ABSTRACT

  • For once, the title isn’t a trap,
    but a promise that the show
    keep in a genial and rigorous way,
    thanks the technical work and the critical vision
    of a young philosopher,
    with experiences in cinematographic direction,
    Emiliano Pellissari.

    Vittoria Ottolenghi

  •  
    To nullify the force of gravity
    and free wheeling in the air:
    the dream comes true for Pellissari’s dancers.
    A surprising show dedicated to all those
    who do not suffer from vertigoes.
     
     
     
    Panorama

  •  
    Angels and devils clash in space
    in spectacular duels.
    Lights aerobatic, flying actors, legions of souls
    that fall to the ground as leaves in the fall….
    Could be a description of a painting by Esher or Bosh,
    but we are simply talking about HELL,
    the new show by Emiliano Pellisari.
     
     
    La Repubblica

  •  
    Four acrobatic dancers fly,
    apparently free of chains of gravity.
    Suspended and vertically bouncing back,
    they launch themselves into space
    and climbing back on high,
    they love, play and dance floating in the air.
     
     
     
    La Repubblica

  •  
    A show that conquers the public
    with unusual magic effects,
    a dreamlike merry-go-round
    that turns spatial co-ordinates upside-down
    and invades the scene
    with big coloured balls
    and effervescent shapes.
     
     
    Corriere della Sera

  •  
    A male and a female body
    that flying in the dark space,
    clinging to a cloud of tulle.
    On lancinating vocal modulations
    of an aria they meet themselves,
    they bring together, they are bonded.
    What does the wizard who gave life to that
    ecstatic shock of eyes tell us?
     
    Del teatro.it

  •  
    Maybe it’s only a dream,
    maybe it’s only a spell
    through some secret magic formula
    evoked in the backstages,
    but the man flies on the stage.
    Alone.
    Simply unchaining his feet from the ground
    to occupy his own new dimension in the air.
     
    Il Giornale

  •  
     
    Dance, acrobatics, mime artists, music,
    lighting design and special effects combine
    to provide images that aim to surprise
    and involve the audience,
    accompanying them on a journey
    to the underworld
     
    La Stampa

  •  
     
    The circus
    is combined with the dance,
    the passion turns into body sculpture,
    the heart-touching music
    becomes a multifaceted form of life
    full of surprises
     
     
    Il Messaggero

  •  
     
    Dance in Dante’s Inferno.
    As the artistic director of the Filarmonica Romana says:
    “Pellisari has created a shamanic path,
    a real hollywoodian saga,
    an initiatory journey as those of Orpheus and Aeneas.
    If you survive you will not be the same.”
     
     
    Corriere della Sera

  •  
    The Dante’s Inferno
    among acrobats, mime artist and stage machinery.
    A journey into the underworld
    with six dancers-acrobats
    that challenge the laws of physics,
    transforming the theater space
    into a dreamworld.
     
     
    La Repubblica

  •  
     
    Emiliano Pellisari,
    42 years old,
    is not a simple coreographer:
    Maybe is better to define him
    as an architect of the human body.
     
     
     
    Resto del Carlino

  •  
     
    Does not exist a proper name,
    but it’s an unique
    and licensed technique
    of aerial dance,
    created by Emiliano Pellisari
     
     
     
    La Repubblica

  •  
     
    The six dancers on stage
    are not restricted to dance:
    they fly! How is it possible?
    Thus was born Inferno,
    where Dante’s damned
    become dancers floating in the air.
     
     
    Il Venerdì di Repubblica

  •  
    If Dante and Virgil
    climb up stairs and cliffs on human bodies,
    if Ulysses is a dancer
    who defies gravity inside a sail of tulle,
    if the love of Paolo and Francesca is suspended in the air,
    you are in the Hell,
    nothing but the Inferno according to Emiliano Pellisari!
     
     
    La Repubblica

  •  
     
    Bodies that challenge the gravity,
    impossible exhibition for eyes and mind.
    Crossing coreography and scenographies,
    the show is a trick for the curiosity of the spectator
    but also an extraordinary reward for the view
     
     
     
    Il Giornale

WHAT THEY SAY ABAUT US

  •  
    At the first opportunity I crossed Italy and saw “INFERNO”
    at the theater of Monfalcone.
    The audience watched amazed and enthusiastic.
    Emiliano was quiet. Its craftsmanship
    ranged from complicated artistic choices, communication,
    budgets, service audio and lighting.
    Difficult to find a person who personally driving the truck
    with the scenes and sharing the life of its dancers,
    was both a creator of extraordinary talent,
    a visionary to the point of being able to recreate
    without the resort of language, Dante’s Opera poetry.
    A great feeling and a great project raised:
    the trilogy of the Divine Comedy.
    After “INFERNO” followed “Cantica 2” and “Paradise.”
    I’m glad I helped the launch of an artist sui generis
    and a work of great imagination.
     
    Lucia Bocca Montefoschi
    Olimpic Theater Director, Rome

  •  
    Women and men, terrestrial and divine,
    mortal and immortal, that Dante
    Tells in the Divine Comedy are not bodies, but
    intelligence, memories, visions, desires, ideas, souls.
    And the souls are ethereal and unsubstantialand do not weigh.
    This insight is the physical and poetic point of support
    from which takes literally flying the preparation by Emiliano Pellisari.
    […] From Inferno to Paradiso the journey is dematerialized
    more and more: the references, never realistic, yet recognizable
    in the episodes and the various protagonists of the Poem at first,
    gradually become less obvious.
    And at the same time, more and more in focus is the visual heart
    of entertainment, into the understanding and restitution of the
    progressive loss of Dante himself,
    in the prevalence of an astonished spiritual feeling,
    in a suspended and white lightness.
     
    Sandro Cappelletto
    Academy Director Roman Philarmonic, Rome

  •  
    Some literary works are as high towers that seems
    impossible to climb. Groped impossible climbing
    description of the Divine Comedy is not just a mistake
    strategic and aesthetic, it is a logical error.
    With a single verse
    Dante is capable of inventing a whole world
    that neither a single feature film can be
    exhaustively symbolize.
    Thus it serves an operation able to jump the
    aesthetic dilemma
    (how to describe the Divine Comedy).
    Emiliano Pellisari make a difference logical and aesthetic
    creating an imaginary world, where the laws of physics
    are canceled, as in a great, incredible,
    pictorial living photo (frame,picture)
     
     
    Alessandro Masi
    Dante Alighieri Society Director, Rome

 
Dancers defy gravity and extraordinary
images appear from the darkness in a non-stop parade of effects.
 
A world where the real and the virtual
are mixed in a kaleidoscope of amazing pictures
taken from Dante’s most famous canti.
A Hell as paradoxical as Escher,
absurd as Magritte, cruel as Caravaggio.
A show where the design of light,
music and special effects combine with dance.
athletic circus and pantomime.
Ethnic and world musics create an otherworldly atmosphere
where the energy and the pace are interspersed
with calm and poetic moments of meditation.
 
Inferno is a theatrical space
in which you cancel your physical reality
and everything shows as in a daydream.
 

 
After the success of Hell, the second episode
of the trilogy on the Divine Commedy.
 
Nude bodies glimpsed through the mesh of
semi-transparent clothes, magically hovering in the air,
drawing the architecture of the Purgatory.
 
The dancers act in space by means of phantasmagoric tools:
upside down they cross stairs in every direction,
evoking the Escher’s paintings; they play with huge balloons
floated in the air, while themselves are in flight.
 
The characters’ model a sophisticated and fashionable world,
performing in a visionary and baroque illusion:
the disjoined body of two women, merged as a tarot card,
glanced from a mysterious gate.
 
Two mates wearing sizeable white clothes
have mystical dinner just as symbolic spirits
are materialized over the table.
 
The astonishing world of Dante
is represented by allegorical images of great impact and visual fascination,
with a crescendo of classical music.
 

 
The complex philosophical and theological universe of Dante’s heaven
– in a show exclusively relying on body language –
is rendered through the key of contemporary art:
Klimt, Kandinskij, Dalí, Mondrian.
 
The theoretical complexity of Dante’s universe
is solved into living pictures inspired by contemporary painting.
 
Behind every scene a concept is hidden, an idea that
the observer will catch through the symbology or the simple aesthetic intuition.
 
The figurative abstraction joins wit hthe musical abstraction
conjugating the majesty of Gregorian chants
with the great classics of contemporary music:
from Stockhausen to Steve Reich.
 
Thirteen boards,
thirteen original ideas
that will once more astonish the audience
and take his mind to the frontier of pure abstraction.
 

FROM HELL TO PARADISE

The women and men, terrestrial and divine, mortal and immortal,
narrated by Dante in his Divine Comedy, are not bodies.
But minds, memories, visions, wishes, ideas: they are souls.
And souls have no weight.
This physical and poetic insight is the basic point
from which Emiliano Pellisari’s choreography
takes, literally, its flight.
Thanks to the recovery of stage and deceiving techniques
typical of the Baroque theatre,
his dancers, acrobats and actors make quite credible,
part after part, this reconstruction of Dante’s journey.

From Inferno (Hell) towards Paradiso (Heaven)
the way is over and over dematerialized:
all references, never realistic, yet recognizable at first
in the incidents and the various characters of the Poem,
gradually become less obvious.
And at the same time,
more and more in focus is the visual heart of entertainment,
into the understanding and restitution
of the progressive loss of Dante himself,
in the prevalence of an astonished spiritual feeling,
in a suspended and white lightness.

The musical choices are carrying out the same way,
losing their weight, till to reach
an use of the contemporary production with sharp awareness,
through the filter of a recourse to electronics,
never intrusive or redundant,
always functional to the Show’s dramatic essence.