Review: Visavì Gorizia Dance Festival – solos and duets that punch above their weight

The 2026 edition of the Visavì Gorizia Dance Festival offered audiences more than just its headline large-company performances. Among the festival's diverse programming, a series of intimate solo and duet works stood out for their intensity and originality, proving that compelling storytelling in dance requires no grand cast.

One of the festival’s remarkable presentations was Davide Tagliavini’s solo piece Special K, staged at the Nuovo Teatro Comunale in nearby Gradisca d’Isonzo. Tagliavini, also the choreographer, delivered a semi-autobiographical performance that intertwined personal memories with a tribute to Kate Bush. The title cleverly references a breakfast cereal while alluding to the artist’s affectionate nickname for Bush. Through dynamic movement and continuous spoken commentary amplified by a body microphone, Tagliavini navigated episodes from his youth, including his roots in the town of Sesso and his participation in the annual Folkestone event celebrating Bush’s iconic 'Wuthering Heights' video. The performance incorporated interactive projections by Cinzia Pietribiasi, enhancing the narrative with vivid imagery. A notable moment featured the arrival of Bush’s signature red dress onstage, which Tagliavini donned before engaging the audience on a filmed journey through London and Folkestone. This blend of humor, homage, and personal reflection made Special K a standout for its inventive approach and infectious energy.

The festival also spotlighted the BAMBU project, fostering artistic exchanges between African and European artists. This year’s contributions came from Stéphanie Mwamba of the Democratic Republic of the Congo and Diana Odhiambo from Kenya, who each presented solo works in the Sala Bergamas studio theatre. Their performances delved into the complex realities of women’s roles within African societies, addressing themes of political violence, trauma, and resilience. Mwamba’s piece, Kizazi, meaning 'womb' in Swahili, used symbolic imagery—such as hair cascading into a bowl of petals—to evoke a space of peace amidst turmoil. Projected text recounted a tragic episode of mass violence against women in Goma prison in 2025, grounding the piece in urgent contemporary history. Odhiambo’s Thin Line explored the often silenced narratives of African motherhood, employing a red fabric as a visual metaphor for intergenerational connection and the birth process. Her restrained yet powerful gestures, combined with moments of silence and covered mouths, communicated the struggle for voice and recognition. A multilingual discussion following these performances further illuminated the artists’ experiences and intentions, with organizers facilitating cross-cultural dialogue.

In a contrasting yet equally engaging presentation, the Czech-based Dancehood collective offered Childhood Time, choreographed by Ukrainian artist Yana Reutova, who relocated to Prague following the conflict in her homeland. This piece featured four dancers interacting with children from the audience amidst an evolving landscape of foam-rubber shapes that transformed from a bedroom to playground and village settings. The inclusion of live children onstage created a spontaneous dynamic, highlighting diverse childhood personalities and emphasizing the themes of growth, play, and adaptation. The live musical accompaniment of Ukrainian folk songs and carols added a poignant cultural layer, enriching the performance’s emotional depth.

Unexpectedly, the festival also staged a compelling duet in the foyer of Gorizia’s Teatro Comunale Giuseppe Verdi. Choreographed by Marianna Basso, The King Is Love featured dancers Elia Allemano and Filippo Bonelli in a physically demanding and emotionally charged exploration of love as an invisible, governing force. The piece’s choreography balanced tenderness with confrontation, as the performers alternated between moments of vulnerability and intensity, executing lifts and falls on the unforgiving floor just inches from an attentive audience. The young dancers—Allemano aged 20 and Bonelli just 17—demonstrated remarkable skill and maturity, their performance resonating with contemporary discussions around youth and violence by presenting an alternative narrative of connection and truth.

Festival director Walter Mramor introduced this duet, underscoring its significance as part of the broader Contemporary ACNE program, which nurtures young dancers aged 13 to 20. The proximity between performers and audience in this setting added to the immediacy and impact of the work.

Across these varied performances, the Visavì Gorizia Dance Festival 2026 highlighted the potency of small-scale dance works to convey profound and diverse stories. From personal reminiscences and cultural celebrations to poignant social commentary and explorations of human relationships, the featured solos and duets underscored the festival’s commitment to artistic innovation and cross-cultural dialogue.

These intimate performances, presented alongside the festival’s large ensemble shows, enriched the event’s narrative complexity and demonstrated the breadth of contemporary dance’s expressive capabilities. While the festival’s main stage attracted larger audiences, these smaller offerings proved equally vital in fostering engagement with pressing social themes and personal histories through compelling movement and theatricality.

Information on the full festival lineup and future editions remains limited at this time. However, the 2026 festival’s diverse programming and the emotional resonance of its featured works reaffirm Visavì Gorizia’s place as a significant platform for international contemporary dance.

Reported by gramilano.com, this coverage reflects the festival’s successful integration of intimate dance presentations alongside more traditional large-scale productions, contributing to the ongoing dialogue about dance’s role in cultural and political expression.