Fabrizio Crisafulli, Place, Listening, Relation

[1]His most recent publication on the subject is ‘Teatro dei Luoghi. Lo Spettacolo Generato dalla Realtà’, with a preface by Raimondo Guarino, Artdigiland, Dublin 2015. The book, the result of a long elaboration, gives a reflection that has unfolded over at least a fifteen-year period, documenting the importance that the moment of conceptualization and theory play in the author’s artistic practice. This book follows by a few years the beautiful volume dedicated by Crisafulli himself to another theme that is particularly dear to him: the light in the theatre: cf. Id., Luce attiva. QuestionidellaLuce nelTeatro Contemporaneo, Titivillus, Pisa 2007.

[2]Thus, referring to Mike Pearson, Site-Specific Performance, Palgrave McMillan, Basingstoke 2010, he observes how the definition “site-specific performance” is too generic and fails in precisely defining phenomena. This is also demonstrated by the proliferation, in recent years, in international studies on the relationship between theatre and place, of a number of other definitions that attempt to identify more than the site-specific wording, “making appear from time to time, before the terms theatre or performance, adjectives such as site-conditioned, site-determined, site-referenced, site-conscious, site-responsive, site-sensitive, context-specific, site-based, site-dominant, site-adjusted, site-sympathetic, site-generic and many more”(Fabrizio Crisafulli, Il teatro dei luoghi…, cit., p. 71).

[3]Fabrizio Crisafulli, Teatro deiLuoghi …, cit., p. 28).

[4]Ibidem.

[5]Ibidem.

[6]Ivi, p. 45.

[7]Ivi, pp. 109-110.

[8]Ivi, pp. 111-112.

[9]Ivi, p. 40.

[10]On this show,see the beautiful book by Alessandro Smorlesi, In Flagrante. Fabrizio Crisafulli’sTheatreMeets YasunariKawabata, with a preface by Renzo Guardenti, Letter Ventidue, Syracuse 2018.

[11] See NikaTomasevic, Body of Light by Fabrizio Crisafulli and Alessandra Cristiani: a theatre of phenomena, in “Sigma. Magazine of Comparative Literature, Theatre and Performing Arts”, vol. 3, 2019.

[12]See Mike Clark, Tower of Power. Lighting Denmark’s Energy Tower for Lysfest, in ‘Live Design’, December 2016, pp. 68-77; Bjørn Laursen, The Substance of Light. Impulsby Fabrizio Crisafulli in Roskilde, Denmark, in ‘www.unclosed.eu. Art and beyond. Quarterly magazine of contemporary art’, a. IV, no. 13, 20/01/2017, Url:<http://www.unclosed.eu/rubriche/sestante/esplorazioni/174-la-sostanza-della-luce.html>; Id., Perception, artistic process, pedagogy, in AA. VV., The theatre of Fabrizio Crisafulli. Theatres of Diversity Award – ANCT, insert of the ‘European Catharsis-Theatres of Diversity Magazine’, a. XXII, no. 73-76, December 2016-May 2017, pp. XVI-XXIII.

[13]See Fabrizio Crisafulli. Ambiente # 1, 01-30.12.2018, file of the catalogue of AA.VV., Macro Asilo Diario, Edition Macro – Museum of Contemporary Art, Rome, 2019.

Installazione in stanza buia di un reticolo al neon e in primo piano in basso sagoma oscura sfocata di una persona di spalle