The multi-year project of the gruppo nanou on Dante's third cantica is coming to an end, again for the Ravenna Festival, with the staging of the visionary, happy setting by Alfredo Pirri and the effective, dramaturgically very intense soundscape by Bruno Dorella. And so much unhinging Dante's material seems to be definitively accomplished here.

The scene is an open labyrinth, made up of mirrored paths and hemispheres, as if the cosmos were on the ground.
The score of the lights has its own parallel timing, but not coinciding with the apparitions, and repeats an obsessive Dantesque numerology invisible to the spectator.
The whole public gets in motion here, because the installation is no longer static, the bubbles find confidence in the colors, the meditative environment is transformed into a generative one.

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.