Ivan Manzoni’s show is a work in progress of possible infinite shapes combining the power of water and performers’ dynamism, a mix critics define “physical theatre”.
The scenographic machine is made up of an imposing metallic structure generating an impetuous waterfall which the dancers/acrobats interact with.
Harnesses, elastic ropes and swings amplify the artists’ movements pushing their boundaries closer to acrobatics. Lighting and shadowing effects model the water flow and turn it from a transparent veil into an almost impenetrable wall, giving way to an enhanced spectacular effect.
The body language on stage develops in its most disarming simplicity; experimentation steps away from choreographic research and a performance made up of images, colours and music, fathomed in the depth of hypnotic powers, comes to life.
Waterwall takes the audience into surreal atmospheres, trespassing the gates of individual imagination. Dramatic, intimate or lyrical moments alternate in a timeless vortex where the only thread is water.
Waterwall is one of the longest running Italian shows. It has been seen by over two million spectators since its debut in 1999 and has been presented at important theatre shows and festivals worldwide. It has been set in historical theatres, squares, on beaches, in abandoned factories, in parks, and on floating platforms on rivers. With its strong visual impact, the show ensures an experience which involves and moves all sorts of audiences.
Waterwall and the waterfall which makes up its scenography can be reshaped and customised for events, conventions, presentations.
For concerts, fashion shows and other events, the waterfall can be used as a dynamic backdrop, with the possibility of including a dry passage in the middle for presenters, singers, models and guests to walk on.
The water wall can also become a sort of liquid display to project logos, images and videos.
“Waterwall” is a wet brand which moulds dreams and ideas and where the body strength, sound and lighting of an excellent creative team meet up in a series of different representations. “Waterwall” transforms conventional spaces giving rise to hitherto unknown dimensions, giving meaning back to the sense of movement and creating emotions which the spectator perceives as a sensory experience.
C.Magun, REGISTRO DEL ESCENARIO
This is an unusual and daring show which is based upon the presence of a natural element - bearer of life and energy - like water. Alienated from contemporary intellectualism and solely outstretched towards the splendour of the human body in all its strength - rather than its beauty – it has been able to satisfy entirely the public thirst for a spectacular show as well as physical achievement.
Paola Pariset, IL TEMPO
“Waterwall” appears to be wild, spectacular, a sort of a cross between extreme sports and the discotheque La Fine del Mondo, and it is most definitely a different type of show – in dance terms – in the programme of the New Territories Festival. However, this is a festival which intends to eliminate frontiers and “Waterwall” most certainly has an effect in this direction, in a way that is wholly entertaining.
Mary Brennan, THE HERALD
Ivan Manzoni seduces the audience through his cleverness and his lyricism. This time round he has come up with an astonishing painting, right out of the imaginations of the likes of Dalì or Magritte. Manzoni adapts the movement of water into a sort of magical acrobatics surfacing right into the middle of an unforgettable performance. With “Waterwall” you’re setting off on board a boat which sails in the choppy and muddy waters of dreamland.
Kerenn Alkaïm, LA SEMAINE
An uproar of lighting effects, acrobatic evolutions and surprises – a real discharge of adrenalin.
Chiara Benedettini and Barbara Trigari, BACKSTAGE
This is dance theatre as playful, gravity-defying pop spectacle and engineering feat. and well-suited to the wider scope of an al-fresco staging. There’s undeniable sensory pleasure to be head in the clean noise of running liquid (underscored by Domenico Mezzatesta’s throbbing beats, buzzing vocals and aquatic ambient soundtrack) and the varied, vulgar coloured lights that play upon it.
Donald Hutera, DANCE EUROPE
It is a stimulating choreography because of the potentialities which it expresses. It is the exploration of a different way of intending dance, in which the expression is realized through the use of the body, by its moving from air to water and vice versa. It opens up unimaginable sceneries on the level of expressiveness and of artistic communication.
Roberto Iovino, LA STAMPA
Maria Agatiello, Elena Annovi, Elisa Bazzocchi, Valentina Beretta, Lydia Colombelli, Serena Ferri, Simone Fusco, Marika Gangemi, Marco Gerace, Micaela Lancione, Daniele Redavid, Marco Ticli, Monica Vallini, Marco Zanotti
Gianni Melis, Antonio Grandi