Viro is a monster, a creature cut in two who unaware of the schism, amplifies by doubling himself, his heroically self-satisfied and depressed nature. Modern wounded centaur, simultaneously tata tatillo tatone*, virile and viral because splendidly banal; handsome, bearded and well coiffed, bipolarly oriented, he drags his two parts into a synergistic, physically ungrammatical continuity; with vague elegantly chip motion, he disrobes social good manners and in the torment of a pressing sonic rhythm, acts out his gestural tics without ever breaking down the gunmetal gray of his hair. With his thoughts, disheveled those yes, he challenges the performers and their masks in the continuous cycle of embodying themselves in new forms, through the fate of a ruthless score, incidentally accessible and exigible only in a state of creative apnea, the only pass to the new twin and lobotomized state of consciousness. Blasphemous offertory of an overturned eucharist of flesh that becomes male ostension without breath and spirit, inessential and empty. 

*Tata, tatillo, tatone=(Reg) The three names are employed in the Neapolitan language, to designate the father figure, albeit with some fluctuations in meaning. 

Michele Abbondanza

Dense hatching, which at times becomes scribbling, for an exposition of contemporary Man in choreographic form, through stereotypes and clichés. The composition, borrowed from reality, is at times surgical, evoking a foreign time that smacks of indeterminacy, where a subtle and paradoxical irony peeps out as a commentary on some contemporary obsessions. The gestures belong to a collective instinct, in which each recognizes the signs of the other. Two dancers on stage, equals, opposite mirrors confronting each other. Two avatars representing the species of minuscule masculinity. Two minuscules. In continuous adherence to Byetone's electronic music, which in its squareness imposes its own rhythm on the story, Viro is a sociological score for reading our time and perhaps understanding it, ambivalently as theater knows how to do.

Antonella Bertoni

Olaf Bender aka Byetone is one of the fathers of techno music, recently included in the intangible heritage of humanity. An animator of the Berlin scene as a musician and founder of the Raster Noton record label with Frank Bretschneider and Alva Noto his music quickly became a landmark in the techno and electronic scene. Death of a Typographer is radical but still “human” work, fluid, close to the rhythms of the body and capable of generating emotions. A classic of this genre of music once relegated to the sphere of urban subculture and now definitely becoming part of the contemporary sound horizon.

Marco Dalpane