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la Biennale di Venezia
Main Visual Sezione Danza EN (new)


Arsenale della Danza

Centro di Formazione di Danza Contemporanea
Project focus: The Art of the Performer
30 January > 17 June 2012
Teatro Piccolo Arsenale, Venezia
With the support of Regione del Veneto
06 > 11 February
Francesca Harper (USA)
Repertory Forsythe (improvisation technologies)
Open Doors: Saturday 11 February 6 p.m.
During the workshop the dance will learn the techniques based on Wiliam Forsythe’s method
point point line, room writing, dropping points, re-orienting, fragmenting, shearing, u-ing, o-ing, deochronic – and many other techniques that will lead to a final improvisational structure, a choreographic material made by the dancers themselves.
Francesca Harper (Chicago, USA) worked for almost ten years on improvisation technologies created by William Forsythe useful to both contemporary dancers and choreographers. These are techniques that include improvisation and that deal with physical and creative limits of the dancer, who is asked to participate directly.
In 2005 Harper founded her own company, The Francesca Harper Project, and started developing a personal working method, generating interaction between phrase, improvisation and choreography.
13 > 25 February
Terence Lewis (India)
Bollywood dance and Indian sacred dance
assistant Roche Neil Mascarenas
Jump In! Friday 24 February 3 > 5 p.m. (free lesson for the Veneto’s students)
Open Doors: Saturday 25 February 6 p.m.
The Indian Sacred & Gestural Dance masterclass/workshop provides the ideal platform to the dancer to explore, experience and express, through a movement vocabulary, a thought or a personal situation and our reaction to the same. The Indian Sacre & Gestural Dance marries primarily Indian disciplines- Yoga and Semi Classical Indian Dance forms with the modern and contemporary techniques. The class explores the theme of the ‘sacred’, which forms the very foundation of the Indian thought and the collective Indian mind. The ‘sacred’ etched in the Indian blood memory, finds it’s expression in this class through movement. Incorporating themes of the divine- like the love of Radha-Krishna, the sacred bond with the universe and the elements that bind all living beings, the dancer thus experiences the philosophy underlining the movement. The gestural dance borrows from Kathak and Bharatnatyam, using the Mudras (hand gestures), coupled with facial expressions which form an integral part of the dance and the dance narrative. The class thus aims at affording the dancer a holistic experience- combining the body and spirit, the mind and movement.
Terence Lewis is an Indian choreographer, born and raised in Mumbai. He is internationally trained and specialises in Indian folk, contemporary and neo-classical dance forms. Terence has also choreographed a number of Bollywood films and musicals, stage shows, Indian contemporary performances, corporate launches, Broadway Westend musicals, feature films, several popular music videos, and has appeared in many advertisements. Terence won the American Choreography Award for his excellent choreography for songs of the movie Lagaan along with Saroj Khan, Raju Khan, Ganesh Hegde and Vaibhavi Merchant. He was the mentor for the Dance India Dance winner, Shakti Mohan. He is the first Indian to receive the prestigious Dance WEB Scholarship, representing India in Vienna, Austria. Terence represented Asia at the International Choreographers' Meet at the TANZ platform, Stuttgart, Germany. He is also a teacher at Impulstanz Festival at Vienna, Austria since 2007-08 teaching Bollywood and Indian contemporary dance. Terence Lewis became the first Indian to receive the Guiness World Record title for teaching the largest number of people(1336), a 3 minute Bollywood dance routine in the shortest time.
28 February > 10 March
Maria Thaís / Wellington Campos (Brazil)
The Ritual Body
Open Doors: Saturday 10 March 6 p.m.
The masterclass Ato – from ancestral body to theatrical body will be based on choreographies of sacred dances of Orixás, that identify and materialize Candomblé Gods. The orixás’s dance  – made by a huge gestual vocabulary called ato – determine and materialize gods as part of the Pantheon of the afro-brazilian religion called Candomblé.
Besides the choreographic vocabulary and its technical grounds, we’ll discuss the elements that create a ritual, building a theatrical body, starting from the ancestral matrix. The passage from the “ritual ato” to the “theatrical ato” appears through a creative process, the composition of a contemporary dramaturgy.
The tales of the Orixàs talk about the world’s creation and its distribution between the deity. They quote thousands of situations involving gods and men, animals and trees, nature or social life’s elements. Each and every Candomblé’s Orixa is a collection of myths and each myth story contains more than one Orixa (...), myths justify and prove Orixa’s features. They explain daily events and legitimize the ritual pratices, formulas for intiates, oracular and sacrificial, but also choreographies of sacred dances, colors, objects, etc. The combination of all these aspects is the origin of the myth and it’s a proof of the sense of it”. Reginaldo Prandi
Maria Thaís, teacher, professor and researcher at the department of Performing Arts of  ECA/USP, within the Interpretation and Direction Area, and in the PhD Program. She has directed (2007/ 2010) the University Theatre of São Paulo. Artistic Director of the Balagan Theate Company, she has created for them the following performances: Prometheus – a tragédia do fogo (2010/2011), Západ – A Tragédia do Poder (2006), Tauromaquia (2004 a 2006), A Besta na Lua (2003/2004), Sacromaquia (2000/2001), the research project Do Inumano ao mais-Humano (2008/2009). The company has partecipated four times to the promotional program of the city of São Paulo. She wrote Na Cena do Dr. Dapertutto: Poética e Pedagogia em V.E.Meierhold, for EditoraPerspectiva, SP, 2010. Curator of ECUM – Centro Internacional de Pesquisasobre a Formação em Artes Cênicas (2009/2010/2011) and pedagogical advisor of the SP Escola de Teatro (2010). She has collaborated (1999 – 2006) as teacher and director with the Moscow Theatre – School of Dramatic Art, Mosca, and directed by Anatoli Vassiliev she created the choreographies of the performance A Ilíada. She directed also Olhos d’Agua (2004), with Ismael Ivo, produced by Haus der Kulturen der Welt, Berlin, and Dorotéia – um estudo (2004), by Nelson Rodrigues at the Intercity São Paulo Festival, and in Sesto Fiorentino (Italy).  She has been professor of the Performing Arts Department (1993/2002) of the Arts Institute at the State University of Campinas – Unicamp and responsible (1990-1992) of the concept, direction and coordination of the Escola Livre theatre project, by the Department of Culture of Prefecture of Santo André.
Wellington Campos is a dancer, ogan e filho de santo. He is attending folk traditions since he was 12, when he joined the Abaçai – Balé Folclórico de São Paulo. His training went through music (percussionand sing), dance and capoeira. He studied with Toninho Macedo (traditional dances), Ari Colares (folk percussions), Penha Pietra (physical expression), Maurício Alves (folk pernambucan dances), Jardel GleuCini (acrobatic), Maurici Brasil (afro dance). In the last 10 years he has been performer, teacher and trainer for several Abaçai’s projects. He has shown presentations and workshop in France and Portugal. He is collaborating with Balagan Theatre Company, directed by Maria Thaís for the transmission of  Orixás’ dances and thier mise en scene.
7, 8 March 2 > 6 p.m.
Cássia Navas (Brazil)
Dramaturgy and context - The construction of a sense in dance
After the studies in history and theory of dance, the proposal lies on dramaturgy and danse, in their context, concetrating in the construction of the scene in a collective sense, of the body and social performance of every « body-territory »
The work develops starting by the choreographic processes in the research and the connections between choreographers and artists-of-concepts, pointing towards the inclusion of analyzing excerpts from the suggested artworks located inside the history of contemporary dance and theoritical debate of today.
It’s a pedagogy between practice and theory, where every artist and creator is able to analyse better his action, the choreographic proposals suggested by the most well known artists, starting by analyzing the audio, visual and verbal structures.
In this sense, the art-piece is analysed starting by decomposing the fundamental elements of dramaturgy, projected like a creative process, through stills, inside a laboratory around the construction of significance.
Finally the aspects of history of contemporary art are analyzed and the context/process of every piece is also considered like an “original drama”.
Cássia Navas, teacher at theInstituto de Arte/UNICAMP(University of Campinas), degree in law (USP), Master degree in dance/semiotics (PUC/SP), PhD in Arts (ECA-Escola de Comunicação e Arte/USP) and a DESS in Management of Cultural Policy (UNESCO, University of Dijon/Ministère de la Culture/France). Her experience embrace several environments: dance semiotics and cultural policy. Coordinator of Geppetto – Research group of performances typologies and contemporary identities (CNPq), has been researcher for the Performing Arts/Departiment IDART/ Municipal Segretariate of Culture (São Paulo), and coordinator of Stagium Association and of Oficina Cultural Oswald de Andrade (State Secretary for Culture/São Paulo). Author of several volumes among them Images de la danse à São Paulo, Danse moderne, Danse et mondialisation: politiques de la Danse dans l´axe Brésil-France, Vem Dançar, Theatre du Mouvement- une méthode pour l'interprète-créateur e Art de la Composition (the last two with the choreographer Lenora Lobo). She is part of the editorial committee of several academic magazine, as URDIMENTO (State University of Santa Catarina), Répertoire (Federal University of Bahia), Scène 7 (Federal University of Rio Grande do Sul) e Moringa (UFPB), is member of CNIC- National Commission for the cultural promotion of the Brasilian Minister of Culture, and she is member of the National Committee of Dance of MINC. She is advisor for the Plataforma Estado da Dança, for the next Dance Biennale of São Paulo, and for many tv programs about contemporary dance (2009-11), for the TV SESC (SESC São Paulo).
13 > 24 March
Jozef Frucek (Slovakia) / Linda Kapetanea (Greece)
From Wim Vandekeybus to the Fighting Monkey technique
Open Doors: Saturday 24 March 6 p.m.
Fighting Monkey is a way of clearing up and listen and applying the basic principles of internal martial arts practice and the compression speed, union membership and monitoring. We focus on understanding the anatomical locomotive system, because without this knowledge it can cause unnecessary loss of energy and possibly serious injury. We will focus on the specific body weight, flexibility, strength. We will explore the prudence to the situations, knowledge of global dynamics, knowledge of the different energy levels and temperaments, knowledge of our limits, monitoring of eye movements, body, hands, feet colleagues to acquire the ability to read the intentions of body and mind, give weight to push and pull, climb and jump, manipulate, etc..
Jozef Frucek studied at the Academy of Music and Drama Arts in Bratislava where he also completed his PhD. He is an independent artist and dancer, from 1996 he performed in solo and in group projects as well. His creations and teaching are influenced in part by martial arts, that he actively practices.
Linda Kapetanea licensed in the Greek State School of Dance. With a scolarship from the Greek State Scholarship Foundation she alter studied at the Merce Cunningham Studio, Movement Research and Dance Space, New York. After she co-operated with several companies in Greece and abroad. In 2002, she was awarded by a Greek Ministry od culture as “the best performer” of the season 02/03. Between 2002-2005 Jozef and Linda performed with Ultima Vez Company | Wim Vandekeybus (Blush, Blush Movie, Sonic Bloom, Puur, Here After Movie). During the last years they are frequentely invited to teach in KVS Brussels, Ritz Academy Brussels, SEAD – Salzburg, Jette Dance Studio Brussels, DOT 504 Prague, ImPulstanz Vienna, Dansa Deltebre, Dies De Dansa Barcelona, AMDA University Bratislava, Art Station Poznan. They are staff teachers at the greek State School of Dance in Athens. In 2006 they’ve founded RootlessRoot company.
27 > 31 March
Ko Murobushi (Japan)
Japanese Contemporary Dance
Open Doors: Saturday 31 March 6 p.m.
In 1969 Ko Murobushi studied and performed with Tatsumi Hijikata in Japan. In 1970 after short practice of “Yamabushi”, in 1972 he participated to found “Dairakudakan”. In 1974 he edited and published Butoh news paper “La Saison violente” and same year he produced and choreographied female group “Ariadone”. In 1976, he founded male group ”SEBI”, then. In 1978 he succeeded in Paris with [Le dernier Eden – porte de l’au-de la ] (SEBI & Ariadone) and from then he started his tour in Europe, US, South America, Asia until today. His latest performances are quick silver (solo), DEAD 1, Contortions (Ko & Edge Co.), duo collaboration with Bartabas Le centaure et l’animal. Those acclaimed pieces are leading him to a world tour, giving the audience much impression of a new era.
16 > 21 April
Adriana Borriello (Italy)
Anthropological Body
Jump In! Friday 20 April 3 > 5 p.m. (free lesson for Veneto’s students)
Open Doors: Saturday 21 April  6 p.m.
The proposal’s source of the seminar is to share an investigation process which moves from some choreographic materials inspired by anthropological and ethno-choreological studies. A further step towards a contemporary body language which keeps the seed of the ritual as a necessary limit to the expressive freedom of the Self. Some titles of our departure points could be “The procession”, “Little possessions”, “Rosario (rosary)”, “The scream”, “The rags”.
The work will consist in three phases:
1) body work focused on energetic concepts of movement coming from the choreographer’s experience in dance and tai-chi, to put the body in the mood for rite;
2) learning choreographic materials to be used as departures patterns for phase 3;
3) research process: improvisations structures (with rules systems) and transformation processes; re-organization of new movement / sound materials.
The experience will be held in collaboration with Antonella Talamonti, contemporary musician and pedagogue, expert in voice improvisation and ethnomusicological materials.
Adriana Borriello has get her diploma at the National Academy of Dance in Rome and at Maurice Béjart’s Mudra in Bruxelles. Has studied and practiced Tai-Chi from 1984. Has partecipated at the foundaton of Anne Teresa de Keersmaeker’s Rosas (RosasdanstRosas). Has collaborated with Pierre Droulers as dancer and coreographer. In 1986, in Paris, has founded her personal company (that she has later moved to Italy) starting international tours and co-production. Since her early years she has developed a special interest for pedagogy working with prestigious institutions such as Università La Sapienza in Rome, Civica Scuola di Arte Drammatica P. Grassi, Università di Torino. Since 1998 she works at the National Dance Academy in Rome where, as Guest Choreographer, she creates several choreographies for big ensemble and, as Guest teacher,  she leads the choreographic composition’s courses and dance composition’s methods in the two-year academic course of choreography.
3 > 12 May
Pichet Klunchun (Thailand)
Classic Thai Dance
Open Doors: Saturday 12 May 6 p.m.
Pichet Klunchun bridges traditional Thai Classical Dance language with contemporary sensibility, while keeping the heart and wisdom of the convention. He trained in Thai Classical Mask Dance, Khon, from age 16 with Chaiyot Khummanee, one of the best Khon masters in Thailand. After receiving his degree in Thai Classical Dance at Chulalongkorn University in Bangkok, he pursued theatre both as dancer and choreographer at high-profile occasions, such as the opening and closing ceremonies of Asian Games in Bangkok in 1998. Subsequently, he also worked with contemporary dance, including collaboration with Jérôme Bel. He is the only artist in his class to continue dance as a career today, and has earned domestic notoriety for his efforts in contemporising khon. He has participated lately in several intercultural performing arts programs as a Thai representative and as an international dancer-choreographer in Asia and Europe. He received “Routes ECF Princess Margriet Award for Cultural Diversity” from European Cultural Foundation on December 2008. The purpose of the award is to honour artists and thinkers in the field of cultural diversity for helping to combat fear and disrespect of 'the other'.

Ismael Ivo (artistic director)
Studied acting and dance there, winning an award as best solo dancer in 1979, 1981, and 1982. In 1983 he accepted an invitation from Alvin Ailey to move to New York, where he became a member Alvin Ailey Dance Center. From 1985 to 1996 Ivo lived in Berlin. He collaborated closely with Johann Kresnik, the German Dance Theatre choreograph and Ushiu Amagatsu, the Japanese director and choreograph of the world famous Sankai Juku ensemble. In 1994 Ivo worked with George Tabori in Leibzig on Schoenberg's opera Moses und Aaron. For more than 15 years he had been the artistic director of the International Tanzwochen Wien festival in Vienna. At the opening of the Cultural Capital of Europe Weimar in 1999 Mephisto, based on the text Faust from Goethe, also collaborated with the Brazilian director Marcio Aurelio. Among the several pieces that he has created as choreoghrapher: Tristan und Isolde, made with Márcia Haydée for the Theaterhaus in Stuttgart. The partnership with Márcia Haydée (brazilian étoile and director of the Stuttgarter Ballett, stunning performer for John Cranko, Kenneth MacMillan, Maurice Béjart, John Neumeier) has proceeded with Aura, hommage to Miles Davis and to Alvin Ailey premiered in 2000, and a choreography for the Ankara State Ballet, Medea (2001) and again with Callas in 2002. Directed by Yoshi Oida, Ismael Ivo was awarded the prestigious Time Out Award at the Barbican in London for “The Maids” as “the most outstanding performance of the year” in 2005. In 2010 has been awarded wit the Ordem do Merito Cultural in Brazil. At La Biennale di Venezia, where is director of the Dance Section since 2005, has presented a solo about the life of the photographer Robert Mapplethorpe, Erendira from Gabriel García Marquez and Illuminata. For the Arsenale della Danza educational project has created The Waste Land (2009), Oxygen (2010) and Babilonia – il Terzo Paradiso (2011).
Franca Pagliassotto (choreography assistant)
Yoga ballet
Dance and Choreographer, Franca Pagliassotto started her studies at the school Ariadne in Torino, with the teachers Giulio Cantello and Eva Maxcay. From 1982 to 1984 she developed the studies of  classic e modern techniques at the Alvin Ailey School in New York, approching the study of Horton technique with Milton Myers and Max Luna III. Then she moved to Paris to study with Peter Gross and, later, in Vienna with Ismael Ivo and Marcia Haydèe. From this moment (1998) started her collaboration with Ismael Ivo, as  assistant for his workshop at ImpulsTanz festival in Vienna and for his production at La Biennale di Venezia. In 1984 she opened the dance school Il gabbiano in Torino, and she is still now its artistic director. In 1989 founded the Dance Company Il gabbiano, later Livingstone Ballet. In 2004 she get the degree in Educational Science for Dance at the  Università di Bologna. From 2003 to 2004 is also assistant for the choreographer Matteo Levaggi at the Ballet Company Teatro di Torino. She is assistant for the Arsenale della Danza productions since 2009.
Fabrizio Murtas, Tania Puca (physiotherapist)
Physiotherapy, rehabilitation, elements of nourishment
Many times the dancer is considered only as an artist, forgetting the huge athletic effort that his/her body does. The attention to the health and to the prevention of the injuries to bone and joints is the task of the physiotherapist in a professional dance company, especially when we add - to the normal training - the stress of a new creation. Using the famous sentence mens sana in corpore sano a dancer is a soul that use his body to express: if one of the two part is suffering, the other will suffer as well.
Fabrizio Murtas became a physiotherapist at the Università di Torino in 1987. He has worked with Biennale Danza since 1999, and has been the physiotherapist of Compagnia Tocna Danza of Michela Barasciutti since 2000. From 2005 to 2009 he was part of the medical staff of S.S. Calcio Venezia. He has been the physiotherapist and nutritionist at Arsenale della Danza since 2009, assisted by Tania Puca.
Viviana Palucci and Manola Bettio (pedagogy assistants)
Training for Contemporary Dancers
Through the daily training of academic technique we aim to strengthen the consciousness of our body and of the coordination even through the integration and the support of techniques such as yoga in order to find for each dancer a static and energetic balance.
Task of the class is to guide and support the dancers during the hard path of research of Arsenale della Danza, through a basic training of the body that focus the attention on posture, coordination, musculare tone, joint fluidity: “to tune” the body to develope at its best each potential.
Viviana Palucci got her dance degree at the Accademia Nazionale di Danza in 1983 and in 2005 the bachelor degree in Artistic and Performing Technologies at Università Ca' Foscari in Venice. She has been a ballet teacher since 1984. She is direction assistant for the F.N.A.S.D. project “Leggere per...ballare” with the choreographer Arturo Cannistrà, artistic director of the special projects at Fondazione Nazionale della Danza/Aterballetto. Since 2007 she has conceived and managed the project Choreographic Collision, artistically directed by Ismael Ivo, in collaboration with la Biennale di Venezia. At present she is president of Associazione Danzavenezia. She practices Yoga Iyengar.
Manola Bettio has a long term experience in the field of the modern and contemporary dance pedagogy. She is vice-president of Associazione Danzavenezia (that coordinates schools and teachers in the Veneto Region) as coordinator and choreographer for F.N.A.S.D. activities such as “Leggere per…ballare”, among the special projects of Fondazione Nazionale della Danza/ Aterballetto. Since 2007 she has conceived and managed the project Choreographic Collision, artistically directed by Ismael Ivo, in collaboration with la Biennale di Venezia.