[…] In the evening we see a concert: Canto primo: Miasma/Arsura/Nanou/Ovo. OvO is an indie noise rock band, Stefania Pedretti and Bruno Dorella. Their performance is a premier with a bad sound like the unhealthy exhalation emanating from the swamp, which literally invokes in the title. Yet it speaks of us so authentically that it becomes cathartic even late in the evening, where if you are tired you just want to be comforted by music.

It comforts you in a different way, taking note of the continuous link that exists between reality and science fiction in our daily existence. With a dancer in the background of the stage, as if to inhabit unconscious trajectories of the great world reconstructed on stage, Rhuena Bracci (gruppo nanou) with her head covered as if by a sack, very generous and perfect in making herself imaginary walking, just as perfect is the sound and the cry sung in a continuum as long as the thought by the Pedretti, angelic in welcoming so much infernal part of reality and filtering it through her prodigious vocal cords. I read that Nanou is a company that pursues the body object body sound light body. That's what I saw. Sometimes it seemed that that head wrapped in who knows what casing became a mask or became human. Remove something from the body to make it become a thousand bodies. I didn't think an eyeless dancer could be so expressive. Instead it is as if he had eyes everywhere in this way.
This unconscious nocturnal immersion ends and Bruno Dorella, composer and extraordinary musician, remains on stage. He abandons his instrument only after a certain time and leaves when nothing remains of the show on stage. Like at the end of a dream.

We see the next day Nanou's new work,"Paradiso",still in progress, which represents the meeting of the Ravenna contemporary dance company with the visual artist Alfredo Pirri and the music of Bruno Dorella. The choreographic action here is immersed in space until it becomes part of it. The bodies of the performers directed by Nanou and with their heads tragically covered but beautiful in this renunciation, are as if installed in space, to indicate the rules of operation. An invisible dramaturgy makes perfectly plausible certain ways of inhabiting that place that refers to a mirror of something that should be at the top. In this new Paradise,known, however, the true light emanates from the earth, that is, it is the one that is reflected on the earth, and not so much from the sky. In addition, a ferryman in everyday clothes comes to you without kindness to go out at the end of the performance. Something that I perceive vaguely punitive and that reminds me of the expulsion from Paradise,if it were to be translated into everyday terms. [...]