Federico Fiori, Francesca Lenzi
ph © Gianluca Naphtalina Camporesi
ph © Marco Parollo
ph © Daniele Casadio

The body of an idea. Around Xebeche of gruppo nanou

Natascha Scannapieco, Osservatorio - Ipercorpo Festival 2017 by Silvia Mei

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

Salvatore Insana, Krapp's Last Post

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

Fabio Acca,

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.

Eva Purelli, Il giornale di Vicenza

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

Valentina Valentini, Chiara Pirri, Mauro Petruzziello, Alfabeta2

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

Marinella Guatterini , Il Sole 24 Ore

[…] 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. […]