Thinking about this project, based on the 40th anniversary of the Ustica disaster, has naturally freed, beyond the other references, a consideration on the time.


Both in the choreographic trend and in the musical structure, from Beethoven’s Die Grosse Fuge, to Rihm’s intermittence, the limit appears as an experience of encroachment, freedom, but also of vulnerability, which mobilizes the agreement perspectives and relationship among bodies, evoking a renewed configuration in the relationship between individual and community.


It is a very fertile, creative ground the one which Simona Bertozzi investigates to build this new work with very young interpreters. According to her words the game represents: limitation of time and space, freedom within the limits of the rules, seriousness and severity in playing a role, immersion in the process, detachment from the result of the action.

ILINX – don’t stop the dance

Ten years later, the opportunity to work a re-arrangement of the piece has allowed me (…) a possible re-actualization but, above all, has deployed an unprecedented reflection on the solitude of the performer and of his playful universe.


“La vera felicità rappresenta il grande dilemma se non di tutti, quanto meno dei più saggi.” Pierre Zaoui

And it burns, burns, burns

The adult observes the teenager and introjects electric impulse and peremptory exercises. On the one hand the strong physicality of their practice do let the dialogue of bodies and gestures be metabolized


Anatomy is born from the meeting of two bodies: biology and sound. It’s the diagram of their lines of strength, trajectories, and dislocations, tears in space and form where in time plays out; relationships between speed and slowness, this is anatomy’s way of being.

Flow on river

Stefania’s gestures go from the roots to flowering; they are immersions, snaps and thickenings. She uses wonder as a motor to recreate and change herself. She moves like drift,

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