{"id":116003,"date":"2019-09-24T15:14:12","date_gmt":"2019-09-24T15:14:12","guid":{"rendered":"https:\/\/develop.mercatflors.cat\/blog\/?p=1669"},"modified":"2023-06-15T09:47:32","modified_gmt":"2023-06-15T09:47:32","slug":"christian-rizzo-o-la-celebracio-del-poder-poetic-de-lambiguitat","status":"publish","type":"blog","link":"https:\/\/develop.mercatflors.cat\/en\/blog\/christian-rizzo-o-la-celebracio-del-poder-poetic-de-lambiguitat\/","title":{"rendered":"‘Christian Rizzo, o la celebraci\u00f3 del poder po\u00e8tic de l\u2019ambig\u00fcitat’ per Jordi Ribot Thunnissen"},"content":{"rendered":"

En una conversa amb el Mercat de les Flors publicada recentment, Christian Rizzo es definia a si mateix com un \u2018pessimista alegre\u2019. Mirant enrere sense nost\u00e0lgia per\u00f2 amb cert respecte, afegia: \u201cdistrec el passat vivint el present i mirant d\u2019entendre el futur\u201d. Passada la seixantena, l\u2019artista ecl\u00e8ctic i postconceptual<\/em> (en paraules de Roberto Fratini) segueix fent servir l\u2019escenari com un laboratori on desgranar i revisitar, mitjan\u00e7ant els elements dansants de tota la vida \u2013 cossos en moviment, objectes, m\u00fasica \u2013 els mecanismes i les possibilitats significatives que subjauen a la seva interacci\u00f3. El seu focus d\u2019inter\u00e8s per Une Maison<\/em>? Mirar al detall el que s\u2019esdev\u00e9 en una trobada, en un trobar-se.<\/p>\n

Une maison.<\/em> Una casa. Qu\u00e8 \u00e9s una casa? Un edifici? Un punt de partida, o un punt de retorn? Un espai mental, interior, una sensaci\u00f3. Alg\u00fa. Un sac de records, una tomba plena d\u2019ancestres, un ritual en un temple, una abra\u00e7ada sota un sostre estrellat. Una necessitat b\u00e0sica, un dret fonamental. Per Rizzo, aqu\u00ed, la casa \u00e9s la construcci\u00f3 resultant de m\u00faltiples trobades. Catorze int\u00e8rprets de diferents edats es mouen, independents, per l\u2019escenari. En un moment determinat aquestes persones s\u2019ajunten, es troben i es contaminen. En una entrevista pel teatre flamenc De Singel Rizzo explicava: \u201cEls int\u00e8rprets senten aquest moment com una necessitat, i aquest ajuntar-se jo l\u2019anomeno \u2018casa\u2019. Marguerite Duras deia: \u2018Passi el que passi, una casa \u00e9s sempre una casa familiar\u2019. Ara b\u00e9, el tipus de fam\u00edlia no importa, sempre te la pots inventar, la pots construir\u201d. La trobada, doncs, com a nus d\u2019un entramat que parteix del jo, es dirigeix cap als altres i afecta i sost\u00e9 tota la resta. La casa resultant \u00e9s un objecte ambigu, fet tant de maons coreogr\u00e0fics com de viv\u00e8ncia performativa. Rizzo: \u201cEl que vull investigar amb aquesta representaci\u00f3 \u00e9s una relaci\u00f3 especial i paradoxal entre la solitud i el grup. El que passa quan un ha de passar comptes amb quelcom que li \u00e9s propi i alhora intenta apropar-se als altres. Aix\u00f2 m\u2019interessa: com t\u2019inclines cap a l\u2019altre.\u201d<\/p>\n

El grup, per tant, per a Rizzo no \u00e9s interessant quan \u00e9s uniforme, sin\u00f3 precisament quan emergeix de la suma de microrelacions entre individus que s\u00f3n diferents, que es mouen de manera diferent. \u00c9s a partir d\u2019aquesta mir\u00edade de nusos i hist\u00f2ries que la casa esdev\u00e9 important per qui l\u2019habita i per qui la veu. Aquesta sensaci\u00f3 aqu\u00ed ve refor\u00e7ada pel joc escenogr\u00e0fic. D\u2019una manera similar a la companyia belga Peeping Tom, Rizzo sovint comen\u00e7a amb el disseny de l\u2019espai per a les seves coreografies: un cop constru\u00eft el marc, l\u2019ecosistema pren sentit a trav\u00e9s del moviment. A l\u2019inici d\u2019 Une maison<\/em> l\u2019escenari est\u00e0 dominat per una estructura il\u00b7luminada, flotant i m\u00f2bil, feta de fluorescents. En un rac\u00f3 hi ha un pil\u00f3 de terra. L\u2019evoluci\u00f3 coreogr\u00e0fica i les trobades entre ballarins afecten el flux de moviment dels individus i tamb\u00e9 la definici\u00f3 de l\u2019espai: els fluorescents van canviant la nostra percepci\u00f3 de l\u2019espai, la terra s\u2019escampa, i el resultat \u00e9s visualment espectacular i simb\u00f2licament molt potent.<\/p>\n

Sense cops de puny a la taula i des del regne de l\u2019abstracci\u00f3, Christian Rizzo s\u2019adre\u00e7a aix\u00ed al m\u00f3n des d\u2019all\u00f2 que Stanley Kubrick anomenava la \u2018zona f\u00e8rtil de l\u2019ambig\u00fcitat\u2019. En paraules seves: \u201cHi ha gent que necessita una formulaci\u00f3 clara en quant al significat d\u2019una pe\u00e7a. Em diuen que l\u2019organitzaci\u00f3 de cossos en un espai, sense m\u00e9s, ja no t\u00e9 inter\u00e8s avui en dia. Per\u00f2 jo estic conven\u00e7ut que \u00e9s exactament aix\u00f2 el qu\u00e8 et permet mirar el m\u00f3n: observar el flux d\u2019un grup de persones movent-se en una habitaci\u00f3 explica moltes coses sobre el seu comportament\u201d. Vet aqu\u00ed el valor tamb\u00e9 pol\u00edtic de la seva estrat\u00e8gia: Christian Rizzo \u00e9s capa\u00e7 de depurar a la dimensi\u00f3 estrictament coreogr\u00e0fica q\u00fcestions que es poden relacionar tranquil\u00b7lament i desacomplexada amb temes que ressonen \u2013 i que ressonen fort \u2013 amb converses que regeixen el nostre dia a dia. Les coses, al seu escenari, s\u00f3n potencialment i sempre m\u00e9s del que aparenten ser.<\/p>\n

En aquest sentit, \u00e9s interessant recordar la singular posici\u00f3 que ocupa Rizzo dins la tradici\u00f3 de dansa contempor\u00e0nia a Fran\u00e7a. En els articles pr\u00e8viament publicats al blog d\u2019El Mercat de les Flors sobre el core\u00f2graf, Roberto Fratini i servidor hem adre\u00e7at el seu rol com un dels primers a trencar amb l\u2019esgotament cin\u00e8tic de la Non-Danse fran\u00e7aise<\/em> a finals dels anys noranta. El cos contemporani, llavors, es veia sovint esclafat sota el pes del seu propi programa ideol\u00f2gic, sempre a la ca\u00e7a de la seva pr\u00f2pia veritat material i despullada, obcecat amb la ren\u00fanica a tota representaci\u00f3 o lectura simb\u00f2lica. Lluny de voler provar l\u2019autenticitat de res, Rizzo va revitalitzar per a la dansa el sentit po\u00e8tic i pol\u00edtic de la ficci\u00f3, sense renunciar en fer-ho a la profunditat conceptual del cos com a imatge din\u00e0mica. Tot un canvi de paradigma, que va permetre reobrir els baguls de les golfes i tornar a l\u2019exploraci\u00f3 desacomplexada del terreny seductor, ric i f\u00e8rtil de l\u2019ambig\u00fcitat.<\/p>\n

Una de les seves primeres peces, la instal\u00b7laci\u00f3-performance 100% Polyest\u00e8re<\/em> (1999), era un duo interpretat per dos vestits propulsats per ventiladors. Si la ineludible narrativitat del cos hum\u00e0 era el problema, doncs fora cos i fora problema. A partir d\u2019aqu\u00ed i de forma progressiva, la curiositat de Rizzo pel moviment i per la humanitat que el propulsa ha anat creixent, per\u00f2 sempre ha seguit navegant sobre el fil de la dualitat, entre la dimensi\u00f3 arquitect\u00f2nica i la dimensi\u00f3 ritual de la dansa. Tornant a Une Maison<\/em>, l\u2019\u00fas de terra a escena fa dif\u00edcil evitar el vincle amb la m\u00edtica versi\u00f3 de Pina Bausch de El Sacrifici de la Primavera <\/em>sobre m\u00fasica de Stravinsky. Sumant an\u00e0lisi i \u00e8xtasi, com deia Val\u00e9ry, sumant estructura i flux, Rizzo tamb\u00e9 abra\u00e7a a la seva manera el valor ritual dels materials amb els que treballa, accentuant, en aquest cas, la urg\u00e8ncia de la necessitat de trobar noves maneres de moure\u2019ns col\u00b7lectivament dins la difer\u00e8ncia.<\/p>\n

Jordi Ribot Thunnissen\u00a0<\/strong><\/p>\n

Christian Rizzo presenta ‘une maison’, del 3 al 6 d’octubre al Mercat de les Flors<\/a><\/span><\/p>\n

Bibliografia i enlla\u00e7os d\u2019inter\u00e9s<\/strong><\/p>\n

IZRINE, Agn\u00e8s. La danse dans tous ses \u00e9tats,<\/em> L\u2019Arche, 2002.<\/p>\n

KNIP-MOOIJ, Suzanne. Bewegen in Gelatenheid, een kleine fenomenologie van performance.<\/em> Tectum Verlag Marburg, 2016.<\/p>\n

LEPEKI, Andr\u00e9. Agotar la Danza. Performance y pol\u00edtica del movimiento.<\/em> Mercat del les flors, 2008.<\/p>\n

RAUBERT, B\u00e0rbara. El cos passa, la dansa queda<\/em>. Dins de: Estudis Esc\u00e8nics, Quaderns de l\u2019Institut del Teatre, 39-40.<\/p>\n

RIZZO, Christian. Quelque chose suit son cours\u2026 Une ann\u00e9e d\u2019entretiens avec Marie-Th\u00e9r\u00e8se Champesme<\/em>, Editions du CNRD, 2010.<\/p>\n

Theater De Singel. Recopilaci\u00f3 de fragments d\u2019entrevistes amb Christian Rizzo, publicada arran de l\u2019estrena a B\u00e8lgica d\u2019Une Maison<\/em>, maig 2019: http:\/\/s3.eu-central-1.amazonaws.com\/desingel-media\/a1i0N00000oUER9QAO.pdf<\/a><\/p>\n

Theater De Singel. Conversa telef\u00f2nica entre Christian Rizzo i membres del col\u00b7lectiu de joves professionals The young ones<\/em> en ocasi\u00f3 de l\u2019estrena a B\u00e8lgica d\u2019Une Maison<\/em>: \u201cJ\u2019essaie de mettre entre moi et le spectateur un espace d\u2019imagination commun\u201d. http:\/\/theyoungones.desingel.be\/ik-dacht-dat-ik-gemaakt-was-voor-het-rockersleven-een-gesprek-met-christian-rizzo\/<\/a><\/p>\n

National Performance Art Centre Taiwan. Entrevistes videogr\u00e0fiques amb Christian Rizzo, publicades arran de la presentaci\u00f3 d\u2019Une Maison<\/em>, mar\u00e7 2019: https:\/\/npac-ntch.org\/en\/programs\/show-christian-rizzo-une-maison-f63wutqun5<\/a><\/p>\n

Roberto Fratini \u2013 Christian Rizzo, el artista posconceptual: https:\/\/develop.mercatflors.cat\/blog\/christian-rizzo-el-artista-conceptual\/<\/a><\/p>\n

Jordi Ribot Thunnissen \u2013 Christian Rizzo, les imatges que emergeixen del teixir: https:\/\/develop.mercatflors.cat\/blog\/christian-rizzo-les-imatges-que-el-magma-expulsa-per-jordi-ribot\/<\/a><\/p>\n

Jordi Ribot Thunnissen \u2013 L\u2019espai al voltant del punt, sobre la companyia Societat Dr. Alonso i els conceptuals anys 90: https:\/\/develop.mercatflors.cat\/blog\/lespai-al-voltant-del-punt-per-jordi-ribot-thunnissen\/<\/a><\/p>\n

Companyia Peeping Tom: http:\/\/www.peepingtom.be\/en\/info<\/a><\/p>\n

Fragment: Christian Rizzo \u2013 D\u2019apr\u00e8s une histoire vraie<\/em>. https:\/\/www.youtube.com\/watch?v=MOj8LYcV9Bw<\/a><\/p>\n

Tr\u00e0iler Une Maison<\/em>: https:\/\/vimeo.com\/328672640<\/a><\/p>\n

Introducci\u00f3 a Christian Rizzo:\u00a0https:\/\/www.numeridanse.tv\/videotheque-danse\/la-minute-du-spectateur-christian-rizzo<\/a><\/p>\n

Christian Rizzo \u2013 100% Polyest\u00e8re:\u00a0https:\/\/www.numeridanse.tv\/videotheque-danse\/100-polyester-objet-dansant-ndega-definir?s<\/a><\/p>\n

Dansa i Terra (alguns exemples):<\/strong><\/p>\n

Pina Bausch – Rite of Spring (1975):\u00a0https:\/\/www.youtube.com\/watch?v=0VqaGkKQRCU<\/a><\/p>\n

Boukje Schweigman – WIEK (2009):\u00a0https:\/\/www.youtube.com\/watch?v=qlAz2vjh54s<\/a><\/p>\n

Kriztina de Ch\u00e2tel – F\u00f6ld (1985):\u00a0https:\/\/www.youtube.com\/watch?v=I5s_i1qzWMg&t=2678s<\/a><\/p>\n

Mercedes m\u00e1is eu (2019):\u00a0http:\/\/janetnovas.com\/creaciones\/mercedes-mais-eu\/<\/a><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Per Rizzo, aqu\u00ed, la casa \u00e9s la construcci\u00f3 resultant de m\u00faltiples trobades<\/p>\n","protected":false},"featured_media":116044,"template":"","categoria":[6908],"etiqueta_blog":[],"class_list":["post-116003","blog","type-blog","status-publish","has-post-thumbnail","hentry","categoria-temporada-2019-20"],"acf":[],"yoast_head":"\n'Christian Rizzo, o la celebraci\u00f3 del poder po\u00e8tic de l\u2019ambig\u00fcitat' per Jordi Ribot Thunnissen<\/title>\n<meta name=\"description\" content=\"Per Rizzo, aqu\u00ed, la casa \u00e9s la construcci\u00f3 resultant de m\u00faltiples trobades\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/develop.mercatflors.cat\/en\/blog\/christian-rizzo-o-la-celebracio-del-poder-poetic-de-lambiguitat\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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