60' Concept and choreography Cristina Kristal Rizzo Dance Annamaria Ajmone, Jari Boldrini, Cristina Kristal Rizzo, Sara Sguotti, Kenji Pai-sley-Hortensia music Les Pièces de clavecin di Jean-Philippe Rameau light design and technical direction Gianni Staropoli light tenician Andrea Violato creative producer Silvia Albanese costumes Boboutic ss20 production TIR Danza coproduction MilanOltre, Torinodanza Festival / Teatro Stabile di Torino – Teatro Nazio-nale nell’ambito del progetto “Corpo Links Cluster,” sostenuto dal Programma di Coope-razione PC INTERREG V-A Italia-Francia (ALCOTRA 2014-2020) with the sultani of Azienda Speciale Palaexpo – Mattatoio | Progetto PrendersiCura, Oriente Occidente Dance Festival, LFKs Collective – Campus Sup de Sub residence at Lavanderia a Vapore, Centro di Residenza del Piemonte e Membro della rete EDN European Dancehouse Network nell’ambito di Torinodanza 2020, CID – Centro Internazionale della Danza_Passo Nord, Corniolo Art Platform creazione realizzata nell’ambito di Mi-To Settembre Musica



Touching is a state of the existing, it has to do with the life of the forms and the possibility they have to find the measure, to place the bodies in space. TOCCARE the White Dance trough its choreographic concepts intends to put in action an aesthetic experience capable of revealing the potential of touching as a gesture for establishing a world, the simple intimacy of a radical open feeling. This record of the touch is to be considered in the sphere of a thought in which the singular-plural of a being is the prominent line of the existence, knowing we are always already open to the other within the internal as much as the external. To touch the other means to touch all the possible others, including oneself, including the insensible in the sensible, it means to rethink radically the nature of being and time. Touching in this sense is intended as the infinite exposition of a subject into the world. To be here side by side in an absolute composition of the bodies with no return to oneself, touching the extension and extending the emotion in a simultaneity which coincides with the existence in itself. Bodies touching and in so doing becoming flesh, but it’s a detached touch, it’s a gesture of touching without dominion, enchanted in an ecstatic interlude which includes all of the looks. Not to exert all the power that we dispose of, means to activate a grip without possession. To defuse the tyranny of a body colonized by the eternal profit, means to exercise oneself at a movement which is contagiously and joyful alive. The reactivation of an erotic body written off from the hyper-sexualized narcissism which builds architectures of isolation, is a political problem but is above all a common responsibility without calculus we all share with human and non human objects, it’s an aesthetic dimension putting us in contact with the fullness of nothingness at the core of matter and with the sensual qualities of a world that is not anymore Mondo, for an ecology without return.



The creation will develop in synergy with the rewriting of the harpsichord pieces by J.P. Rameau by the Italian composer Ruggero Laganà, in an overall materic and abstract sonic plot portraying and intensifying some qualities already intrinsic in the eighteenth-century model. The Traité de l’harmonic réduité à se principe naturels by Rameau (1722) forecast a new conception of music as a language, expressive not only of the emotions and the individual feelings, but also of the divine and rational unity of the world. The piece is thought for 4 dancing bodies involved in a continuous dance, a tactile composition in pure abandonment, a ‘chamber dance’ which exposes a choreographic technology made of analytic precision and kinetic counterpoint. The number 4 is the manifestation of what is concrete, immutable and permanent and has its own expression in the geometrical figure of the square. It’s the number of the matter, the motion and the infinite, representing the corporeal as much as the incorporeal. The White Dance the tail of the title evokes the famous The White Album from the Beatles who, coming from their trip to India and from the experience with transcendental meditation, composed in 1968 one of the most variegated and pure experimental LP of the group. But also the term BALLET BLANC which usually is used to indicate a particular section of the ballet form where diaphanous and ethereal creatures are dominant and are represented in the costumes by white apparels.