Paradiso is a place, a meeting, a chance for discussion and an opportunity for community, even before it is a show.
Presented at the Aperto festival in the spaces of Aterballetto 's Foundry is another stage of a project that cannot be replicated since it renews itself each time by feeding on the place that hosts it.

Paradiso, a finalist for the 2022 UBU Awards for "best dance performance" and "best set design," was born out of reflection on the possibilities of live performance and its necessary rewriting in post-pandemic times. Paradiso's stage space is like a liquid universe, with mirrored carpets refracting iridescent pain and languid ecstasy. The performance is a place of relationship, waiting and possibility, with bodies crossing, sitting, walking and twirling with novel solutions. Inspired by Dante's Paradiso, the performance embodies the diffusion of light and the presence of sound, with music created by Bruno Dorella and the scene curated by Alfredo Pirri. The choreography conceived by Marco Valerio Amico and Rhuena Bracci traverses space with lightness, extension, rapidity, and power.
Paradise is an imaginative place.

The special choreographic composition makes the memory of the performance unique to each viewer, with happenings that compose and decompose to consciously and strategically create an unrepeatable experience. In Paradise, the spectators are invited to move freely, to take their place in the space and share it, to move and float among the happenings, in a wandering that no longer has a destination, sufficient to itself, like the harmony of a song. The performance is ploughed by twirls and trajectories of male and female dancers. The joy and grace of this Paradise is laconic and permeates its entire performance.

The flow without dictatorship of the climax teaches us how to be able to stay inside a work and find answers in it, which is Dante's perfect delivery. In the danced apparitions, choreographed by Marco Valerio Amico and Rhuena Bracci, there are no duets or contacts, but only solos and proximity; here identities are not fulfilled but the bodies, the presences, those who remain, are only lines that intercept the reversibility of time in space. In a space without a centre, continuously decentralized and decentralized by the spectator who can move freely, like Dante's poor Christ, red-dressed and finned, who occasionally peeps out of his sea, stunned.

Stefano Tomassini, Teatro e Critica