(...) One of the most profound examples of dance theatre on the Turin scene, in which the three characters become evocations, unconscious parts of stories suspended between reality and dream. Giovanni Bertuccio, Whip Art

(...) This Alice possesses a unique narrative force, born of tenderness and an absolute yet controlled pathos. The choreography leads the audience into an intimacy with a bittersweet flavour, awakening a feeling of trusting, deeply moved gentleness towards the fantastical narrative. In this Alice, autumn is transformed into a second spring, leaving the spectator enveloped by soft colours and by the beauty of the ending, where a silence full of emotion accompanies the rediscovered bonds. Fifty minutes of pure poetry. Michele Olivieri, Danzaeffebi

(...) Zerogrammi’s choreographic language is governed by a “grammar of clouds”: a light lexicon of grimaces and sighs, waiting and pursuit, winks and nursery rhymes. In Alice, as in many earlier works, we find all the ingredients that have made the company one of the most interesting presences in contemporary dance: the care devoted to choreographic structure, the evocative power of images, the refined use of stage space, and attention to dramaturgical development. Maddalena Giovannelli | Stratagemmi

(...) Like an epiphany, the scents, flavours and lights of distant days arrive alive—sleeping in memory and awakened in the present, when emotion reconnects them to us in all their freshness. It is a melancholy euphoria that imbues this nostalgic warmth of passing time and falling leaves, red-veined, large and palmate, covering an “autumn garden” lost somewhere beyond. In this space, the rules are those established by Zerogrammi’s The Grammar of Clouds.* Lucia Medri, Teatroecritica

(...) The performance is a fluid composition of gestural, sonic and visual signs, recreated in a unique communicative mode: never didactic, always suggestive and evocative. The complex combination of different dramaturgical elements reaches the audience in an incredibly direct and effective way. The Grammar of Clouds is a language without syntactical rules, yet clear and readable in every gesture; it leaves no traces, but fills places. It is the punctuation of a blank page, a story written without ink. Alice Giuliani, Nucleo Art-Zine

(...) Wonder is visual: it lies in their bodies, in their stumbles, in the aerial dance of lit, swaying chandeliers, in the joyous regression to a state of the illogical. Salvatore Insana, KLP

Be what you seem.

Alice’s Adventures in Wonderland, L. Carroll

The Grammar of Clouds is the system of rules governing our capacity to dream. We may turn to it when it seems that there are no unknown places left to visit, no forests left to explore, no seas left to sail in the hope of encountering mysterious islands. We may lose ourselves among its pages when we feel we no longer correspond to one another, and that an impending sense of uniformity is making a mockery of our differences.

Then we may call ourselves “Alice”: guardians of a land called Wonderland, light and overflowing with curious questions, falling freely towards a mysterious unknown that promises adventure.

Alice. The Grammar of Clouds tells of a backwards fall—and of a Wonderland awaiting us all, suspended in the dawn of an everlasting, tender autumn. It is inhabited by unlikely, eccentric characters, who tell a carousel of evocations and memories of a distant time shared with Alice, of whom only the echo of a hidden voice now remains on stage.

It is therefore the sweetness of memory that reigns in this nostalgic autumn garden, where it is always possible to have tea, where one may be big or small as needed. A place where, if only we chose to name them and call them to us, infinite, delicate wonders might unfold before our eyes, concealed within the smallest and most insignificant things.