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© Serena Nicoletti



Commission for Collettivo MoDem/ Compagnia Zappalà Danza

Première : 05th March 2017 - Scenario Pubblico - Catania/ Italy

Dancers: Camilla Montesi, Francesca Conti, Ludovica Messina, Martina Auddino

Light & Sound Design: Samir Calixto

Music: V. Bellini/ C.W. Gluck

'Si finisce coll'amare la propria brama, invece dell'oggetto bramato'.

('Ultimately, it is the desire, not the desired, that we love.') 

Friedrich Nietzsche - Beyond Good and Evil


Choreographer Samir Calixto has developed a work that focuses on unveiling the timeless aspects

of dance through the clash between iconic cultural references and the most primal features of our

existence. Classical music, literature, spirituality and philosophy are elements which often have a

strong presence in his works. For this special commission in Catania, Calixto continues his

research into a universe where dance reflects the state of impermanence intrinsic to our human

condition. By being confronted to a strong musical and choreographic frame, the dancers will be led

to engage their entire beings on stage by delving into a choreography that proposes an

uncompromising crossing between musicality and intense physicality. In this process, humanity is

revealed on stage exposing our own vulnerabilities, frailties and beauty.




'Vulnerability, fragility and beauty are the elements which characterize Bramato, the creation by the Brazilian - yet active in the Netherlands since 2004 - Samir Calixto, to represent the impermanence inherent to the human condition. The four female dancers are immersed in an atmosphere from the world's creation, they are primordial creatures, initially alone, showered by an intensifying warm glow of almost blinding lights visible only on their backs, moving slowly, with arm movements indicating something which lies above. Bodies searching for their own lives. Then, they form a pulsating unity between gasps and a crescendo of speed and energy in which the rhythm ceases abruptly, scattering the group and leaving only the heavy breathing as a current created by the times of their lives. We are inside of a landscape of sidereal sounds, of voices and rustles, of angelic voices, baroque melodies, mixed with musical sensibility by Calixto, whose choreography reveals before our eyes a fragility in the vocabulary, with sequences that taste of deja vu.'  

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