Cirque Éloize and Teatro Sunil present Nebbia
Written and directed by Daniele Finzi Pasca
Official Website: http://www.nebbia.com/
Word from Daniele Finzi Pasca
Author and director
The fog that would float down when we visited my grandparents would swallow up the entire house. The neighborhood disappeared, followed by the entire village. Standing on the living room balcony, I would spy on the void and when the sky was very low, I would see strange things. The waves of the sea came to lick at the garden gate and hallucinations paraded along the row of poplar trees. I'd watch as lovers chased after one another. I'd see camels, elephants, soldiers returning from war… Once, I even saw myself float by. I was all grown up, driving a red car. It was often, or should I say always, a carnival...
The sound of the sea was everywhere. And when the fog lifted, mullets and bass would be lying on the road. Once, we even found a fishing boat in the village square; an entire fishing boat. Yet the ocean was 300 kilometers from my grandparents' house.
There are other types of fog; a fog that slips down over our eyes, drawing a thin veil between us and those who are already a little bit elsewhere. For some time, a fog has floated between my grandmother and me. I look a little blurred to her. Sometimes I'm my grandfather as a younger man or, in the flash of a second, just some stranger, some shadow. My grandmother has gone to the other side of the sky, which is very low. Occasionally, we see her, as the little girl I never knew, the young woman who made my grandfather's head turn, the old olive tree planted in the garden by an ancestor…
From a very early age, I've been fascinated by acrobatics. Fascinated by the movement that defies the laws of gravity, which combines strength, lightness, precision, synchronicity, confidence, surprise and risk. I like the unspoken in theater, the veiled and the gesture that remains invisible.
When the sky is very low, we see things we don't normally see. We travel in a world of memories, invented images, what we call dreams for the sake of convenience. To tell my tale of a childhood that is continually re-invented, I use geometries and the lucidity of acrobatic theatre danced on stage by an extraordinary group of performers.
