some PRESS release

Interview by Rosita Boisseau about CADò performed at La Grand hall de la Villette –Paris- Télérama

à quel besoin répond cette mise en scène culinaire?
It wants to remind the connection existing between who is eating and who is not. It is a "present" for the ones that all ready have a "present" and that might not consider it...It is about a certain recognition of the fact that "the present" is lost! Or it might be...- "Food" is a present! -Grand mum use to say

que cherchez vous à créer en cuisinant tout en dansant?
A feeling of something close, familiar (but not naïf), simple as preparing food for lunch, something that in now day dance I miss..
quel rapport entre le mouvement et la nourrirture?

A similar one as the relation existing between dance and medicine.. rapport au geste fonctionnel?
It is about giving and picking up.. In Sicily, for example a feed myself a lot with what i see, hear, smell.. food is also an important issue there... experiences feed us, our body and memory respond to it.

envie de concret?
It is exactly that. When I did this work, it was for a platform organized in Palermo by CCNRB e cantieri Zisa, I wanted to put in evidence the will, other than the hunger-unger, we have in Sicily for the establishment of a proper dance field in order to face the great caos and separation that lead there which make the actions to get lost. I also wanted to talk about the need of giving which, as a paradox, is a cultural issue there.

l'importance des odeurs?
It is one of the most important sense that suggests the memory... the body one... therefore it is easier to remember on a longer term, especially unconsciously. It stimulates the appetite therefore the will of wanting in order to make the effort to pick up..

pourquoi nourrisez)-vous les spectateurs ?
I do not think i feed the spectators.. art should!?

envie de convivialité?
..In a certain way we all are quite upset, but it would be really nice to get to understand each other more and more...i am talking about the invisible line that separates audience from performers.. in life! And the yoke...

et tout ce que vous avez envie de me dire about " food dancing"?
I do not understand this question. (Sounds like "pets" food)...ah ah

Télérama n° 2820 - 29 janvier 2004
by Rosita Boisseau
La cuisine s'invite sur scène
Plateaux-repas Au menu, des pièces montées pour ne pas nourrir idiot.

Une marmite posée sur un minuscule réchaud. L'eau bout, la vapeur s'élève. Devant, une jeune femme écoute la radio, puis glisse les spaghettis en brasse coulée dans le bouillon. C'est beau, une femme en train de mitonner son plat du soir... Mais soudain, la cuisinière se jette dans une danse pétaradante, comme prise d'une bouffée délirante, pour revenir touiller ses tomates deux minutes plus tard. Le fond de sauce serait-il aphrodisiaque ? Nous sommes à la Grande Halle de la Villette, en décembre 2003, et cette scène de dancing food est en réalité une performance culinaire de la chorégraphe italienne Cinzia Scordia. Certains spectateurs, mis en appétit par les odeurs de sauce, ne refuseront pas, à la fin du spectacle, une généreuse assiette de pâtes. « Je cherche à créer une danse plus familière pour le public, commente Scordia. Ce sentiment de simplicité me manque parfois dans mon travail de chorégraphe, et le rapport à la nourriture dans sa quotidienneté me permet de trouver cette proximité. »
Désir de concret, de direct intégral, de vie palpable : l'art reprend des forces et des vitamines en allant puiser dans nos garde-mangers !

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24 Heures, Lundi 6 décembre 2004 -Losanne-
Festival Les Urbaines - ARSENIC

Les Urbaines S´exposent par Isabelle Yuong ...les festivités ne sont pas moin pursuivvies avec CADò, piece pour une danseuse traduisant sous une forme concrète et ludique la question du don. Tour a tour s´affairant en cuisine ou esquissant quelques pas de danse, C. Scordia a prepare des spaghettis qu´elle choisissait - ou pas- d´offrir aux spectateurs gourmands.
Plasir de yeux et des papilles pour une « dance food » performance a la fois simple et efficace...

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PROCESSING BBALATA

(note di Giorgio Merlonghi) –amnesiavivace- (web art magazine)

Nella tradizione siciliana, il termine bBalata indica una pietra, una roccia, una lastra, una lavagna. Una formazione rocciosa, insomma, con le sue diverse e mutevoli caratterizzazioni: spuntone crudo, costone di parete, lapide, elemento da costruzione, supporto per iscrizioni, persino luogo di incontro.
Ideato attorno alla scoperta e alla custodia di una pietra simile a un gigantesco ciottolo/cuscino, basato fortemente sulla tecnica dell’improvvisazione, lo spettacolo di Cinzia Scordia, siciliana d’origine, si presenta multiforme, abitato dalla presenza mobile della danza e dal rombare perentorio di percussioni suonate dal vivo.
Difficile trarne una impressione costante e quasi impossibile darne una valutazione uniforme, rintracciare l'univocità di un segno.
Convivono spunti di tenerezza, accenni lirici di disperazione, cicli e ricicli fondati sulla ricerca di un equilibrio, di una risposta. Si avvicendano personaggi e situazioni, si susseguono metamorfosi di costumi e di stili. Così, per un momento crediamo felicemente che sia tutto legato a quel dialogo fra la ballerina e il batterista e tendiamo il cuore per cogliere le giravolte di quel corpo vestito di bianco, corolla tessile di un fiore del deserto.
Ma all'improvviso sfugge qualcosa. È come se mancasse un ingrediente, un catalizzatore, un lievito. Sentiamo il bisogno della definizione di un filo conduttore, aspettiamo senza risultato la permanenza di un disegno chiaro. Per questo, nonostante lo spazio rivolto a respiri profondi, attese, rivelazioni, rimaniamo infine sbalzati, interdetti, privati del piacere di essere presi e condotti per mano.
amnesia vivace

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Press by succo acido (WEB ART MAGAZINE) – Antonio Leto Oct. 2008

We meet Cinzia in Catania and Palermo during the first two meetings of Y+quasar. Taking part to the first national performance of Doc. in Catania. This is a performance dedicated to all the people suffering any kind of deliberate robbery. In this performance Cinzia's movement are impulsive and really unpredictable. During the first part the sound-space collapses in a little radio breaking the silence created by the immobile presence of the musician Luca Lo Bianco welcoming people coming in. When noise and silence meet each other the wings beat of a rapid rapacious, stealthy and seductive, appears. An anomaly that can shake up the mass from indolence, liability and mass religions old and new? The encounter takes place in the middle of a well defined diagonal between a musician and a quiet little restless radio in an infinite inversion of dimensions, space, ethics and perspective ... Inevitable the fourth wall sudden collapse with consequent fear and surprise of the public who are repeatedly attacked and looted of its assets in a not new but always exciting and unpredictable script ... Who is robbed usually remain motionless thinking it's only a game and not just during Doc.Â.
italiano&english version by succoacido

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I love Sicilia magazine-luglio 09