SA: Please introduce yourself to us...

CS: swooopshhhhhplaktaaaaaaaaaammmmmmmmmmh

SA: The beginning and the end of something in time and space, real limits, superimposed cultural frames or anything else?

CS: Anything else

SA: When did you decide to dedicate your life to dance and performing art?

CS: I have not decided yet but I’ll think about it..sometimes, when I can stop moving around!

SA: Who were your teachers, or your reference point during your artistic evolution? Is there a performance, or a performer, that impressed you in a particular way?

CS: Vicente Saez with which I worked for 4 years, before him Oscar Dasì (same school as V. Saez-ROSAS), Carmelo Salazar, Loren Potter, I remember with special attention Lisa Nelson, Steve Paxton’”friend”… by the chance many others are in my bodymind!

SA: Tell us something about your choice to come back to Sicily after performing and working ten years abroad...

CS: It was not a real choice to tell you the truth. In 1999 after playing a main role at the Skane National Theatre in Sweden for one of their productions, my ex partner (man) at that time decided to move to exotic Sicily pushed by that false reason any foreigner (not just) can hold on when is thinking about it.

I thought, than, that after ten years I was living abroad It could have been time to get back and start working for Cinzia Scordia and partners here in exotic sicily.. other than remembering where I was from to say what I had to.

I founded Ago together with other 4 in 2000.

SA: It seems to me there are at least two Cinzia Scordia...when you say “working for Cinzia Scordia and partners...

CS: yeah! “One” is for everybody, an other is for me-body. Second one is most important off course for myself. Cm’on I was joking! Pretending…

SA: Would you give us some examples of positive and negative stimulation this country gives to you in the development of your work?

CS: Indolence as I can visualize it and move over and indolence as I can get sucked in by it.

SA: What're your ideas about social, civil and political theatre?

CS: Nooooooooo ideas, just germs and some distorted images_

SA: Is there, or there should be, an ethic in dancer job?

CS: If is possible to differentiate between being sportive and politically correct, maybe!

For sure is an advantage…but I’ll tell you about it privately.

SA: I know it's hard to say, but what's the role of the artist in today's world?

CS: Chimney-sweeper or plumber kind of role..you know!

SA: Somebody says that chimney-sweepers can talk to the angels, I remember a couple of William Blake's poems, and on the other hand, maybe, plumbers can speak to demons of underwold. So, don't you think this is anyway a privileged, even if sometimes unconfortable, role and point of view?

CS: Sometimes…but..angels are of two kinds, still angels anyway. Would they be angry or envy about each other? Just privileged I would say.. it is not my case thought. Would you ask to a postman if he feels privileged? About a plumber? Illusion compensate desire!

SA: Could you tell us something about your work on Queneau's “Les Fleurs bleues” and “Exercices de Style ”? Why did you decide to work on this writer?

CS: I read almost all Queneau’s works because I found there a language which was so balanced between “mathematic and wording”, while it is crazy, scientific, realistic and surreal.

That gave me hints and understandings for my own work. At the end of the day, other than at the beginning, a language is to communicate.

SA: But a language is also a system of symbols and rules with a meaning more or less univocal. This is what often happens in mathematic and wording for example, but not always in music. Could we say dance and movement in genre are languages?

CS: We can say so! Without conjectures.. language is one of the most ambiguous of human’s inventions. About Sicilian gesture? Are they univocal or…? Quality is quantity!

SA: Where is the line between real and virtual for you?

CS: Where is it? Come on…I won’t tell you!

But I can say that lies where the line between private and public is… sometimes

SA: What do you mean for virtual?

CS: I do not mean..

SA: Is the dialectic body-mind important in your job?

Especially when I speak Sicilian dialect with my body.

SA: It would be interesting if you tell us what your body answers to you, and in which idiom...What's your relationship with Sicilian dialect, do you... and does your body speak it as a mother tongue?

CS: Yes. But sometimes it speaks Arab also and there I have some problems.

SA: Which is the role of music in your work and in your life?

CS: Best partner, no role! Is.

SA: Could you tell us more about your music tastes... ?

CS: mhhhhhhhhhhh

I like…..tasty music! (Check in my repertory..)

SA: What about dance interaction with other forms of art and/or with technology?

CS: It is not possible to avoid it, but it would be nice sometimes to be bleached (other than contaminated)!

SA: Could you explain the meaning of A.G.O. for our readers?

CS: Association of occasional genes (or genius, not really!) as they wish. In Italian you can explain that it plays with these two means.

SA: Just a few word about Doc. and Y+Quasar two projects you are working on during these days...Virtual and real world?

CS: Not so virtual thought, quite private, very public..I suggest to you to come and tell me about those two un-virtual projects on the 17Th and 18th of oct. in Catania, come on!!!

SA: What about your next projects and performances?

CS: Next is next, now Is enough, I promise!