Marco Valerio Amico, gruppo nanou
Marco Valerio Amico - ph. Antonio Ficai

Alphabet is the place of manifestos and imperatives.
The imperative tone is taken lightly, with the need to start from a certainty to question everything.
Everything that is stated here does not mean that it will not be betrayed in an hour, not by contradiction but by continuous overcoming.
The imperative and the manifesto become territories that by doing must be revolutionized for their necessary verification.
Doing is the trigger useful for activating the machine.
Doing loses its productive objective.
The punctuation of the manifesto is full of dots. It lose the subject. It leaves it behind. It merges itself with the object.
It is necessary to give a marked rhythm to the reading to make the imperative even stronger and take the run-up necessary to arrive at a very long sentence whose punctuation is omitted because it must leave you breathless even in silent reading.
The shape
The rhythm
The writing
The arrangement of words on a piece of paper
They are part of choreographic thinking
They look to the 1900s
They thank
Choreography is not just for the body [1].
I've really figured it out in the last few months.
So a video can be a choreography and not be a video choreography, so can a photo, a light, a sound, the drawing of a scene, the architecture of a public space.
This text is a choreographic act.

In Alphabet choreography is the tool to study and explore. It is the place of confrontation. The choreography arises as

The choreographic system in Alphabet has a random approach.
An experience is prepared, it is put at risk in the meeting for the necessary verification, observing and waiting for the unexpected.
The unexpected is always a "creative accident" capable of calling everything into question or revealing the way forward.
Synchronicity becomes an emblem for the "creative accident". Marvelous. An epiphany.
Not to be confused with synchronism, paraphrasing Jung [2]. Do not synchronize the events but let them happen so as to restore their conditions and obtain new ones.

The prerequisite for generating the "creative accident" is the comparison with people who do not know the vocabulary of Alphabet. It is a direct way to verify the effectiveness of a synthesis.
If the transmitted concept is not immediately grasped, it means that it is not clear, therefore equivocal, so you have to go back to observing, study to understand where the crux is, find a new synthesis, try again.
The result does not necessarily last over time.

Some variables, observation points for the choreographic trigger:
The bodies of the participants. Each brings with it its own uniqueness. It is important to underline because it is the main object to work on. If the uniqueness of each individual body is not recognized, Alphabet's choreographic project fails.
Space (Trajectory and Territory) / Rhythm / Time / Volume / Relationship. Marking temporary hierarchies of attention between them, highlighting their differences for a lucid and determined observation. Determine short repeatable patterns that highlight the object under analysis. Maintain awareness that all elements are inseparable and inseparable. It is a question of points of view and attention.
Plotting coordinates on the ground helps highlight and maintain awareness of what is happening, for both the actor and the observer.
The body looks at his nape, with distance, analyzes what he has done and becomes aware of it. Watching becomes as important as acting. It doesn't matter what role you play. A dancer must rediscover his gaze, just as the spectator is advised to observe the space and how it occupies it.

Alphabet falls vertically from above like a drop which, having found the ground, explodes horizontally as its knowledge immediately becomes observation.

Can I say that Alphabet looks a lot like Latin otium? But with a hard boiled rhythm.

06/2021 - Marco Valerio Amico, Oscillazioni#1