This is the prerequisite to begin working with gravity, the primary element of a body, weigh of the soul. Intensity, emptying, wisdoms, representations, metamorphosis, shadows, exits, amazement, poetry of silence and stillness are equivalent to such force crossing us from the center to the sky, and then driven back, in order to give us the chance to live the way we are used to. when I compose, that’s one of the most important things for me: material body and soul body in only one body made of energy.
Enrico Pitozzi: You have been one of the first Italian artists to use video projections on stage (Amnesia Hotel in 1983/84). Ceremony of Innocence (2000-2001), first stage of the Corpus-Rekombinant series, is based on excess, the micro-macro relationship between physical body and video body of the dancer. Would you talk about such relationship?
To change the ways we re-arrange ourselves respect to the gravity, balance, mass and symmetry, up and down, ground and jump, implies changing the codified perspective of the center, and placing ourselves in a germinating space, becoming sheer expression with no need to mime feelings. To alter in order to re-draw, to make anatomic what’s been altered in a mobile pass; that’s the process regulating the creation of video presences and sound stratifications of
Ugo Pitozzi: Amnesia Hotel, realized for Spaziozero-Roma, maybe was one of the first Italian ballet shows to use a video. It was a 10-by-9-meter, everchanging projection that lasted until the end of the show. Since then, video images have always been a prerequisite of my creations.
each work.
Instead, Ceremony of Innocence is the accomplishment of a process. All the work is based on re-defining nonexact, non-synchronic times, the spaces between micro and macro, physical body and electronics: silent place between two thoughts. I am not interested in a still action but in a danced action which is meant to 90