"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 ]
"In the performance COSMORAMA, dance in natural spaces finds one of its clearest expressions: not landscape ornamentation, but a perceptive practice
that activates the place, makes it an interlocutor, transforms it into dramaturgy.
The two performers, rarefied figures with fragmented and slight movements, seem to have come from a Martian elsewhere. Their movement
approaches a monastic or meditative practice: a posthuman Tai Chi in which the gesture does not imitate nature, but reveals its hidden structure,
amplifies its invisible vibrations.
[...] In the end, when everything quiets down, a sculpture remains: a vertically raised tube. It is the gesture that withdraws and leaves a mark, a verticality that punctures the sky."
Michele Pascarella [ 7/2025 - Garagin Magazine ]
"Galli leads the audience in a symbolic ascent through the historical garden, transforming each natural element into an integral part of the choreographic composition.
[...] The piece unfolds as a laboratory of perception, where the boundaries between performer and audience gradually dissolve in a slow procession that evokes
both traditional agrarian rituals and contemporary practices of body awareness, which the spectator appreciates.
[...] For Galli, the body is a surface of layering, capable of activating deep connections with the space that surrounds it. The preparation, which
often takes place during long residencies in specific locations, testifies on the one hand to the ability to create a site-specific approach
that makes dance an act of sensitive archaeology, and on the other hand to the great capacity of Galli's creations to become abstract signs,
capable of transporting themselves and investigating the elsewhere."
Renzo Francabandera [ 7/2025 - Paneacquaculture.net ]
