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Main Visual Sezione Danza EN (new)

Dance

Degree Zero

Biennale Dance

30th March > 30th June 2009

Premio per la Giovane Danza d'Autore della Regione del Veneto 2009


Teatro Piccolo Arsenale
25 June, 10:00 p.m.
Prize for Young Dance from the Veneto Region, 2009
 
Ex
choreography and performance Giuliana Urciuoli
video Alessandro Amaducci
Ci vuole il fiore
choreography and performance Alberto Cacopardi
costumes and lighting Alberto Cacopardi and Evarossella Biolo
music George Winston
Plastikraum
choreography and performance Marianna Batelli and Alessandro Rossi
sound and lighting Marcello Batelli
A corpo libero… ma non troppo!
choreography and performance Silvia Gribaudi
sound Mauro Fiorin
lighting David Napolin Casagrande
Kalsh
choreography and performance Francesca Foscarini
lighting and music Simone Sonda
make up Milly Cuman
 
with the support of Operaestate Festival Veneto, Arteven – Circuito Teatrale Regionale, Regione del Veneto, in collaboration with Anticorpi XL Network.

Promoted by Operaestate Festival Veneto and by Arteven - Circuito Teatrale Regionale with the Regione del Veneto, the Prize for Young Dance arises from the experience matured in Emilia Romagna by the Associazione Cantieri Danza and the Anticorpi network, which bring together, support and coordinate events, festivals and creative residences dedicated to contemporary dance.
Five young artists from the Veneto Region were selected from a large group of candidates and were accompanied from January to June in a training course examining research and choreography, concluding now with the presentation in Venice of their original creations before an international jury. The Jury comprises: Eddie Nixon (Art director of The Place, London), Louise Seibaek (Art director of Dansescenen, Copenhagen), Katja Werner (Director of Ballet Tanz), Gemma Di Tullio (Anticorpi XL – Teatro Pubblico Pugliese), Amy Gale (Art director of Dansateliers, Rotterdam), Susanne Franco (Lecturer in the History of Dance). The best work will win the Prize for Young Dance. Competing for the prize are Marianna Batelli and Alessandro Rossi from Belluno, Francesca Foscarini from Vicenza, Alberto Cacopardi from Padua, Silvia Gribaudi from Venice and Giuliana Urciuoli from Verona.
 
Ex is a study on transformation and evolution, on the passage in various places that belong to being, traversed by changeable natures, that ride through it like an energy, pushing from within and becoming skeleton, sap, stalk, body: a primitive, vegetable, animal, digital nature that also belongs to our being alive.
Often, the transformation of living beings and cellular exchange are not gradual processes: they take place with sudden shifts interrupted by instants of quiet and silence… and such is the case for the perception we have of this same metamorphosis.
On stage, a single body builds the framework of interaction with the images projected on to the skin.
Giuliana Urciuoli
 
Giuliana Urciuoli (Verona)
A graduate in theatrical studies (Discipline delle Arti, Musica, Spettacolo - D.A.M.S. Teatro) from the University of Bologna, she studied contemporary dance further with Luisa Casiraghi, Raffaella Giordano, Carolyn Carlson, Ivan Wolfe, Nigel Charnok, Josef Nadj, Vim Wandekeybus, Malou Airaudo.
She joined the Compagnia La Biennale di Venezia directed by Carolyn Carlson and is a soloist at the Szeged Contemporary Dance Company, based at the National Theatre of Szeged in Hungary.
She dances in numerous international festivals and works with various choreographers: Juronics Tamàs, Roberto Galvan, Itzik Galili, Amir Kolben, Ben Craft, Vera Sander, Piet Rogie.
 
In Ci vuole il fiore initially there is a body, lying on the ground, with its weight pressing down.
The dance starts with a movement that leads to the discovery of the bones, muscles and skin. A little like a man cub who is transformed as he discovers his contact with the earth, as though the womb were to listen to the air entering and leaving the mouth of the person bearing him… breathing becomes man, and he notes the sky, his standing position; he gazes at the horizon… and so it all begins, one step after another, a journey that at the end of all things will draw to an end.
The work arises from an exploration of the instinctive sphere: once I was a child, and now I have a high capacity for articulating complex reasoning, which can sometimes be a cage. With dance, I try to astonish myself with things as though this were the first and last time I see them, touch the ground, look afar… Imagination is an instrument we have to create, to transform things, moods (soul); it is a great demonstration of freedom which enables us to live or relive profound human experiences, such as birth and death. I am a man and have imagined, dancing, that I was a woman feeling her child in the womb. At the end, stretched out, I discover the body… a child that dances in the maternal womb.
Alberto Cacopardi
 
Alberto Cacopardi (Padua)
His artistic experience began with street theatre, then he studied the movement of the body, taking an interest in contemporary dance and martial arts.
In 2002, he graduated from the Kiklos international school of theatre creation, directed by Giovanni Fusetti, where he followed the theatre training course of Jaques Lecoq. 
During his course, he met: Jean Daniel Frichter, Maja Stromarg, Yoshi Oida, Tapa Sudana and Norman Tailor. In 2005, Atsushi Takenouchi introduced him to Butoh dance, which fascinated him for its sensitive exploration of the inner and outer world of the performer. In 2004, he joined the Il balletto civile company, directed by Michela Lucenti, taking part in I topi and Kecuptroiane. After this, with Evarossella Biolo, he founded the Manonuda Teatro (Padova) company, with which he experiments a personal language.
 
Plastiktraum is a theatre dance creation that draws inspiration from Arthur Schnitzler’s novel, Double Dream. After the debut of Traumnovelle, also inspired by Double Dream, the work on the two characters develops and becomes more extreme, creating “plastified” figures on stage, “acoustic masks”, immutable symbols of non-communication. The work on the theme of the double continues, together with that on the man-woman relationship and their psyche: two partners suspended between truth and lies, between dream world and everyday world appear on stage, with the silence, the non-sound, symbol of the secrets and things left unsaid, kept silent and unconfessed, that live alongside them in the daily reality of a couple. In the forefront is the problem of incommunicability, disturbing the equilibrium of a consolidated relationship. With a sparse and linear body language, suspended, different and contrasting situations unfold on stage, developing with the aesthetic and essential scenic style of theatre dance. The crisis of both characters develops in parallel and mixes real and surreal, while that peaceful middle-class family is just an illusory mask hiding a mass of doubts, fears and repressed desires that leave the characters suspended between comprehension and incomprehension, conscious and unconscious. Appearances deceive, and reality is an illusory screen forcing the protagonists into a stressful search for a truth that does not exists except in the attempt at reciprocal understanding.
Marianna Batelli
 
Marianna Batelli (1979, Belluno)
A graduate of Modern Literature, she studied dance and specialised in modern-contemporary style, attending courses with Wanda Moretti, L. Pulin, G. Carbone, Lindsay Kemp, Giorgio Rossi, Misha Van Hoecke, Larrio Ekson, Cesare Ronconi and Mauro Bigonzetti. In France, she studied contemporary dance and theatre-dance with, amongst others, Carolyn Carlson. She further explored the theatre-dance genre with Michele Abbondanza and Antonella Bertoni, with whom she participated between 2005 and 2007 in two performance projects. Since 1999, she has taught modern and contemporary dance. In 2004, she founded the Compagnia Atelier Gruppo Danza, with which she creates original choreography. Her latest theatre-dance work was invited to the 12th and 13th edition of the Biennale de la Danse in Lyons and the Les Hivernales festival at Avignon.
 
Alessandro Rossi (1978, Belluno)
He studied with S. Mitchell, G. Coullet, M. Plevin, Marco Baliani, Laura Curino and Yoshi Oida. In France, he studied contemporary dance and theatre-dance with Carolyn Carlson, T. Fernandez, B. Pradet, B. Sajous. He explored the theatre-dance genre further with Michele Abbondanza and Antonella Bertoni, with whom he participated between 2005 and 2007 in two performance projects. As a professional actor, he has performed in numerous Italian productions, in particular in theatre for children. He was a guest at the 12th and 13th edition of the Biennale de la Danse in Lyons and the Les Hivernales festival at Avignon. In 2006, he was semi-finalist in the National “Actor’s Rehearsal” Competition, organised by Tangram Teatro of Turin. He stars in the feature film, Una Settimana in Concorso, presented at the 64th International Film Festival in Venice.
 
A corpo libero....ma non troppo! A young woman is placed in a time and space, who discovers an inadequacy that she tries constantly to overcome in order to regain that freedom to which she aspires.
This is a work of movement that passes through the rigidity and fluidity of the body, arriving at a distant femininity and falls joyously in its concrete reality!
Our life in origin is free of all impurity and vast as the universe. (Daisaku Ikeda).
Silvia Gribaudi
 
Silvia Gribaudi (Venice)
A fundamental turning point for her education was the meeting in 2000 with Claude Coldy, with whom she began a training course in Sensitive Dance®. In 1998, she worked for the Swiss Rigolo Tanzendes Theater company, with which she attended improvisation courses with Maya Brosch, courses of “physical theatre” with Monica Francia, of Butoh dance with Pierpaolo Koss and participated in the Balance show, with choreography by Anzu Furukawa, as assistant choreographer and dancer. In 2001, she was assistant choreographer and played the femal lead part with Luciano Padova for the Naturalis Labor company in the 2, Rue des pommes duet (a co-production by Abano Danza Festival, Oriente Occidente Festival, Bassano Operaestate Festival). From 2004 to 2007, she worked with Vasco Mirandola in comic shows and created urban dance performances. In 2008, she was selected for the young dance display at Ravenna and selected in eXpLo 2008 as part of Anticorpi eXpLo - Tracce di giovane danza d’autore - with the UNATTIMO show of which she is the creator and interpreter.
 
Kalsh is born of a reflection around the idea of “abandonment” and how this condition transpires in the body and its movement. Abandonment as renunciation, fall, non-resistance, loosening of a grip on the world and the consequent collapse to the ground.
Offsetting this condition returns a strong determination to raise that body that seems to have forgotten the erect position, but which preserves the memory of a spite and a condemnation to be spat out at the right moment.
Kalsh, from Kalashnikov. A weapon that makes a fighter even of a monkey.
Francesca Foscarini
 
Francesca Foscarini (1982, Bassano del Grappa, Vicenza)
She has studied classical, modern and contemporary dance. She started her professional career with the Compagnia Aldes of Roberto Castello (2000-2003), in the Biosculture and Il migliore dei mondi possibili works (Premio Ubu 2003). Subsequently, she took part in “The Project” (2004-2007) – Opera Estate Festival, where she met and performed with Ronit Ziv, Elisabeth Lea, Sara Wiktorowicz, Rachel Prische and Iris Erez. In 2007, she was involved as dancer in the European project, “The migrant body”, promoted and supported by the Opera Estate Veneto and Cultura 2000, and took part in the choreographic residences at: the National Dance Center Bucharest with Sacha Steenk, Merseysie Dance Iniziative Studios in Liverpool with Sonia Brunelli, Teatro Astra at Bassano del Grappa with Florin Fieroiu.
In 2008, she continued her collaboration with Sonia Brunelli in the creation of A NNN A and in the same year, Sara Wiktorowicz created the Grandmother solo for her. Her experiences in theatre for children has also been important: dance for ULLALA’ Teatro Animazione in Storia di una gabbianella e di un gatto and Storia di una sirenetta.