choreography Marianna Batelli
with Haruna Asanuma, Ayaka Furukawa, Miho Kodama.
sound Marcello Batelli
Arigato in Japanese means thank you. Thank you for the attention.
Three Japanese performers on stage immediately face a complicated experience of contact with the western audience. The attempt to fill the gap is entrusted to a restless vocabulary of the body. And so fragmented choreographic dynamics accompany verbal enunciations that seem inaccessible. The sounds of their language appear to the western spectator as an unsolvable enigma, there where the face of the other offers no clues, enclosed within its essentially neutral forms. In the effort to make contact across the proscenium, the dancers will build scores and assiduously demolish them, as the only constant they maintain becomes a preponderant physical dimension and an almost ritual attention to gesture on the stage.
ATELIER TEATRO DANZA – Founded in Belluno in 2004 and directed by Marianna Batelli, the company is distinguished by a physical type of theatre and the use of original music. It participated in the choreographic Gala – Gioco delle Forme in Saronno, directed by Giuseppe Carbone. As guests of Italian and foreign theatres and festivals, the company brought I luoghi dell’anima to the 12th Biennale de la Dance de Lyon, then to the Hivernales in Avignon, to Lavori in Pelle 2007 and the 3rd Certamen Danza Y Arte Excenicas in Madrid. The performance Traumnovelle was presented at the 13th Biennale de la Dance de Lyon, while the creation Plastikraum was a finalist in the Premio Veneto Giovani Danz’Autori in 2009 and was presented at the Dance Biennale that same year. Between 2010 and 2011, two new works were presented at the Laban in London and, also in London, the piece My Name is Norifumi was presented at the Bonnie Bird Theatre.
ASSASSINS FOR ONE NIGHT
directed by Alexey Taran
concept Carla Forte and Alexey Taran
music Juraj Kojs
with Carla Forte, Juraj Kojs, Carlos Ortiz, Alexey Taran
lighting design Andres Puig
photography Glassworks Multimedia and Vincente Forte
produced by Bistoury physical theater, trimedia & glassworks multimedia
directed by Carla Forte and Alexey Taran
director of photography Randy Valdes, Elvis Suarez
Assassins for One Night is a work consisting in a multimedia dance performance and a video installation. The piece incarnates and recreates the lives of three brothers obsessed with the idea of creating order from chaos. Assassins for One Night is inspired by Night of the Assassins by Cuban playwright José Triana, and tells the story of the struggle against the endless restrictions that are forced upon us by a system that lacks real power, of the rebellion against repression, including the kind we use against ourselves. Sometimes this restriction regards reality, other times it digs deep into the imagination.
Assassins for One Night is a cyclical performance in which the characters endlessly repeat the symbolic act of killing their own parents to gain their personal freedom. The performance brings us back to the place of our origins, it is a ritual based more on words than on actions, where the characters have no freedom of choice or alternative. The game has no solutions, for the characters the only way out is that there is no way out. One of the brothers states: “Oh, dear sisters, if only love could… if only love… because despite everything, I love you”. Assassins for One Night is a continuous and never-ending apotropaic ritual, made to exorcise the demons of crime.
Alexey Taran - Born in Santa Clara, Cuba, he earned his diploma at the National School of Art Havana in 1988. His teachers included Igor Youskevitch, Azari Plisetski, Alicia Alonso,Martha Bosch, Laura Alonso, Andres William, Lazaro Carreño, Elena Madam, Mirta Pla. His career developed exclusively in the Latin-American countries, until he moved to Miami in 2007. Between 1988 and 1990 he danced in the Ballet Nacional de Cuba; from 1990 to 1992 he was a member of the Open Dance Company in Cuba directed by Marianela Boan; between 1992 and 2000 he worked as a choreographer and performer in the Neodanza company in Venezuela. In 1992 he was a guest artist in Colombia in Alvaro Restrepo’s Athanor Danza company. In 1999 he founded and directed the Day One Improvisation Festival and the Weeks of Scramble Improvisation at Theater 8 in Caracas. In 2000 he was a guest choreographer for the Zagreb Dance Company (Croatia). In 2005, with a group of artists of various backgrounds he created the project Espacio de Revoltillo Escenico, Bistoury, which as the name indicates is intended to be a space for a revolution in the performing arts. In 2007 he moved to Miami where he continues to develop the ERE.Bistoury project for which he is currently the artistic director.
CRAZY LIGHT MOON studio 2
choreography Pietro Pireddu
with Lisa Baldi, Leonardo Carletti, Nicola Falcone, Valentina Pezzini
This work is a second study by Crazy Light Moon.
Four elements that move ceaselessly. The space is defined by the surfaces. Movement is the origin of error and error is the origin of movement. In this circle of nonsense the end disappears.
Maktub Noir – The company was founded in 2007 in Florence by Pietro Pireddu and Valentina Fruzzetti. It made its debut that year at the Florence Dance Festival with Perdidos, which was later performed in other Italian festivals and cities. Though it is not funded by public or private organizations, the company continues to produce new works, created by Pietro Pireddu, such as Solo per un uomo, Visioni notturne, Crazy Light Moon, GreenDay and Selected Realities. These creations, presented many times in Italy, were selected to represent contemporary Italian dance during the 2011 European Culture Days at the Mousonturm in Frankfurt, ECB-Italia 2011 and at the Gibney Center in New York. In addition to serving as the choreographer for the company, Pietro Pireddu continues his work as a “dancer-author”, often as a soloist.
DISTRAZIONE DI MASSA - OGGETTO COREOGRAFICO #1
choreography Raffaele Irace
with Vittoria Carpegna and Vanessa Michielon
music Amon Tobin, Peter Gabriel.
Distrazione di massa #1 is the first choreography in a homonymous project that will be developed in several phases and in different ways, creating choreographic objects that involve the concept of “mass distraction”, understood as thought driven away from reality by means of a body or object in motion, or as being stripped of rights.
Distraction: 1 – thought driven away from reality, as an individual episode or as a personality trait; 2- a thing that causes distraction; 3 - the embezzlement of goods, resources, etc. and their use in ways different than they are supposed to.
Mass: 1- a unicum of matter with an indefinite form, considered as a whole; 2 – a large indistinct quantity of people; 3 – a fundamental unit of measure, that characterizes both the tendency of a body to resist acceleration, and the power of attraction between two bodies, according to Newton’s universal law of gravity; 6 – a collection of Goods, Debts or Credits Considered as a Unit.
Raffaele Irace – He graduated as a dancer from the Fondazione Teatro Nuovo in Turin and specialized at Maurice Béjart’s École-Atelier Rudra in Lausanne. He also took advanced classes with Austin Hartel (Pilobolus), John Mead, Harris Mantafounis (the Limon technique), Douglas Nielsen (the Cunningham technique), Max Luna (Alvin Ailey – the Horton technique), Wayne McGregor. In 2005 he graduated from the DAMS at the Università degli Studi in Turin. He has performed works by Robert North, Mats Ek, James Sutherland, Austin Hartel, Carolyn Carlson, Jacopo Godani, Maurice Béjart and William Forsythe. In recent years he has extensively studied the working methods of the Forsythe Company in Frankfurt, where he met Forsythe himself, interpreting his Trio (Gärtnerplatz Opera Theatre in Munich). He teaches contemporary dance at the Accademia Regionale di Danza in Turin, and as a guest maestro at the Staatstheater Braunschweig and the Staatstheater am Gärtnerplatz in Munich and for the German Festival Norddeutsches Tanztreffen. From 2008 to 2010 Raffaele Irace has been resident choreographer of the Progetto Dimora Coreografica – Turin, supported by the Regione Piemonte, within which he founded his artistic project, The very secret dance society.
free space of a tightrope walker
by and with Lorenzo Meid Pagani
The performer, acting as himself, brings into the construction of a metal structure everything that belongs to his own life experience: visions, dreams, ideals, emotions, suffering and failure.
His thought is crystallized in moments of rare physical balance. His action becomes poetic sculpture in a unicum with the metal structure. His research will lead him to build a cage and to shut himself inside it, using it as a hiding place, to remove himself from the anxieties of the world… a cure, a resting place to learn to understand and to help.
Lorenzo Meid Pagani – He began with break-dance in 1989, participating in a large number of jam sessions throughout northern Italy and exploring the concept of writing as well. Since 1997 he has cultivated his interest in new forms of dance and music applied to break-dance; he was later introduced to contemporary dance and in 2000 became a member of Sisina Augusta’s dance Company. He participated as a dancer in Anch’io ti Amo and Macbeth, both choreographed by Sisina Augusta and directed by Paolo Valerio. For several years he has been Sisina Augusta’s assistant choreographer, specialized in teaching and assisting her in seminars and in theatre-dance lessons. His latest works, all in collaboration with choreographer Sisina Augusta, include: Tango Metropolitano, Senza Memoria, La corsa di Dona, with painter Takane Ezoe he created Itamy, a work between colour and gesture, performed at the Triennale di Milano and elsewhere. He is currently technical director of the Meid Club, a space dedicated to the realization of artistic ideas in Volta Mantovana.
installation Yukikoh Okura
choreography and performers Noriko Sasaki Dancer, Rieko Okada
In Japanese “i ki” means “breath”, “kiku” means listen, so: listen to the breath, repeated subconsciously, to prove that we exist here and now. Taking a breath is the first thing that a human being does when he comes to light in this world. Breath expresses relief, fear, fatigue and abandon. It is the memory of a spirit that is restless and becomes lost in a flurry of stimuli. In breathing, the essence of man comes to the surface, becomes real, it is nurtured by feelings that belong to our everyday world. The mimicry and essence that appear and disappear are expressed and directed by the colours of the projected images. The movements float up like breath and unfurl one after the other to test their potential. Thus dance is liberated into space and begins to find its connections and balance.
Noriko Sasaki – Dancer and choreographer, she graduated in physical education and dance at the Japanese University for Women; she then studied modern dance, jazz dance, classical ballet and traditional Japanese dance. From 1998 to 2010 she was a member of the Tokyo Kaleidoscope company, directed by Kazuyuki Futami. She began working as a choreographer in 2004. In 2010, thanks to a scholarship, she moved to study dance in Berlin. She has won: 5th prize at the 2008 Tokyo Dance Competition in the choreography section, 3rd prize at the Nakano International Dance Competition in 2004, again for choreography and 2nd prize at the Kobe Dance Competition in the Modern Dance section.
Rieko Okada – A dancer born in Tokyo, she has lived in Berlin since 2011. Trained in classical dance in Japan and in the United States – at the Matsuyama Ballet School, Palos Verdes ballet, School of American ballet, the San Francisco Ballet School, the Masako Ono Ballet Studio, Star Dancers Ballet Studio – she began her career as a classical ballerina in 2003 for the Star Dancers Ballet in Tokyo. She has danced in the Nutcracker, Coppelia, Giselle and pieces by George Balanchine, Anthony Tudor, Minoru Suzuki. In 2007 she began a free-lance career, working with Yasuyuki Endo (Ballet Marseille), Ismael Ivo (Arsenale della Danza 2009), Hokuto Kodama (Gothenberg Ballet), Yuki Mori (Theater Wiesbaden), Ko Murobushi/ST spot Labo20#20 and others.
Yukikoh Okura – A visual artist, born in Osaka, she has lived in Berlin since 2009; a graduate in Media Arts from the Seika University in Kyoto, she has exhibited in personal and collective exhibitions in Berlin and other European cities.
choreography Laura Boato
in collaboration with Sandro Bullo, Michela Dal Bo, Laura Gagliardi
music Telephone Tel Aviv, Monolake Kouala
lighting design Luca Ferro
costumes Daniel Tuzzato
“It is paradoxical how the human being so easily forgets the wonder he carries within” (Dalai Lama).
A man and a woman meet – and from the abysses of time, the hidden chasms of infracellular space, the journey begins. In the infinitely small, from the infinitely close, infinitely precious, life sparkles. An incessant buzzing to blossom in the world; and, in the world, as much and more to reincarnate as a human being. A name, a surname, one choice at a time… Who can say that they have kept the promise that was?
Incarnazione is performed by non-professional dancers: Sandro Bullo, a retired worker, Michela Dal Bo, who collaborates with the Street Educators to help underprivileged teenagers with their schoolwork, Laura Gagliardi, a student whose parents are dancers.
Laura Boato – Born in Venice in 1975, she has studied various techniques in contemporary dance (the Klein technique, Release technique, Feldenkrais method, Contact Improvisation), along with academic technique, jazz, modern (Graham, Horton, Limon techniques). She has spent long periods of time studying and working abroad, in France, Germany and the United States, working with the Compagnie Quatrième soussol with Isabelle de Saint Jorès in Paris and the Sanja Strimbakou Dance Company in New York. In Italy she has worked with Ersiliadanza, Tocna Danza, Lubbert Das, Cia, Chiara Frigo. Wit the INDACO Association – Indomite Incursioni di Danza e Arte Contemporaneo- she has authored various productions. She directs the festival A Piede Libero - Mogliano Danza and is the co-founder of REV – Rete Veneta Arti Performative. Her latest choreographic creations include: acida 1.1 – Apri gli occhi, amore mio (FIDES),Le isole non crescono, Sezione aurea, The long way home, Lonely Woman – Storie di solitudine a strisce.
choreography and performance Marta Melucci, Francesca Telli
costumes Lamula (Raffaella Spampanato)
lighting Paolo Spotti
music Nobukazu Takemur
performed by Hatzune Miku
Kawaii, which literally means “skin”, is the Japanese word that refers to the figures, mangas, characters and cartoons that are the source of a major trend among the young generations of Japanese, and have recently become popular in the western world as well. The piece is inspired precisely by this pop imagery as seen in artists such as Takashi Murakami and is part of a wider research project (“i”2008, “Coso” 2010, “Cape Cod” 2012) on how our body and our identity can be modified by lifestyle. Different forms create different capacities and display two personalities that, under their apparent “skin”, their outer appearance, conceal profound contradictions. The costumes, important elements in the performance, were created by fashion designer Raffaella Spampanato (a.k.a. Lamula) with the idea that they should influence movement as well. The music of Nobukazu Takemura is performed by the virtual singer HatsuneMike, an icon of Japanese pop.
Schuko – The company was founded by two dancers, Marta Melucci (1977) and Francesca Telli (1978). Their cultural background includes philosophical studies, physical education and design; together they shared the same training in contemporary dance. They began to work together in 2003 by bringing dance into unusual contexts such as urban sites, gardens and abandoned areas. With their lighting designer Paolo Spotti and the collaboration of artists from different backgrounds, they continued their research into both site-specific performances and into theatre productions, developing the integration between dance, design and the visual arts. Their works have been presented at the Biennale des Jeunes Créateurs de l’Europe et de la Mediterranée, at the Festival di Santarcangelo, at the IN3 Scenographers’ Festival in Basle, at Petites Scènes Ouvertes in Paris, at the Napoli Teatro Festival, at the MART in Rovereto, at Exister, Danae and at the NAO Performing Festival in Milan.
LAST TIME NEXT DOOR
Choreography by Doris Heusser
with Compagnie SLANT (6 women dancers)
music Yoko Kanno, Kroke, Henry Torgue, Karl Jenkins
Last Time Next Door creates a space in which reality and appearance become blurred. Like in a metamorphosis in which the aspect and proportions change, the dancers appear and disappear changing their manner and their gaze and transforming their cultural and social identity. The 12-minute fragment shows video images that on the one hand display a reality of their own and on the other refer to thoughts and situations in everyday life.
The short piece is playful, with movements and images that are constantly changing between concrete bodies and unusual, dream-like apparitions. Just as the bodies are transformed, so the scenes that compose Last Time Next Door bleed one into the other.
Doris Heusser – Choreographer, she studied classical and contemporary dance, earning her diploma in 2005 in Zurich, after a 4-year professional training programme. In 2003 she joined the Tanztheatre-Project by Samuel Meystre (Blauer Saal, Zurich), in 2008 she participated in the Oltener Tanztage Festival dancing in Uoma by Daniell’ Ficola and the same year performed at the Opernhaus Zurich in Genoveva, in 2009 she participated in the Tromereien Festival in Zurich, dancing in Une histoire d’amour, with choreography by Anne Rosset; in 2010 she founded the Compagnie Slant.
MANI PIENE DI VENTO
with the Tango Ostinato company (Claudia Miazzo and Jean Paul Padovani)
music Eduardo Garcia
This is a 2010 creation for two dancers and a musician. Mani piene di vento speaks of being full, full of the most poetic of movements, of the deepest essence of dance, of the invisible, of the intangible, of the ephemeral. Mani piene di vento are also those of accordionist Eduardo Garcia, who composes his music with the air created by his instrument and by the movements of the dancers. Essential to the creation, breathing is a key element that leads, follows and unites the dancers and the musician on the stage in a dialogue of movement, transition and transformation.
Tango Ostinato – Founded in 2008 in Paris by Claudia Miazzo, a dancer of contemporary dance and a choreographer, and Jean Paul Padovani, a dancer of Argentine tango and choreographer, the goal of the company is to experiment and to create original contemporary choreographic projects. Their research begins with the premise of integrating the different artistic universes of contemporary dance and tango to create a new form. The scope of the experimentation is considerable: to question our capacity of listening to ourselves and to others, our capacity to find the right balance between control and abandon, and to capture the moment in which he who guides is guided. The adventure of Tango Ostinato begins with Ostinato, commissioned by the Centre for Choreographic Development/Danse à Lille, which commissioned a new production. In 2009 the Company participated in the Les Réperages Festival (March) with their second choreography, Mani piene di vento.In 2010 the Company participated in the Tour d’Europe des Choréographes. In 2012 the company was selected by the Théâtre de Vanves for an annual residency. It was during this period that Abrazos was created.
MI CUERPO ES MI CASA – CORPO TERRA
In a field of trails, rivers and houses, three days ago we were shaken by an earthquake. Now we are ruins… the city that disappears after an earthquake is for us a metaphor of our civilization, which is now in the midst of a great tremor. And the body, the territory we live in, is the dwelling of all our experiences; the storage of accumulated memory. History and legacy. Vehicle. Individual, culture, home.
Mi cuerpo es mi casa is a solo built by analogy between the human body and architecture, between the human being and his environment. Originally the production lasted 47 minutes, and was divided into three scenes: Human Columns (the city that vanishes after the earthquake), Inner Journey (waking the subtlest of our senses), Earth Body (our bodies existing in a single house, a single place in the universe).
Pilar Gallegos – Dancer and choreographer, she was born in Mexico City where she studied classical and contemporary dance at the Conservatorio de Danza (1986-2000); she graduated in choreography from the National Institute of Fine Arts (1996-2000). From 1998 to 2002 she founded the theatre-dance company Movimiento Perpetuo, with which she won the Critics’ Award “Raùl Flores Guerrero” for the choreography Adam’s Street (1999) and First Prize Lugar Categoria B at the XXI INBA-UAM Award for Café: bebida exotica (2000). Her most recent productions include: Mi cuerpo es mi casa (2011), The Vagabond (2009), Sin Titulo (2007) and Emociòn Plastica (2002). Her career developed in the Latin American countries through 2008, when she moved to Udine, where she currently lives and works. Before moving to Italy, she had been a guest at the Leggere Strutture Factory in Bologna, at the 2nd Festival Art Tal Ort in Fagagna, at the 2nd NAO Performing Festival in Milan. She has won scholarships from the Fondo Nacional per la Cultura y las Artes –FONCA, participated in exchanges for artistic residencies between Mexico and Canada going to the Banff Center (2002), and is currently a member of the Sistema Nacional de Creadores de Arte (2010-2013). The French –German Arte channel has dedicated a programme to her artistic career (Pilar Gallegos, el juego de la casualidades, 2004).
She has participated in the Festival Tec-Art-Eco, a three-year interdisciplinary programme of workshops and production laboratories (2009-2011), promoted by Ariella Vidach’s AiEP company in Milan, in a co-production with Switzerland, holding classes with Inaki Azpillaga, Ted Stoffer, Claudio Prati, Federcio Lupica, Paolo Solcia, and lectures with Marceli Antunez and Stelarc.
NYLON 3 work in progress
by Polyxeni Angelidou
Nylon is a thin lightweight material that covers a surface of 20 square meters. I used it for the first time in my thesis project for my architectural degree as a tool to trace movement and create three-dimensional forms with movement. I chose it for its unique capacity to react to movement and resist gravity.
Nylon3 work in progress is a duet founded on the play between body and surface. It is focused on dialogue, on the mutual exchange of influences and stimuli between two elements. The body creates movement and transforms a flat surface into a three-dimensional cloud that slides towards the floor… Suspension, impulse, sliding and succession are the guidelines for a process that contemplates constant feedback: the body finds itself in a temporary landscape created by its own movement. As the landscape “collapses” towards the floor, the body is stimulated to produce new movement that will create new forms and new landscapes. The contrast is created between the weightlessness of the nylon surface and the human body which is subject to the force of gravity in a different way.
Polyxeni Angelidou – Born in Thessaloniki, Greece, in 1985. She graduated in architecture and during the same period trained in classical and contemporary dance, earning her diploma in 2011 at the Professional School of Dance in Thessaloniki. She tried to combine her interests, using dance to explore her research into space, movement and light. She currently works in both Greece and Germany. She has participated in various projects, including: Intermezzo_oper, a film by Marinella Senatore with choreography by Nandhan Molinaro and Elisa Zucchetti (Berlin 2012), When Night Comes by Marlene Kaminski based on writings by E.A.Poe (Thessaloniki, 2011). She has collaborated with the Vix Motrix Dance Company in Female gender’s crisis (2011) and with the Somaos Company between 2010 and 2011 in Aphrodite’s Decomposition and Ta Antisomata. Her choreographic works include: Can’t Can’t, a solo influenced by the can-can, and Mirikazmòs or being a ruminant, another solo inspired by the behaviour and movements of animals, Nosaes, a group work in which she also uses projections.
a project by 7-8 Chili
concept Davide Calvaresi
with Ivana Pierantozzi, Maria Calvaresi, Giulia Capriotti
video editing and choreography Davide Calvaresi
Replay is a choreographic work that analyzes the relationship between body, gesture and digital image. The composition essentially began with an assemblage of video sequences from You Tube: films of significant events in the daily news, sporting events, interviews and bloopers: from Andreotti who fainted live on television to the fall of Fidel Castro, from the model who slips on the runway to the footballer celebrating on the edge of the football field. The selected images were edited in such a way as to create continuity and make it possible to interact with the bodies on stage. Three characters dialogue with the video structure in terms of continuity, similarity, emulation and contrast, highlighting three different ways of reacting to visual stimuli. There is a thread connecting the selected images, which assimilates the gestures of a footballer to those of a Pope, the paralysis of an elderly senator to the seductive pose of a singer. Replay does not claim to provide answers. It questions the mechanisms for representing power, man’s freedom of action and the capacity to distinguish reality from fiction.
7-8 Chili – This is a collective composed of young artists, educators and social workers, with heterogeneous pasts and backgrounds but who have shared, over the past several years, the design of a global artistic operation, which can wield creativity in the prospect of cultural growth and social renewal. In 2011 Ossi di seppia was one of the projects selected to participate in the Premio Equilibrio Roma for contemporary dance, under the artistic direction of Sidi Larbi Cherkaoui. The first study of Ossi di seppia premiered at the hangartfest in Pesaro and at Open Sea in San Benedetto del Tronto. The production entitled Piano won an honourable mention at the Premio Scenario Infanzia 2011 and was performed at various festivals and dedicated programmes. 7-8 Chili creates theatre productions – such as For you, Mandragora, Daimon, Sono niente senza te - and organizes artistic workshops in collaboration with schools and institutions. Since 2009 it has been involved in the Matilde project, a regional platform for new theatre in the Marche region, in collaboration with the Regione Marche, the Department for the Cultural Heritage and Activities, and AMAT.
a project by Colaps
choreography and interpretation Jessica Maria Bellarosa, Maurizio Mauro, Sara Santoro
direction and dramaturgy Marco Di Stefano
The Myth of Youth… Young and beautiful at any cost, at any age.
Sara: Are you sure?
Marco: Of course, when do we do it if not now at twenty?!
Jessica: Actually, we’re almost thirty…
Marco: Of course, when do we do it if not now at thirty?!
For the first study we start with ourselves. With our obsession for youth. To fight it. A body. Blocked in a space 60 cm by 60 cm. It’s a metaphor. It’s a banality. It’s my way of being involved in politics. I am that body. I can’t afford to evolve. I can’t afford to grow old. I can’t afford to grow up. I can’t even grow younger. What are we, the twenty-to-thirty year-olds, young or old? The real world no longer exists. My body is the battlefield.
Colaps - The company was founded at the beginning of 2010 thanks to the meeting of two choreographers and dancers, Maurizio Mauro and Sara Santoro, and an author and director, Marco Di Stefano. It began its production with a study, Crolli, an ideal historical, political and social almanac of the past decade. This project was joined by a “short format”, XX, a work that interrogates the body on the overwhelming social and cultural male chauvinism in contemporary society and in particular in Italian society. XX, in the reduced version, was selected for the Off section of the 2010 Venice Dance Biennale – Marathon of the Unexpected and won the competition for Choreographers Under 30 by La Piattaforma Teatrocoreograficotorinese & Co. in Turin. The company also obtained a choreographic residency from the association Mosaico Danza, as part of the contemporary dance event Inside/Off 10>11.
STRATEGIES OF THE IMPERCEPTIBLE
by and with Nathalie Larquet
This is a “pas de deux” for dancer and video, but also a solo for a dancer “in search of an author”. Two universes, two different ways of expressing poetry and images that embrace or chase one another until they become one. This creation is about beauty, domestication and freedom in the wilderness, a challenging journey towards the past and the imagination of each of us. For the first time Nathalie Larquet has created a solo influenced by the language and the elements of a dance film which she recently made, based on an earlier creation of hers (a kind of white… in a Dark Frame… with a Blue Note). At the Biennale she will present a fragment of a creation which will be completed in October 2012.
Nathalie Larquet – She was born in LeMans (France) and graduated from the Rosella Hightower International Dance Centre, then worked with the Jeune Ballet International. In Nice she joined the Corpus Arts dance Collective, then worked with Italian choreographer Ciro Carcatella, with whom she created works that bring together contemporary experimental music, dance and visual arts. At the F.A.U.S.T. arts and technology Biennale in Toulouse she presented a performance of underwater dance, ballet subaquatique. Klaus Dilger, the director of the International Centre for Dance and New Technologies, invited her as a choreographer and dancer to work with the German B.W.Gung-Contemporary Dance Company. In 2009, with Klaus Dilger, she founded the dance company My Lovely White Dog at Uzès in France, for which she created three choreographic works. From 2009 to 2011 she worked prevalently in Amsterdam where she studied with Liat Tamar Waysbort, coming into contact with the Gaga technique. In 2011 she won first prize at the Internationalen Wettbewerb Choreographic Captures with Rehorsals – getting horses used to dance.
IL TRESPOLO DI CLAUDIO MIREL
by Francesco Schiavulli
Spotted the angel in a state of profound social distress, discovered hunched in the same position he would later take in the work. From a shed, with no contact, surrounded by the indifference of the city, he moves in the same position to a museum, where the spectator witnesses a mute but active dialogue made of eye contact and emotions. The perch becomes home, a new point of observation, friendly and unique, where the Angel Claudio Mirel now mystically observes the transformation of the world. He is a social sculpture, in search of new points of observation, capable of transforming evil into good.
Francesco Schiavulli – Born in 1963 in Bari, Schiavulli expresses his experimentation in photography, video, installations, drawings and colour. From his early career as a painter he moved on to a maniacal exploration of the body in its details (The ear measurer) and, in his recent multimedia projects, he investigates human identity and emotions, with the objective of establishing new rhythms and perceptions to replace conventions: this is exemplified in the bulky interactive “machines” made of cast-off wood (VersoXverso). He later made S.O.S.T.E., a multimedia installation composed of five videos and four tubular steel artefacts, which conceal the mystery of the green, the green that lies within the human body, hidden in the viscera, in the mind, in illness. In La libreria del professore the artist becomes a “measurer of Marxism”, building a random, emotional and conceptual journey through the universe of materialist thinking. In 2009 he made a video – authorized and shared by the great Belgian artist – Thanks, omaggio all’angelo Jan Fabre. In 2010 his work was included in two exhibitions by Achille Bonito Oliva: Da Sopra, Giù Nel Fossato (Castello Svevo, Bari) and Invito all’opera (Il Ponte Contemporanea, Roma). In 2011 he participated in the 54th International Art Exhibition of the Biennale di Venezia in the collateral exhibition Pino Pascali, Ritorno a Venezia, and in the Regione Puglia section of the Italian Pavilion.
THE TWO QUEEN SOULS
suite from Maria Stuarda by Beatrice Paoleschi
choreography Beatrice Paoleschi
music Stefano Burbi
Inspired by the ballet Maria Stuarda, which will be presented in its entirety at the Estate Fiesolana on July 19 and at the Puccini Festival in Torre del Lago on August 22, the suite presents the final encounter-clash between the two queens, Elizabeth I and Mary Stewart, when they were stripped of everything that is contingent. They are two souls face to face in a metatemporal space, in a limbo of intimacy where their fragilities are finally laid bare, one beside the other: in a crescendo of pathos, to the hammering rhythm of an Agnus Dei, love and hate intermingle and contract through their bodies that implore “dona nobis pacem”, reaching out to and rejecting one another in an infinite tension: first the will to dominate, to crush the other, then the tenderness of wanting to protect, shrouding one another, as if to defend, to hide the intimacy, the heart of the other, before returning to reality, with feet firmly on the ground, conscious of the tragic trials that await them.
EmoX Balletto – Founded by Beatrice Paoleschi in 2010, the company won the Beads & Co. Dance Award at Danzainfiera 2011 (Florence) and has participated in many events dedicated to new realities in dance. The Suite from Maria Stuarda, in particular, won the gala event dedicated to new talents in choreography organized by the Fondazione Nazionale della Danza Aterballetto. Last year, it participated in the World Dance Day celebrated in Milan; in the first edition of the Festival d’Europa at the Teatro della Pergola in Florence, for the sixtieth anniversary of the constitution of the European Union, and the awards ceremony for the Premio Galileo 2000; in Bolzano Danza, in the section dedicated to young authors. This year the company has again been invited to Reggio Emilia by the Fondazione dell’Aterballetto for the event dedicated to Italian choreography. The choreographer Beatrice Paoleschi also won the special jury mention at the Festival Koreografskih Minijatura in Belgrade.
choreography and performance Oren Lazovski
Saudades is an 11-minute solo, which contemplates the music of an accordion played live on stage by the performer himself. The piece explores the themes of solitude, desire and change. The creative process begins with the personal experience of seeking to escape painful memories to search for individual evolution and personal identity.
The music that accompanies the work is original. The choice of the accordion was determined by the unique sound and shape of this instrument, which can stimulate images, ideas, emotions. In today’s global world, where travelling and moving are so widespread, the idea of “saudade”, as a symbol of nomadic life, becomes even more significant. Though it is less dramatic these days to undertake a journey or leave one’s home country, what human beings desire most is to establish contact with one another, and any obstacle to this possibility makes them unhappy. My solo is about this conflict.
Oren Lazovski – Born in 1980, Lazovski is an Israeli artist living in Berlin. He studied at the Ballet Studio Haifa under the guidance of Liora Bing Heidecker and at the Wizo High School of the Arts, also at Haifa (1996-1998). He then completed advanced studies at the Bat-Door dance school in Tel Aviv. He worked in Israel and Cyprus, before moving to Germany. As a dancer he has performed in Die Trojaner with choreography by Renato Zanella and La Gioconda, under the artistic direction of Silke Senze, staged at the Deutsche Oper Berlin; in Ariadne auf Naxos by Marco Santi; The Fifth String with choreography by Lazovski himself.
concept, choreography, performance Barbara Stimoli
music Spacemen 3
“If other men would consider themselves at the rate I do, they would, as I do, discover themselves to be full of inanity and foppery; to rid myself of it, I cannot, without making myself away. We are all steeped in it, as well one as another; but they who are not aware on't, have somewhat the better bargain; and yet I know not whether they have or no”. (Michel de Montaigne – On Vanity).
Playing with vanity and playing with one’s own identity, addressing the transitory and changing nature of things, of actions, and hence of one’s self, thinking that from one moment to the next one might find one’s self in a world turned upside down. Vanitas is nature in action.
Barbara Stimoli - Italian, born in Germany in 1979, she is a dancer, performer and choreographer. In 2001 she attended the Accademia Isola Danza of the Biennale di Venezia directed by Carolyn Carlson and continued her training in Italy and abroad with Nigel Charnock, Ivan Wolfe, Raffaella Giordano, Enzo Cosimi, Gavin Webber, Barbara Malher, Nicola Humpel, Malcolm Manning, Yasmeen Godder. From 2001 to 2006 she danced with Roberto Cocconi’s Arearea company and since 2005 she has danced with the TPO – Teatro di Piazza o d’Occasione company in Prato. For years she has been interested in the Japanese Shibari (bondage) technique which she learned from the masters Kinoko Hajime, Shadow, Felix Ruckert, Dasnya Sommer. Since 2005 she has been a member of the ‘La Badini collettivo performante’ company, with which she has participated in various productions and projects including La Teoria delle stringhe (first prize at Artelaguna 2011 in the performance section) and Take away arte domestica per asporto (flat-art). In 2011 she was selected by Jan Fabre to participate in the two-week masterclass at the Laboratorium in Antwerp.
VARIAZIONI – FRAME AND VARIAZIONE I
choreographic study by Margherita Pirotto
in collaboration with Marianna Andrigo and Debora Petrina
concept and direction Margherita Pirotto
with Marianna Andrigo, Debora Petrina, Camilla Sordina, Elia Zanon
in collaboration with SPAZIO D.
with special thanks to: Laura Pulin and TamTeatroMusica
The choreographic study Frame e Variazione I is part of the new Variazioni project currently in the making: it starts with a frame, a 5-minute choreographic fragment that undergoes a series of changes in its internal parameters with the addition of external elements, proceeding to the creation of variations of the fragment itself. The first ten minutes present the fragment that will be varied and the first of the variations. The fragment is built on three levels: experimentation with the language of movement, creation of a visual and perceptive suggestion (corresponding to a video device, which will be used during the variations) and a rhythmic suggestion amplified by silence (corresponding to the sound potential that will be added in the later variations). The first variation, which has no video or music, as they will be added later, centres on duality and the kinship “of what is similar and yet different”.
Margherita Pirotto - Born in Padua in 1976, she studied classical ballet at the Centro Studi Danza Classica with Mariolina Giaretta and Andrea Francescon (1990-2005) and at the Centre de Danse du Marais in Paris with Wane Byars; she continued her training in contemporary dance at the Associazione Spaziodanza in Padua with Laura Pulin and attended workshops, internships and advanced training classes with Michal Mualem (Sasha Waltz), Giannalberto de Filippis, Khosro Adibi, Virgilio Sieni, Malou Airaudo, Susanne Linke, Reinhil Hoffmann, Urs Dietrich, Giorgio Rossi, Lindsay Kemp. In 2006 she participated in a workshop-performance entitled Di-stanze in Bologna for Danze Urbane and at the Harmonic studio in Paris with Corinne Lanselle. As a dancer she collaborated from 2001 to 2006 with Laura Pulin’s Officinadanza company in the productions E gli angeli? L’amour c’est toujours l’amour, Caffè Caffè, under the direction of Mirko Artuso, Controra. In 2011 she created Oh, Carrot!, the first production of the Aleph Company which she founded.