The body of an idea. Around Xebeche of gruppo nanou
The consistency with which the show develops is rare, since often in the art we tend to conceptual circles that are difficult to implement on stage. Xebeche on the contrary creates a continuity between thought and action. The body reinvents itself through a continuous experimentation of space, from the horizontal plane of the surface to the vertical plane created by the relationship with an airy mass that accompanies the dancers for the entire duration of the choreography.
Xebeche, the long black and white sequence of gruppo nanou
In recent years, the group created by Marco Valerio Amico and Rhuena Bracci is trying to retrace in a personal, serious and rigorous way a creative process, a performative code that can investigate a possible negotiation between the conventional choreographic structure and the thrust towards conflict, the mutation, the overflow of the code itself.
Fabio Acca – Xebeche in Ravenna, Ammutinamenti
Xebeche, of gruppo nanou (Ravenna, Ammutinamenti), is a rigorous and insistent rhythmic sequence plan, which devours its filmic references without nostalgia for the film.
Revolutionary Xebeche. The stage is in the audience.
The space of representation in Vicenza is the only cube in the scene: an empty and gloomy skull box. The action is forced into a dark room without landscapes, the prevailing black-and-white geometry is amplified by syncopated noises and repeatedly harassing and the bodies moved in a conflicting way. The dark side of the human ratio has its dark side that is within each of us and that the eight very good performers have maieutico made prevail.
Xebeche – gruppo nanou
In Xebeche – whose constructive device is in the appearance and disappearance of the trajectories performed by the dancers in this space – the perimeter has expanded to include eight dancers, males and females who, in pairs or all together or singly, break into the designed space from the white and black rectangles on the floor. Here repetition and crescendo of the rhythm also given by the sound, are the constructive devices of the show: more than to activate the micronarrations put in motion by the details, light frames, they produce hypnotic effects on the spectator …
A film underfoot
[…] rigorous, impassive in pursuing his own research without smudging, […] the repetitions of dynamic phrases, the wraps and the pulviscolari groupings are arranged with uncommon foresight in relation or open-ended bickering with the space that attracts them and he rejects them. […]