You lose track of time as you enter Dante's Paradise by the gruppo nanou. You live in an immersive space of sounds, lights and bodies. We move, almost suspended between heaven and earth, above a mirrored, silver and gold floor, with high lateral slides and scattered, slightly colored transparent caps: those planets that the vision of the Great Poet allows us to imagine in his Paradise.

“In the sky that receives more of its light was I, and I saw things that he who descends from above neither knows nor can say,” says Dante in Canto I of the Divine Comedy. That not having the words to describe Paradise, those who are about to do so develop their own imaginative vision that opens up to further appearances. The dialogue and contamination between different languages and artistic sensibilities characterize the expressive research of Marco Valerio Amico, Rhuena Bracci and Roberto Rettura, by the gruppo nanou from Ravenna, parallel to the spatial concept of fruition of the performance, open to an immersive, and no longer frontal, participation of the spectator.

It was possible to experience it in their vision of Paradiso "represented" within the Ravenna Festival within the Artificerie Almagià. Within this architecture, Alfredo Pirri's pictorial construction of light becomes a densely evocative landscape inhabited not only by the physical presence of the dancers, but by other apparitions aroused by Bruno Dorella's musical score. Music, electronic sounds and voices feed a visual-sound temperature generated especially by the bodily quality of the individual dancers in their gestural flow, guided, in the creative process, by the hand of Marco Valerio Amico.

Following indications from the choreographer of abstract movements, spatial rules and relationships, the performers, moving from the upper part of the body, arms and torso, create repetitions that are always different and reproducible. Orbital trajectories, rotations and lines follow, moments of ecstatic abandonment, of stasis and awakenings, which meet, brushing against them, the bodies of the spectators free to move in space and to inhabit it inside and out. In wandering we also meet a lost Dante who, ironically, appears from time to time, in a bathrobe, fins and swimming goggles, walking with small steps looking around, disappearing and reappearing elsewhere and then still wandering.

In this "other" place, a space that can be simultaneously an "elsewhere" and an "everywhere", i.e. a mysterious place of the infinite dialogue generated by the dance itself, one experiences a "stay", to be lived without beginning and without end, a timeless travel that requires the abandonment of burdens and memory. To find your own Paradiso.