or the unpredictable technology of my mind

Concept, Choreography, Lights and Costumes Cristina Kristal Rizzo In cllaboration with Paola Stella Minni With Paola Stella Minni, Cristina Kristal Rizzo Live Playlist Cristina Kristal Rizzo Theoretical advise Cristina Addis Production CAB 008 With the support of Forum Dança Lisbona Supported by Regione Toscana and MiBACT Collaboration and creative residencies Ateliersi Bologna, I Macelli Certaldo



One two three four voices, probably a chorus. Certainly a tilting back, inside out. But also a friendly face 'making faces'. A narration, better say a tale...yes, a tale. A fairy tale...from here to eternity. A brave new world or a mouth to mouth resuscitation. And yes, of course, a boat upside down, but no need to worry... 'I will survive'!

Exotic postcard, irideshent reflection developping from the background of an imminent 'end of the world', NO TENGO DINERO follows a choreographic theory and a performative technology as an excercise on the simulation of the present as a 'time other' for the action, producing a short circuit in the linear sense of time, composing a twisting melody of expressions and intensities. The two performers, along a layout of topical seduction figures – pop poses, aching tracks, mantras, porno immages, passages from famous tragedies – progressively loses themself in a total spectacularity, becoming more and more unreal, evanescent, not credible for the clichés they are using, totally collapsing inside the real heart of entertainment, on pure ostentation, in an enigmatic and unpredictable effect–personage, comic and tragic at the same time. From the open sea to the stars, in the background of an imminent apocalypse, NO TENGO DINERO pictures a world sub-specie dance, a conjuring trick, an atmospherics effect, a superficial wrinkle. A grimace.

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"I will be back in one minute, maybe two": Cristina Rizzo leaves the sound console at the side of the scene, goes to the microphone in the center of the forestage, pronounces the phrase and goes back to her station. An incipit which unveils a sinuos process of settlement from representation, a collapse of the dramaturgy dispositive. Conjuring trick, exotic postcard, irideshent reflection: the performance, developing from the background of an imminent "end of the world", is an exercise on the present producing a short circuit in the linear sense of time. The two performers, along a layout of topical seduction figures – pop poses, aching tracks, porno images, passages from famous tragedies – progressively loses themself in a total spectacular, becoming more and more unreal, evanescent, not credible for the clichés they are using, totally collapsing inside the real heart of entertainment, in pure ostentation. No 'subject' is involved, but an enigmatic and unpredictable effect–personage. NO TENGO DINERO is constantly producing "faces": tummy–face, tic, grimaces, spasms, faces in a very far distance or in a close up as a kind of space-screens in which the dramaturgy of movements and the narration of the plot are presented as pure effects. Rizzo relaunches the matter of the 'present' in new terms compared to the 70ths solutions connected with improvisation or extemporary composition. The choreographic research does not work on the real of time, but on the present of simulation, with a theoretic displacement from the language of the body to the inside-out of action: the present is considered as a free surplus of timing for and in the action, a surface wrinkle for the appearance of a bodily atmospheric effect.
Cristina Addis - Macchine viseificanti / Dicembre 2012

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