Does a new Italian dance exist? To pigeonhole the experimental experiences of our young dancers in this formula is perhaps a rash operation. The examples proposed do not justify the recognisable existence of a trend, of a strand, of a common way of addressing - manipulating, reflecting or filtering - the structures, the codes of dance. One speaks, for example, of American ‘new dance’, of French ‘nouvelle danse’. Questionable formulations too of course, and more than anything else instrumental, of convenience. But they do have a certain vague recognisability.
Michele Abbondanza, in Solo, instead ventures a dynamic comparison with opera arias. Revisited by a curious lover and desecrator.
