reviews

'But there is no movement exactly like another; there is no flattering structure to the choreography with a section that repeats at the beginning and at the end; there is no dramatic moment: everything is a thundering cascade of steps, attitudes, contortions, tics, body movements that spring from the soul and are glued to the music. An hour of a show that flies by in infinite tension, captivated by the beauty of something that is not conventionally beautiful but that fascinates and captivates. Bravo, well done!'

CHOPIN | DOWNTOBAKER | 12.24

'His work is characterized by a continuous search for beauty in simple and pure movements, which aim to evoke strong emotions through an essential and direct language.'

SAMIA | PAC | 10.24

SAMIA | SIPARIO | 10.24

'Samia is in all of us, we are us. And we are her, them, the desperate and invisible ones of the murderous sea. The performance can only be a punch in the stomach, but it evokes hope, a transport of memory.'

“ Bolognino has an incredible capacity for invention, with a decided preference for well-orchestrated ensembles, an obsessive synchronicity that is glue but at the right moment broken into singularities almost always danced however between a thousand edges, and a thousand folds.Figures of the mind of a life in power."

RUA DA SAUDADE |TEATRO E CRITICA|05.24

"The magnificence, and this is always the case, of Adriano Bolognino's choreographies is superlative, he knows how to draw with endless reminders mysteries and declarations, beauties and distractions of the characters who try to wedge themselves in their own way into the world and its various shadows and lights."

RUA DA SAUDADE |SIPARIO| 05.24

"There is a sense of ritual in “Come neve”: the cycle of the seasons, a liturgy of rebirth and spirituality.

In connection with the space and the spectators, guided with finesse by Bolognino, Rosaria Di Maro and Noemi Caricchia transport us beyond the border line between various artistic languages, into a remote field of absolute comfort."

COME NEVE |KRAPP'S LAST POST | 02.24

"Everything works wonderfully, you can only admire so much scenic intelligence, interpretative care and compositional knowledge."

COME NEVE | Teatro e Critica | 04.23

YELLOW | GBOPERA | 02.24

"In this autobiographical reflection on one's own human story and one's artistic work, one arrives at a conclusion full of meaning: music is not necessary, the calculations are enough to transform movement into dance, as long as one recognizes oneself in one's own individuality, and one sideways glance helps to better define one's imagination thanks to a profound complicity."

"Callas is on stage, in her famous dramatic movements, and Bolognino does so by reproducing them in their repeated evolution

and as cadenced as a song can be."

DIVINA | Gbopera | 12.23

'The ten dancers challenge their own bodies, demonstrating to what extent repetition can occur, clearly, at constant or ever-increasing levels of intensity.'

SKRIK | THEATRON | 11.24

“In Bolognino's work, the dual theme of the aspiration to infinity and the condemnation to finite singularity materializes in a powerful and delicate gesture simultaneously. Disconcerting.

SKRIK | CRITICIDITEATRO | 10.24

SKRIK | MIP | 1.25

'It is a scream of desperation that the dancers bring to the stage, but also one that is liberating and regenerating.'

'A look at the rhythmic score.'

INTERVIEW | THEATRON | 12.24

“Addressing women's history is never enough, and Adriano Bolognino does so through his own authentic and singular language.”

YBIAB | THEATRON | 12.24

“A specific rhythmic code brings to life an emotional performance, where dance becomes a medium to immortalize the power of feelings that withstand the test of time.

GLI AMANTI | THEATRON | 10.24

"Between speed, pauses, slowness and rhythmicity, and that scream of the mouths just mentioned, Bolognino seems to have emotionally traced the event to reach that silent cry in which you can identify."

SKRIK | Exibart | 09.23

“A choreography that ranges from extremes of fragility, loneliness to spaces of pure power and creativity.”

RUA DA SAUDADE | QUARTA PARETE |05.24

The choreographic sign of Adriano Bolognino has traits of modernity and intimacy. Lucid and wary, his gaze rests gently on the world, in balance between the frenzy of time and the stillness of thought, as in waiting for the most exact moment for breath and action."

WHITE ROOM | Sipario | 05.22

"There are many attempts to assimilate these two figures to those of a mnestic repertoire without being able to exhaust the complexity of a new, unpublished, enigmatic, fascinating figurativeness."

COME NEVE | GaiaItalia | 07.23

"Bolognino has been able to create a sacred space-time. The scenic space is intelligently used by dancing figures that often create evocative and statuary images, broken by moments of synchrony or individual capable of giving soul and life to the death underlying the whole work."

GLI AMANTI | Teatro dams Torino | 05.22

Bolognino creates depth in the nude scene dilating the presences in space, grouping them in unison movements."

WHITE ROOM | Exibart | 04.23

"Finely chiseled his "The Lovers" translates in a visceral way the embrace between two figures of indefinite sex and mosaic skin on the background of the eruption of Pompeii."

GLI AMANTI | Danza&Danza

"in a ritual that sometimes reminds that of animals that challenge each other in beauty,

"Lovers" become a hymn to love beyond genres and time."

GLI AMANTI | Krapp's last post

"Bolognino, develops his own distinct and rigorous gestural richness."

GLI AMANTI | Exibart

"Fierce, and to the beat of fists, she strikes and collects; she flexes, gives in, collapses, reacts."

YBIAB | Valentina M.

"Bolognino, with his choreographic research, makes the gesture a disruptive language, that cuts, perforates."

Your body is a battleground

“A fate reversal that manifests itself in a fluid and millimetric creation, both sporty and tragic, perfectly executed in perfect synchrony by the six performers.