// in collaboration with Brotfabrik Bonn

// Premiere: 20. Februar 2005, Brotfabrik Bonn

// Touring: 2005: Performancetage Salzburg, ARGEkultur (Austria) / Festival "Spiele ohne Grenzen", Theater im Ballsaal, Bonn / Festival "Theater für alle", Schwankhalle (Bremen)

// Touring 2006: Künstlerhaus Mousonturm, Frankfurt/Main / "Scènes Valaisanes": Théâtre Interface, Sion (CH)

// Powered by: Kunststiftung Nordrhein Westfalen / Bundesstadt Bonn


This project was a collaboration between two friends, Antony Rizzi and Rafaële Giovanola, who were long-time members of the Frankfurt Ballet. What emerged was both an absurd and poetic multimedia solo performance, by means of movement, text and video which carried the piece through an ironic reflexion of the search for self.



Direction and Choreography: Antony Rizzi /// Choreography and Dance: Rafaële Giovanola /// Videos and Sound Design: Antony Rizzi /// Lighting Design: Markus Becker /// Photography: Klaus Fröhlich



"Rizzi and Giovanola find ... an impressive closeness. The premiere was a triumph!" (General-Anzeiger, Bonn)


"Giovanola gives a compelling performance full of emotion and expressiveness, ignoring boundaries between dance, theatre and film." (Kreiszeitung, Stuhr Wehyer Zeitung, Bremen)


"Rizzi has created an exciting solo for the petite dancer who radiates a sensitivity and attentitiveness. Straight to the heart Rizzi manages to shape and convey the image of a personality through a brilliant mix of dance, video, music and photography. The dancer's pure movement fascinates us. The solo seems to have been created just for her. Giovanola is a dancer who goes her own way, who is, at the same time, observed for a while: A stranger becomes a friend." (Main-Echo)


"Tony Rizzi possesses an extraordinary view of people, things, detail. He even covers an entire wall with square Polaroids; marvelous puzzles that tell stories. For WHAT THINK EYE, he places Polaroids in front of a camera, and superimposes them, providing Rafaële Giovanola a tapestry of slightly different moods to which she can perform. She does this brilliantly. A large portion of the movement, however, describes the usual insanity of life. The choreography is an assault on the body, propelling it one way and then another, demanding on the limbs. One is never certain where the mastery over the dance lies, with the dancers or with the power of the choreography." (Frankfurter Rundschau)