“I come from a mountainous land. Where I am from, we escape by taking risks. Mountains will await you throughout your entire life. They define the vertical horizon of the child’s imagination before becoming engraved in memory. Where I am from, there are people who climb their mountain every year so as to renew their ties with that which does not change. Governments change, children are born, we lose our oldest friends, but mountains remain forever, unchanged. The wonderful thing about an encounter outside of time is that on every such occasion, we discover that we are different, transformed. A performance for an actor is sometimes one of the places where he can escape within himself. He will continue to tell these stories, and each time he does, he will find that he has changed. Icaro is one of the mountains I have been climbing for the past nineteen years. Through theatre, I strive to rain in the eyes of others; a moist massage for the soul”. Daniele Finzi Pasca

« The language of acrobatics, of physical theatre may easily conquer a territory where it is neither night or day, where light doesn’t touch reality but designs it, invents it or reinvents it. The language of the acrobats titillates our unconscious, making us see inner landscapes that appear truer than reality. Dali’s landscapes are set during night or day? The answer: neither, Dali’s images belong to another dimension, the dimension of dreams.» Daniele Finzi Pasca

« The language of acrobatics, of physical theatre may easily conquer a territory where it is neither night or day, where light doesn’t touch reality but designs it, invents it or reinvents it. The language of the acrobats titillates our unconscious, making us see inner landscapes that appear truer than reality. Dali’s landscapes are set during night or day? The answer: neither, Dali’s images belong to another dimension, the dimension of dreams.» Daniele Finzi Pasca

“Stage gutted, technicians and actors move like cats in the dark as they get ready, slowly immersing themselves in the story. And it will be the story that little by little envelops the spectator, the story of a book given as a present, of a garden to build, of a fight that we all, sooner or later, will have to experience and face. Julie believed that everyone should try to build an inner garden to take shelter, to welcome those whom we love, those who got lost, and those whom we would like to discover. So now we are going to tell this story, with a bench and a garden. And there will be the fragility that each of us defends with shells and armours. The lightness of the memory of her laughter, her booklets full of notes and calculations, her advice and her dreams. The mission of each life is to build an inner garden where we may take shelter, where we may welcome those we love, those who have lost their way, those whom we would like to meet in intimate and reserved surroundings. We have often told stories confined to closed spaces, imagined in the secret box […]

« The language of acrobatics, of physical theatre may easily conquer a territory where it is neither night or day, where light doesn’t touch reality but designs it, invents it or reinvents it. The language of the acrobats titillates our unconscious, making us see inner landscapes that appear truer than reality. Dali’s landscapes are set during night or day? The answer: neither, Dali’s images belong to another dimension, the dimension of dreams.» Daniele Finzi Pasca

“Stage gutted, technicians and actors move like cats in the dark as they get ready, slowly immersing themselves in the story. And it will be the story that little by little envelops the spectator, the story of a book given as a present, of a garden to build, of a fight that we all, sooner or later, will have to experience and face. Julie believed that everyone should try to build an inner garden to take shelter, to welcome those whom we love, those who got lost, and those whom we would like to discover. So now we are going to tell this story, with a bench and a garden. And there will be the fragility that each of us defends with shells and armours. The lightness of the memory of her laughter, her booklets full of notes and calculations, her advice and her dreams. The mission of each life is to build an inner garden where we may take shelter, where we may welcome those we love, those who have lost their way, those whom we would like to meet in intimate and reserved surroundings. We have often told stories confined to closed spaces, imagined in the secret box […]

« The language of acrobatics, of physical theatre may easily conquer a territory where it is neither night or day, where light doesn’t touch reality but designs it, invents it or reinvents it. The language of the acrobats titillates our unconscious, making us see inner landscapes that appear truer than reality. Dali’s landscapes are set during night or day? The answer: neither, Dali’s images belong to another dimension, the dimension of dreams.» Daniele Finzi Pasca

« The language of acrobatics, of physical theatre may easily conquer a territory where it is neither night or day, where light doesn’t touch reality but designs it, invents it or reinvents it. The language of the acrobats titillates our unconscious, making us see inner landscapes that appear truer than reality. Dali’s landscapes are set during night or day? The answer: neither, Dali’s images belong to another dimension, the dimension of dreams.» Daniele Finzi Pasca

« The language of acrobatics, of physical theatre may easily conquer a territory where it is neither night or day, where light doesn’t touch reality but designs it, invents it or reinvents it. The language of the acrobats titillates our unconscious, making us see inner landscapes that appear truer than reality. Dali’s landscapes are set during night or day? The answer: neither, Dali’s images belong to another dimension, the dimension of dreams.» Daniele Finzi Pasca

“When the Cirque du Soleil approaches creators it asks them to venture into new scenographic and narrative territories. (…) We started from stereotypes… in order to overturn them. Ubiquitous slowness? We replaced it with speed – that of the Tarahumara, a Mexican people who live in the mountains and can run up to 200 kilometres non-stop, barefoot or wearing light sandals. Speed thus becomes an interesting element in circus language too, with its quest for extreme performance, thanks to magnificent acrobats and gymnasts drawn from around the world. For us, then, Mexican people display a great physical and spiritual capacity to go beyond incredible limits.” Daniele Finzi Pasca

“Corteo, which means “cortege” in Italian, is a joyous procession, a festive parade imagined by a clown. The show brings together the passion of the actor with the grace and power of the acrobat to plunge the audience into a theatrical world of fun, comedy and spontaneity situated in a mysterious space between heaven and earth. The clown pictures his own funeral taking place in a carnival atmosphere, watched over by quietly caring angels. Juxtaposing the large with the small, the ridiculous with the tragic and the magic of perfection with the charm of imperfection, the show highlights the strength and fragility of the clown, as well as his wisdom and kindness, to illustrate the portion of humanity that is within each of us. The music, by turns lyrical and playful, carries Corteo through a timeless celebration in which illusion teases reality.” Daniele Finzi Pasca