nicola galli

COSMORAMA is a gestural universe that opens up in an itinerant and diffuse journey, guided by two dancers who create an invisible and mimetic dance becoming a crossroad between the reliefs and the natural and artificial elements of the landscape.
Between far and close views, physical proximity and panoramic distance, lines, vanishing points and counterpoints, COSMORAMA welcomes the audience into a dance experience in nature, overturning the hierarchy of the gaze and accompanying in a collective ascent to rediscover living, observing, constructing and dancing together in the landscape.

Nicola Galli

"We begin with a extreme wide shot, we stop dozens of metres away from the two artists, dressed in beige trousers and sleeveless jackets, in absolute chromatic harmony with nature; here we witness the creation of the vocabulary, in a dance made up of slow gestures and movements, the broad gestures are repeated alternating with short unisons, in a dialogue that is never shouted. Someone sits down, while a metallic sound slowly marks the time and the musical atmosphere. Then a golden stick appears, which in the next step will take on greater dimensions until the last step in which the union of further parts will make it very long: a javelin to be thrown, a jumping aid or, as in the ending, a totem to be planted in the ground for a worshipping community. And here the efforts of the audience (of attention and research in and around the vocabulary of gestures) are rewarded with the possibility of resonating with the invisible vocabulary: the long stick becomes a relic to be protected, an object of apotropaic value or more simply the symbol of a relationship, that with the community of spectators. It all happens naturally: the two artists approach each other, they give part of the weight, someone chooses to get in touch and take care of an invisible music. "

Andrea Pocosgnich [ teatroecritica.net - 06/2024 ]

"The emotion is intense, you have the consciousness of participating in an event in which the classical divisions between the makers and the watchers are overcome by the awareness of contributing to the same ritual moment, to the same creative process.
[...] There are many suggestions: the relationship between nature and the human being, in the double sense of interchange between the organic human and nature on the one hand, and between the organic and the inorganic of human things on the other; the relationship between the Roman ruins and the golden poles that become an abstract symbol of an anthropological value, recalling the human ability to manipulate nature through tools, which is counterbalanced by the symbolic-performative aspect of the choreography that evokes a ritual that becomes a symbol of a collective imagination where the participation of the audience contributes to the performance by changing point of view and distance from the two dancers.
A participatory performance that suggests an ethic of respect for the other, understood as a person or the nature within which, despite ourselves, we live.
The musical score contributes to the emotional reverberation of an experiential choreography, whose musicality is contaminated by urban noises: the train passing on the tracks and the people living in the park and passing by, talking, producing laughter or baritone comments, which do not disturb but contribute to the score, in an interweaving of performance and urban space, in a here and now experienced and celebrated by a unique, elegant, intelligent and successful event."

gaiaitalia.com [ 06/2024 ]

"[...] The two dancers, like dowsers seeking and searching, advance to intercept a contact, a tactility, an adherence with the geometry of the space and the elements around them, including, at times, the audience. Pointing the poles like probes, as a measuring instrument that gradually lengthens from a small one, creating distance and proximity, an invisible and mimetic dance is generated, a fascinating ritual that involves the gaze and postures of the spectator in observing and following their progress. The audience is also called upon to participate - as a deconstructed madrigal envelops the space -, sharing in the delivery and return of the poles, which will finally be joined and raised like a single golden reed."

Giuseppe Distefano [ www.exibart.com - 07/2024 ]

Nicola Galli