Fonderia hosts Paradiso by Gruppo Nanou, as part of the Festival Aperto .

From Tuesday, October 31st to Sunday, November 5th, the spaces of the Foundry host the Aperto Festival with Paradiso, the work by Gruppo Nanou, finalist at the UBU Awards 2022 for “best dance show” and “best set design.”

“Paradiso” is a choreographic installation open to the public from Tuesday, October 31st to Sunday, November 5th, from 6:30 pm to 9:30 pm.

Like a museum space, the audience is free to move around, exit, and re-enter.

It is possible to reach the Foundry at any time from 6:30 pm onwards and attend the performance for as long as desired.

The last recommended entry is at 9:00 pm.

Paradiso stems from reflecting on the possibilities of live performance and its necessary rewriting in post-pandemic times. The scenic space of Paradiso is like a liquid universe, with mirrored carpets reflecting iridescent pain and languid ecstasy. The performance is a place of relationship, waiting, and possibility, with bodies that cross, sit, walk, and rotate with innovative solutions. Inspired by Dante’s Paradiso, the performance embodies the diffusion of light and the presence of sound, with music created by Bruno Dorella and scenes curated by Alfredo Pirri. Choreographies conceived by Marco Valerio Amico and Rhuena Bracci move through space with lightness, extension, speed, and power.

The unique choreographic composition makes the memory of the performance unique for each spectator, with events that compose and decompose to consciously and strategically create an unrepeatable experience. In Paradiso, spectators are invited to move freely, take a seat in space, share it, move it, and float between events, in a pilgrimage that has no destination, self-sufficient like the harmony of a song. The performance is traversed by rotations and trajectories of dancers. The joy and grace of this Paradiso are laconic and permeate the entire performance.

The flow without dictatorship of the climax teaches us how to stay within a work and find answers in it, which is a perfect Dantean delivery. In the danced appearances, choreographed by Marco Valerio Amico and Rhuena Bracci, there are no duets or contacts, but only solos and proximity; here identities are not accomplished but bodies, presences, those who remain, are just lines intercepting in space the reversibility of time. In a space without a center, continually decentralized and decentralizable by the spectator who can move freely, like that poor Christ of Dante, dressed in red and feathered, who occasionally peeps out, astonished, out of his sea.

Stefano Tomassini, Theater and Critique