Flavia Dalila D’Amico: In music In Levare is placing the accent on a weak note, that relieves us for a moment from a continuous beat. In Levare, however, is also to rebel, to rise up together. For your vocation and artistic research, do you find yourself more in the first or in the second definition? What does ‘In Levare’ refer you to?
Michael Incarbone: “In levare” makes me spontaneously think of that suspended space between the resting of one step and the next, the interval in which the weight lightens giving the body a chance to open itself to a new reconfiguration. I am particularly fascinated by this moment when air becomes matter, emptiness is charged with potential, and weightlessness becomes a propulsive force. “In levare” is vertigo of waiting, suspension and momentum, disequilibrium and new direction.
FDD: Toward what horizon do the bodies in your work move and what vibrations do they absorb?
MI: In “Fin che ci trema il cuore” bodies merge into an ever-changing landscape, becoming horizons themselves. Here, the body is not just a physical presence, but matter that tends toward the fading of its own weight and the blurring of its own boundaries. Its essence is lightness, a particular composition of matter that goes to transparency, while its language is articulated in hues and temperatures through kaleidoscopic cinematic framing. These visible figures are addressed to a sensitive and concrete desire, the driving force behind the whole unfolding of the choreographic plot, namely to shift perception from the visible to the invisible in a continuous play of resonances.