of the body, and choreography is set in order to distort reality, also thanks to a displacement between vision and sound, creating a flexible realm of imagination. The 'piece' in form of a solo, is articulated trough an intense and startling choreography which amplifies the unsuspected conjunctions between sound, dynamic extensions and meaning oscillations, challenging the accustomed passive gaze of the spectator. The fundamental question, both for those watching and those performing, is: what do I see when I listen, what do I hear when I see?

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Super personal surprising interpretation by Cristina Rizzo of the Sagra, a strong stiching between her subversive full artistic soul and her extraordinary dancing ability, she is one of the few capable of measuring and taking distance from this pernicious time we are all living in. With a skin marked by history, punk and acid rock, the Florentine choreographer and dancer deals with a personal passage in the pebbly riverbank of classical culture claiming an anarchic afflatus. And it's the most extreme performance of this last past ten years La Sagra della Primavera Fear and Loathing in Las Vegas, a solipsistic nagging thought. Coming back to Strawinskji, then, and to a natural and ritualistic imaginary, orchestral but with some noise elements, Rizzo works on the solitude of a multiple body, a score which amplifies her twirling and livid physicality, a perfect conjunction between airs, extensions and sense oscillations which deviate our gaze. But this worry about perception investigated by Rizzo it is not alluding at all, it is instead the revealing of an unconditional surrender, a magnificent tribute to the idea of an 'opera' as an extreme re-composition. Inside the sound – which us, spectators, filter through headphones received at the beginning of the show – the Strawinskji's orchestration mixed with Hawaiian guitars and natural events, the movement of Cristina perfectly cherishes even when it seems to be opposed to the synchronism of the score, up to the final 'coupe de théâtre', when we catch sight of the fact she was listening some music from earphones, but with a completely different sonorous sign, probably pop rock, which motivates us to question: of what vision is made sound and of which sounds is constituted our vision.
Paolo Ruffini - When Strawinskji is pop / HYSTRIO 3/2013

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