photos Margherita Masè


choreography, dance, voice Paola Bianchi
sound design Stefano Murgia
light design Paolo Pollo Rodighiero
tutor Roberta Nicolai
outside perspective Ivan Fantini
costumes PianoB
artistic residencies Teatro Felix Guattari - Masque Teatro; Teatro Galli, Rimini
production PinDoc
with the contribution of MIC e Regione Siciliana
in coproduction with Teatri di Vetro; Città di Ebla

ASSIMILIA is the result of a long analysis around the body as a place of deposit of images, and of a long research process that developed through some steps:
  • Establishment of a retinal-mnemonic archive by asking about 40 people to identify images fixed in their personal and collective visual memory, symbolic images that underline a change in the course of history, iconic images that are fixed in personal memory precisely because of their collective value. So far, three retinal-mnemonic archives have been created: WESTERN MEMORIES; OTHER MEMORIES and BODIES OF PROTEST.
  • Creation of three Paola Bianchi’s dance solos through a long process of embodying a selection of the images received. The initial retinal-mnemonic archive enters her body and her body itself becomes the archive and repository of those images in a process of organic re-actualisation of history through an anachronic montage.
  • Each solo has been dissected and the postures of which the solo is composed have been verbally described and recorded as audio files, contributing to three archives of postures.
  • Each posture was dissected and catalogued according to an anatomical logic (body positions / right arm / left arm / torso / head / right leg / left leg). The pieces of the body, separated one from the other, were mixed according to an aleatory logic, generating figures and no longer images, in a clear reference to Hans Bellmer's dissected and recomposed dolls.
    Directed by her own voice (signifying the extent to which moral and juridical law is absorbed by the individual) and equipped with earphones, Paola Bianchi is subjected to incessant vocal inputs that forces her to continuously modify her posture without being able to follow her own will, acting exclusively in a very limited field of choice linked to variations in the tension of the body and directions in space.



A dancer wearing earphones performs a choreography under dictation. The strict instructions of a recorded voice continuously modify the posture of the performer, subjecting her to an external will which, despite its dominance, cannot completely cancel the variations of tension with which the dancer acts out the choreography. The result is an incessant conflict between the voice that prescribes and the subject that performs; a conflict that is intimately experienced on stage, a conflict to which we are made witnesses but which, on closer inspection, concerns us personally.
How sad is ASSIMILIA!