Flavia Zaganelli +

Placebo Dances

Italiano

The delicacy of approaching is not for the eyes.
Like disoriented lovers, we wander
with gentle pretenses and powerful intuitions,
celebrating the salvation of feeling in advance.
We are erotic clairvoyance.
Antidote to dark times, we whisper an unbreakable wish:
to smile at each other, to recognize us,
and if a desire exists, to surrender.
(Our power: to feel pleasure)


Placebo Dances
is a broad investigation on and towards Pleasure.

It is a tendency, an inclination toward a condition of openness, connection, rest, bliss and enchantment that might favour pleasure toward oneself and others so to question the situatedness of our bodies and their positioning in the world.

In Placebo Dances we look for postures that are shaken by desire, that gently disrupt the bodies and make them waver, to find a closeness that makes erotic our being in the world.
Pleasure as salvation in times of catastrophe.

Placebo Dances, by questioning the positioning of bodies in the world, lends itself to become an open relational device to be developed in different forms: workshops and moments of sharing with the communities (professionals and non-prof and people interested in the topic) through both a body based approach and a theoretical level; performative moments and rituals to generate a connection between observed and observer, between moving and static bodies, seeking for closeness and intimacy.

Credits

idea
Flavia Zaganelli

performance, research María Durbá, Lucrezia Rosellini, Flavia Zaganelli

choreographic assistant Agnese Gabrielli, Federica Iannuzzi
sound Krzysztof Bagiński
lights Fabrizio Piro
production Associazione L'Altra, Flavia Zaganelli
mentoring Silvia Bottiroli, Maria F. Scaroni
promotion in dialogue with Irene Rossini
hybrid support Valentina Felicetti, Elena Mattioli, DAS, Francesca Siracusa, Agnese Banti, Genny Gennaio

The project won Boarding Pass Plus Dance 2023 a mobility grant in collaboration with Santarcangelo Festival (Italy), Moving in November Festival (Finland) and IIC Helsinki and Liisa Pentii+Co Studio.

Sustained by Santarcangelo Festival, Lavanderia a Vapore nell'ambito del progetto residenze coreografiche, Alchemilla, Graner, IIC Barcellona, Dom Utopii, IIC Cracovia, Fuoriprogramma Festival, Altes Finanzamt-Berlin.
all'interno di LANDING, progetto sostenuto dal Ministero degli Affari Esteri e della Cooperazione Internazionale realizzato da Santarcangelo Festival. Si ringrazia l’area Export di ATER Fondazione per il prezioso supporto

Accessibility
Immersive performance in close proximity between audience and performers
Predominantly floor seating on cushions, some elevated seating available.
People with reduced mobility welcome.

Premiere
Santarcangelo Festival 10, 11, 12 July 2025


A Relief for Our Nervous System by Girts Estere Dubults
Satori.lv
(automatic translation form Latvian)

"...We look at one another and notice the relationships between the three bodies. They hear one another, follow each other’s exhalations and respond with movement. Gradually, the breathing quiets and the bodies surrender to a continuous circular movement that encompasses their backs...The repetition of the movements encourages us to relax. The atmosphere becomes predictable and therefore safe. The circling of the spine is like a massage for all the nervous systems in the room...the pleasure offered by movement that has nothing to prove and owes nothing to anyone....It seems as though the room tilts slightly...Did we hug?"

Dance, a practice of emancipation by Silvia Bottiroli

"...Placebo Dances thus opens the space – both the material space of practice and encounter, and the imaginative space of what exists as potential – to the shared practice of joyful passions, and reaffirms a fundamental trait of dance: its being a practice of emancipation, of self-invention, of weaving collective dimensions in which new perceptions and different sensations take form."

Selected Press

Il corpo come rituale tra estasi e resistenza. Placebo Dances di Flavia Zaganelli.

Emilia Romagna Cultura e Spettacolo. July 2025.
"...Not a dance in the traditional sense, but a living, sensory device that traverses the concepts of pleasure, care and presence. In an age in which the body is often reduced to performance or consumption, Zaganelli redeems it and transforms it into relational matter, capable of welcoming, stimulating and destabilising. Placebo Dances is an invitation to be. To breathe together. To let oneself be traversed by that which cannot be said with words..."


Un delicato vortice di energia di Sofia Zecchinelli
Teatro e critica LAB, June 2024
“...I blink and my gaze is completely captured by the bodies of the three dancers (in addition to Zaganelli Lucrezia Rosellini and Maria Durbà ), who, resting softly on the floor, had already hovered the circular, hypnotic and elegant movement of their kisses, which would never leave me again, not even at the end of the performance. The young women seemed alone in our midst as they danced around the hearth of their own main heroic center. A feminine and masculine motion at once: a resourceful welcome, a defiant grace. The more their kisses draw free movements, the more mine feel the weight and constraints of a universal society and culture that perhaps continue to fear this...”

Next project:

electrica /ecosi'stɛma/

Dance, a practice of emancipation by Silvia Bottiroli

Placebo Dances is, first of all, a space which is both material and immaterial. The place of an encounter – between three performers, and between them and a certain number of spectators and visitors – and also the space, first and foremost imaginative and potential, of an inquiry into and around pleasure, into its relationship with the body, the skin, being together with others, and also being alone, together with others.
A striated space, unfolding in the continuous time of artistic research, which first of all constitutes itself as a practice, and specifically as a practice of care of the self. A practice, in the sense of a doing that repeats itself, gives substance to days and to one’s way of being in the world.
A practice of care of the self, à la Foucault, in the sense of a doing that has no object except its own becoming, and no subject except a self that, through the practice, is not only rethought and constituted, but also invented: an emerging subjectivity that has less to do with a specific personal identity than with the possibility of becoming a subject, both individually and collectively.

Pleasure is, for this practice, both its object and its horizon. An object of inquiry, a sensation explored and sought through the body, its movements, its relationship with music and with the various textures of the physical space; and also a horizon toward which the body positions itself, becoming a vector and a moving line, a vehicle for sensations and perceptions, and a surface through which other subjectivities, those who watch, also enter into relation with the possibility of pleasure.

The form this practice takes, the form that pleasure creates, is that of a dance, or rather of a series of dances. An open series, not defined a priori, not measurable. Not one dance but dances: plural as bodies are plural, and plural because multiple, uncountable, not destined to be exhausted or to end.

Placebo Dances thus opens the space – both the material one of practice and encounter, and the imaginative one of what exists as potential – to the shared practice of joyful passions, and reaffirms a fundamental trait of dance: its being a practice of emancipation, of self-invention, of weaving collective dimensions in which new perceptions and different sensations take form.

Un sollievo per i nostri sistemi nervosi

Un sollievo per i nostri sistemi nervosi
di Girts Estere Dubults
(traduzione automatica dal Lettone)

Sullo spettacolo “Placebo Dances” di Flavia Zaganelli al festival di teatro contemporaneo “Homo Novus”. Tutte le brevi recensioni degli spettacoli dell’edizione di quest’anno di “Homo Novus” si trovano qui.

Entriamo nella sala caldaie della fabbrica creativa “Veldze” e ci togliamo le scarpe. Nella stanza accanto, sulla sinistra, lasciamo cappotti, borse e ombrelli. Poi prendiamo posto sulla pista da ballo bianca, sulla quale sono disposti cuscini color pastello di diverse dimensioni, che ricordano delle meringhe. Ci viene raccomandato di non spostare i cuscini dal loro posto.

Sul campo bianco ci sono già tre corpi accoglienti, che ci aspettano pazientemente accanto a sé. Dopo un po’ si avvicinano a noi e ci sussurrano all’orecchio l’invito a chiudere gli occhi. Abbassiamo docilmente le palpebre, le chiacchiere si spengono e subentra la quiete. Fuori, lungo via Matīsa, passa un tram. L’attrezzatura tecnica emette un ronzio insistente. Siamo vicini gli uni agli altri, i nostri corpi riscaldano l’aria tutt’intorno. Sentiamo i tre corpi accoglienti iniziare a espirare sempre più rumorosamente, vocalizzando diverse consonanti e soffiando — come se preparassero la superficie del finestrino di un’auto o di una cabina doccia per disegnarvi sopra con un dito. Apriamo gli occhi. Durante l’espirazione, i corpi flettono e inarcano la colonna vertebrale, rilassando i muscoli del torso. Siamo tutti sullo stesso piano, a terra. Ci guardiamo e osserviamo le relazioni tra i tre corpi. Si ascoltano a vicenda, seguono le reciproche espirazioni e rispondono con il movimento. Con il tempo, i respiri si fanno più silenziosi e i corpi si abbandonano a un movimento circolare continuo, che avvolge le loro schiene e, nel corso della mezz’ora successiva, porta in evidenza ciascuna delle trentatré vertebre — cervicali, toraciche, lombari, sacrali e coccigee. Allo stesso tempo si rivela il cingolo pelvico con le anche — le ossa iliache, ischiatiche e pubiche. Improvvisamente inizia a suonare una musica elettronica ad alto volume, che diventa sempre più aggressiva e contrasta con l’atmosfera di poco prima. La colonna sonora è un collage eclettico: a tratti sentiamo il francese, poi diversi strumenti di musica classica. Il movimento circolare continua e mantiene un’intensità simile in posizioni differenti — a quattro zampe, accovacciati, sdraiati, seduti, nella posizione della candela e sui fianchi. I corpi si muovono tra noi, indugiando ora più vicini alla nostra carne, ora allontanandosene. Eppure, continuamente, uno di loro è accanto a noi, a portata di mano.

Le pareti di mattoni della sala caldaie sono illuminate da lampade LED rivolte verso l’alto, ora di blu, ora di rosa. Lungo il perimetro della pista da ballo sono disposti supporti con altoparlanti e proiettori, la cui luce è attenuata da filtri. L’illuminazione è soffusa e ricorda una camera da letto o una culla. La ripetizione dei movimenti invita a rilassarsi. L’atmosfera diventa prevedibile e quindi sicura. Il movimento circolare della colonna vertebrale è come un massaggio per tutti i sistemi nervosi presenti nella stanza. I corpi si fidano di noi. Uno dopo l’altro si alzano e, accompagnati dal nostro sguardo, eseguono una danza solista, concedendoci una breve pausa dal movimento circolare incessante. A volte due corpi si incontrano in un movimento simile e si sincronizzano l’uno con l’altro. La nostra posizione statica mette in risalto la rotazione delle teste, delle schiene e dei fianchi. Siamo lo sfondo sul quale il movimento prende colore. È autosufficiente: non seduce e non flirta. Piuttosto, ci ricorda il potenziale delle nostre articolazioni e, allo stesso tempo, il piacere offerto da un movimento che non deve dimostrare nulla e non deve nulla a nessuno. Movimento per il semplice fatto di incarnarsi. Vediamo i corpi strisciare, muoversi e incontrarsi in un piccolo cerchio rivolto verso il centro. Tre gabbie toraciche forti e vigorose si uniscono in un’unica orbita. Sembra che la stanza si inclini leggermente. Il movimento circolare, senza fretta, si spegne e si placa. Sui volti dei corpi appare un accenno di sorriso. Scende un silenzio imbarazzato. Esitiamo ad applaudire. Ci farebbe volentieri un sonnellino. Ci siamo abbracciati?

A Relief for Our Nervous System

A Relief for Our Nervous Systems
by Girst Estere Dubults

On Flavia Zaganelli's performance “Placebo Dances” at the contemporary theatre festival “Homo Novus”.

We enter the boiler house of the creative factory “Veldze” and take off our shoes. In the room next door, on the left, we leave our coats, bags and umbrellas. Then we take our places on the white dance floor, where pastel-coloured cushions of various sizes have been arranged, resembling meringues. We are told not to move the cushions from their places.

Three welcoming bodies are already on the white floor, patiently waiting for us beside them. After a while, they approach us and whisper an invitation into our ears to close our eyes. We obediently lower our eyelids, the chatter dies down, and peace settles in. Outside, a tram travels along Matīsa Street. The technical equipment hums insistently. We are close to one another, our bodies warming the air around us. We hear the three welcoming bodies beginning to exhale more and more loudly, vocalising various consonants and breathing out — as if preparing the surface of a car window or shower enclosure for a drawing made with a finger. We open our eyes. As they exhale, the bodies flex and extend their spines, relaxing the muscles of the torso. We are all on the same level, on the floor. We look at one another and notice the relationships between the three bodies. They hear one another, follow each other’s exhalations and respond with movement. Gradually, the breathing quiets and the bodies surrender to a continuous circular movement that encompasses their backs and, over the next half-hour, brings each of the thirty-three vertebrae into focus — cervical, thoracic, lumbar, sacral and coccygeal. At the same time, the pelvic girdle with its hip bones is revealed — the ilium, ischium and pubis. Suddenly, loud electronic music begins to play, becoming increasingly aggressive and contrasting with the atmosphere of before. The soundtrack is an eclectic collage — at times we hear French, then various classical musical instruments. The circling continues, maintaining a similar intensity in different positions — on all fours, squatting, lying down, sitting, in a shoulder stand and on our sides. The bodies move among us, sometimes lingering closer to our flesh, sometimes moving away from it. Yet one of them is always nearby, within arm’s reach.

The brick walls of the boiler house are illuminated by upward-facing LED lights, now blue, now pink. Around the perimeter of the dance floor stand speakers and spotlights, their light softened by filters. The lighting is subdued and evokes a bedroom or a cradle. The repetition of the movements encourages us to relax. The atmosphere becomes predictable and therefore safe. The circling of the spine is like a massage for all the nervous systems in the room. The bodies trust us. One after another, they stand up and, accompanied by our gaze, perform a solo dance, offering a brief respite from the continuous circling. At times, two bodies meet in similar movement and synchronise with one another. Our static position highlights the rotation of heads, backs and hips. We are the backdrop against which the movement takes colour. It is self-sufficient: it does not seduce or flirt. Rather, it reminds us of the potential of our joints and, at the same time, of the pleasure offered by movement that has nothing to prove and owes nothing to anyone. Movement for the sake of embodiment. We watch as the bodies crawl, move and meet in a small circle facing its centre. Three strong and vigorous ribcages merge into a single orbit. It seems as though the room tilts slightly. The unhurried circling gradually fades and comes to rest. A smile flickers across the bodies’ faces. An awkward silence settles in. We hesitate to applaud. We would gladly take a nap. Did we hug?