The two projects that best summarize the artistic dialogue between Cinzia Ruggeri and Valeria Magli are Banana morbideand Banana lumière. Although conceived at different times, the two plays were presented together in a single show, divided into two complementary acts.
Banana morbide was played on the claquette, and, as Magli said, it was the body that produced the sound though movement:
[…] tip-tap as a web of sounds, rhythmic path, sound body. Not only a forerunner, a musical film, but a backward glance at the primitive dances, the beating of the foot on the ground […] Banana and soft, rigid and sinuous, hard and soft, soft by assonance [‘morbido’ means ‘soft’ in Italian] and morbid by meaning, a seamless path between masculine and feminine, between exchange, interaction, opposition, parallelism. (Valeria Magli, 1980)
The performance was a refined interpretation of tap-dance performed on evocative texts by Nanni Balestrini and music without melody by John Cage. It was the action of dressing in tinted and transparent veils that transformed the performance from the silly dance of a girly ‘soubrettina’ into a cold and cerebral reverse striptease. The erotic potential conveyed by the minimalist scenography – a black and white piece of fabric, crossed by a red tongue that unrolls up to the front row – was diluted and even repressed by a storyline that had no crescendo, but instead used dress to perform a caustic and cruel game of exhibiting the female body essentially by veiling it. The scene and costumes created by Ruggeri transferred the idea of a performance dress to the stage and became pivotal elements of both the choreography, at the level of poses and gestures, and of all the narrative action of the play.