Simone Forti tra 1968 e 1979: uno “stato di enchantment”

Margherita Pirotto examines Simone Forti’s performances in the years 1968-1979, with the aim of identifying the theoretical principles and the creative process on which they are constructed. The investigated productions by Forti are improvisations based on a pattern meticulously experimented off-stage, in which the performer’s body moves with the aim of following its natural laws (e.g. the force of gravity). The resulting work is not objective, cold or “scientific” in the strict sense of the word; on the contrary, here the subjective dimension is fundamental. Indeed, after choosing her object of inspiration (e.g. animals in a zoo), Forti tries to find its moving modalities in her own body, “embodying” them through a process of empathy, unleashing what the artist terms as “a dance state”; defining the meaning of the latter is one of the aims of the present article.Margherita Pirotto examines Simone Forti’s performances in the years 1968-1979, with the aim of identifying the theoretical principles and the creative process on which they are constructed. The investigated productions by Forti are improvisations based on a pattern meticulously experimented off-stage, in which the performer’s body moves with the aim of following its natural laws (e.g. the force of gravity). The resulting work is not objective, cold or “scientific” in the strict sense of the word; on the contrary, here the subjective dimension is fundamental. Indeed, after choosing her object of inspiration (e.g. animals in a zoo), Forti tries to find its moving modalities in her own body, “embodying” them through a process of empathy, unleashing what the artist terms as “a dance state”; defining the meaning of the latter is one of the aims of the present article