"il balletto triadico" by ctr is like a
floating dream. the incredulous crowd has rushed to the banks clapping at the
luminous and heart- tearing sonorous vision. costumes were most beautiful.
_il gazzettino_ 1984
the theatre of figures casts a spell on the lagoon_
… all these surrealist apparitions are obviously costumes, but they are also
graphics and sculptures in which there appears to be a remarkable will to
manage and they compose a theatrical happening which, according to the dancers'
moves (that are extremely easy to forget, believing in the personal life of
spirals and spheres) create moments of humour or drama, expectation or other
sensations, all coming from previous memories, without a rationally and
traditionally-codified transmission of the message. the deepest and truest
value of the theatre centre of research lies in its being capable to offer, beyond
all its semantic research, the artistic experimentation and so forth, something
of pure beauty, that can be enjoyed by anyone in all simplicity, without too
many whys.
_reporter_ 1986
bauhaus and futurism in a cocktail of synthesis_
to define synthesis is not easy: dancing joins the mimics of gestures,
musical rhythm to scenographic colours, coreographical compostitions to
elaborated costumes ( … ) suggesting the narrative thread of which each one
makes the most according to his own imagination. the result is an overall
elegant and refined show, of a highest qualitative level.
_il mattino_ 1989
dancing lines at the puppet festival_ in a
fable-like atmosphere, with such accomplices as the place and this hypnotic
face under a huge transucent hat, time stood still for a whole hour under
gorizia's castle.
_udine teatro_ 1995
emotions and spells_ a strange figure, silent, has
opened the 1995 edition of alpe adria
puppet festival. that being in slowest motion, completely clad in black and
white spirals, puffed up and with the sole red spot of a big fan, all covered
by a huge semi-round and smooth hat that was completely hiding its head, would
create a peculiar atmosphere, silent the character, silent the crowd that would
part at its passage, the landscape had turned into something toned down,
unreal.
_messaggero veneto_ 1995
as a preview of the social synthesis doc_ if
the costumes-object detract from the bodies their recognizability reducing them
to elementary and primary forms, the feelings that they emanate engross us,
bewildering us into a dimension that brings us back to certain pages of kafka
or even to borges' "manual of fantastic zoology".
_il resto del carlino_ 1996
showers of applauses for the dancing evening at
wolfsburg: the dancing theatre of venice fascinates the public_the execution
has had a kaleidoscopic effect, for one and a half hours of constant movement.
the public, enchanted, could not help being dragged into the suggestion given by the illuminated
back-drop, unable to take their eyes off the stage. the show of this weekend
has left so intoxicated that this moment of rapture has lingered even after its
end.
_wolfsburger nachrichten_ 1996
a perfect game of forms_after the huge success of
two years ago, c.t.r. has once again enchanted the public (...) along with the
closing sequenze, accompanied by the initial chants and saxophone sounds, it
slowly started an applause that escalated until it reached its climax, an
enthusiastic ovation. this is all understandable, since this harmonious show
had determined a sensation of total wellbeing from which the public had to
gradually recover. a show of absolute perfection.
_stuttgarter nachtichten_ 1998
a success in milan_ put two bodies capable of
animating two costumes with a most powerful visual impact and you will obtain a
magical show in which what can be distinguished are not the dancers, but only
the lines of clothes diabolically designed to create games of forms and lights.
it looks easy but it took sonia biacchi, director of the theatre centre of
research from venice, to put into practice this "synthesis" show in which all
the senses are invited and in a way, forced to join.
_il giorno_ 2005