Cristina Kristal Rizzo
Cristina Kristal Rizzo, a dancemaker based in Florence, has been active on the Italian contemporary dance scene since the early 1990s. She is among the founders of the historic Kinkaleri collective, with which she actively collaborated until 2007 crossing the international performance scene and receiving numerous awards. Since 2008 she has embarked on an autonomous path of choreographic production, directing her research towards a theoretical reflection with a strong dynamic impact, with a drive to regenerate the creative act and reflect on the present time, establishing herself as one of the main personalities of Italian choreography.
Cristina Krtistal Rizzo is also part of the activist movement Il campo innocente, which works to promote dialogue on issues such as violence, sexism and the precariousness of the Italian cultural system.
Since 2019, she has an active part in the Sup de Sub project aimed at young non-professionals from the banlieu of Paris.
Among his latest works: MONUMENTUM The second sleep, ECHOES, TOCCARE The white dance, ULTRAS sleeping dances, VN Serenade, Hypernating, Prélude, ikea, BoleroEffect. Circulation of performances is complemented by an intense activity of experimental proposals, conferences, workshops, higher education and theoretical writing.
During August and September 2020, Cristina Kristal Rizzo develops in our spaces in Rovereto a new collective project. This work starts from the investigation of the bodily practice of 'touching/touching oneself', not intended as an exploration of contact improvisation (the movement technique born in the USA in the seventies that Rizzo knows well) but in the expressive, emotional and intimate potentiality of an action.
Covid-19 with its restrictive impositions has changed the evolution of the project imposing to the choreographer to approach the issue of touch from another point of view. Between the physical and the symbolic, to touch the other means touching all possible others, including one's own person, it means transferring the gesture of touching inside the dance.
The bodies of the dancers will try to materialize the idea of touch in a symbolic carnality, with a materiality at the limit of evanescence.
The material probes the possible relationship with the invisible, the void. The health emergency forced me to approach the theme of touching from another point of view. Between the physical and the symbolic, touching the other means touching all possible others, including one's own person; it means transferring the gesture of touching into dance.
