reviews

Napoli. Primo passo nelle città di sotto

A feminine group hidden in the darkness that emerges through sudden lights creates anxious territories like hardly forgotten thoughts, or premonitions of future apocalypses. This of Muta Imago is an offer for a theater made of sounds and suggestions: rhytmic steps and perfect synchronies of movements, darkness and lights merge into dramatic visions that burn the heart away. You go up again, looking for the dim light of the dusk, that consoles.
Giulio Baffi
Corriere del Mezzogiorno

With Muta Imago we’ve been captured inside the deaf bowels of the city, through some kind of centripetal force that returned us an inverted and specular perspective. The city of Naples, submerged, humid and dark seems to have suck the surface and fits perfectly with the materic, physical and performative work of Muta Imago. Here their attitude in reinventing spaces and in establishing each time a new dialectic between primary elements, body and word, finds a further chance of development.
Alessandra Bernocco
Europa

In front of the spectator ten bodies become caothic multitude but also single entity, overstepping the physical and temporal space in order to become universal. Thirty minutes of precise movements, carried on by the perfect sounds of Riccardo Fazi, that brings the spectator towards a general annulment, carrying him in a parallel dimension forty metres away from the light. Illuminating.
Marco Boccia
Il Brigante

In that humid obscurity your ear is kept tense: every sensation is amplified; the performance first work on subtraction, denying precise perceptions and sending back to the imperceptible hum of the city up above. Then in a dim light a group of android emerges, black amazons with veiled faces that marches in a perfect synchrony, advances ominous, hangs over the spectator. And in the end it melts down into an immense roar of apocalypse, a general collapse, or the implosion of this world of energy between black mirrors.
Sergio Colomba
Nazione – Carlino – Giorno

Here, absorbed into darkness and silence, the steps and the voices of the life that floats 40 metres above resonate. In the dark figures of women that look like shapeless chrysalis emerge, enveloped inside transparent cocoons: persuasive and menacing, they slope down their movements into a visual and sound score that strikes the heart.
Emilia Costantini
Corriere della Sera

The shadows and lights game makes the figures incorporeal: the bodies get mixed up, separated, multiply. The continuos bass of electronic processings, the rumours of a magma that boils, the surreal stillness of a lullaby indulge on the subliminal intention of a brief and intense loseness of one’s self, into another dimension, over the uncertain border of the presence and the absence.
Franco de Ciucieis
Il Mattino

The installation plays all its cards on acoustical and light effects and on the crisscross movement of the performers. An extremely suggestive mixture, expecially in the first part when the action unrolls in the darkness, which is suddenly and from time to time torn by multiplous lightbulbs hanged from above. A very alienating effect that steals from you any physical and stable reference, dragging you in a sort of a half amniotic half aerial floating world.
Stefano de Stefano
Corriere del Mezzogiorno

Life and death, decadence and rebirth. The show is void of any decorative excess: it could even be considered hermetic. The direction bet on the movement of the bodies and on their communicative capacity: figures that appear and disappear in front of the eyes of the spectators. A work of rigorous research that have to be certainly appreciated.
Monica Fabaro
Teatro.org

The sound of the darkness reigns over a game of black and white while the light paints the faces and the obsessive movements of the dancers. The portrait of a silent and empty city comes out of it: nothing, not even the intensity of the performance could ever scratch this picture.
Grazia Lissi
Il Riformista



				Muta Imago \| Napoli. Primo passo nelle città di sotto


	lives calendar productions assorted goods contacts reviews links italiano			Napoli. Primo passo nelle città di sotto A feminine group hidden in the darkness that emerges through sudden lights creates anxious territories like hardly forgotten thoughts, or premonitions of future apocalypses. This of Muta Imago is an offer for a theater made of sounds and suggestions: rhytmic steps and perfect synchronies of movements, darkness and lights merge into dramatic visions that burn the heart away. You go up again, looking for the dim light of the dusk, that consoles. Giulio Baffi Corriere del Mezzogiorno With Muta Imago we’ve been captured inside the deaf bowels of the city, through some kind of centripetal force that returned us an inverted and specular perspective. The city of Naples, submerged, humid and dark seems to have suck the surface and fits perfectly with the materic, physical and performative work of Muta Imago. Here their attitude in reinventing spaces and in establishing each time a new dialectic between primary elements, body and word, finds a further chance of development. Alessandra Bernocco Europa In front of the spectator ten bodies become caothic multitude but also single entity, overstepping the physical and temporal space in order to become universal. Thirty minutes of precise movements, carried on by the perfect sounds of Riccardo Fazi, that brings the spectator towards a general annulment, carrying him in a parallel dimension forty metres away from the light. Illuminating. Marco Boccia Il Brigante In that humid obscurity your ear is kept tense: every sensation is amplified; the performance first work on subtraction, denying precise perceptions and sending back to the imperceptible hum of the city up above. Then in a dim light a group of android emerges, black amazons with veiled faces that marches in a perfect synchrony, advances ominous, hangs over the spectator. And in the end it melts down into an immense roar of apocalypse, a general collapse, or the implosion of this world of energy between black mirrors. Sergio Colomba Nazione – Carlino – Giorno Here, absorbed into darkness and silence, the steps and the voices of the life that floats 40 metres above resonate. In the dark figures of women that look like shapeless chrysalis emerge, enveloped inside transparent cocoons: persuasive and menacing, they slope down their movements into a visual and sound score that strikes the heart. Emilia Costantini Corriere della Sera The shadows and lights game makes the figures incorporeal: the bodies get mixed up, separated, multiply. The continuos bass of electronic processings, the rumours of a magma that boils, the surreal stillness of a lullaby indulge on the subliminal intention of a brief and intense loseness of one’s self, into another dimension, over the uncertain border of the presence and the absence. Franco de Ciucieis Il Mattino The installation plays all its cards on acoustical and light effects and on the crisscross movement of the performers. An extremely suggestive mixture, expecially in the first part when the action unrolls in the darkness, which is suddenly and from time to time torn by multiplous lightbulbs hanged from above. A very alienating effect that steals from you any physical and stable reference, dragging you in a sort of a half amniotic half aerial floating world. Stefano de Stefano Corriere del Mezzogiorno Life and death, decadence and rebirth. The show is void of any decorative excess: it could even be considered hermetic. The direction bet on the movement of the bodies and on their communicative capacity: figures that appear and disappear in front of the eyes of the spectators. A work of rigorous research that have to be certainly appreciated. Monica Fabaro Teatro.org The sound of the darkness reigns over a game of black and white while the light paints the faces and the obsessive movements of the dancers. The portrait of a silent and empty city comes out of it: nothing, not even the intensity of the performance could ever scratch this picture. Grazia Lissi Il Riformista