PRESS REVIEWS

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"Piercing noise, sonic flesh. The speakers, one against the other and both against Picciallo, divide the stage with the dancer; they are sirens, control devices, surveillance of the contemporary being as a cyborg à la Haraway: they crush within dualism, warning those who resist the daze. They exert a seduction from which the performer escapes, slipping through the threads of sound. They deceive themselves into thinking they can enchant, dominate through fear, as if the living body were not lava. Picciallo is pure electricity, hurling dissatisfaction against the silent walls, retrieving from the noise the possibility of escaping an heteronomy of being. On the ground, a powerful maieutics of the self redraws spaces and overturns hierarchies. Silence. The very concept of hierarchy is now ash after the eruption; the stretched muscles articulate a breath capable of casting new shadows over the generative power of movement."

Bari International Gender Festival ​

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"The dominion of the body, in a physical ethic that intervenes in a class of noisy sounds, for a score of epidermal shadows.

This, and much more, was the catabasic journey of 'Lemmy B.' with Nunzia Picciallo, highlighted among transparent and wavering souls in a nudity that elevates the human to the rank of divinity. A succession of noisy intervals, the dignity of noise and its chastity, and its rigorous vocation for the ascetic triumph of the embodiment of one’s body engaged to define itself as body, beyond the limits of a body. The narrative rises to a dilemma or a question, as in Saint Augustine (and, by paraphrase, we would say): are we the body we wear? The answer lies in the shadows; the answer is in their light: the anabasis of the gift."