ARCHIVE 2010



cut-outs & trees
Venice - Stockholm - London, 9, 10 June 2010 - 9, 10, 11 September 2010 - 20, 21 October 2010

CRISTINA CAPRIOLI / CCAP (Sweden/Italy)
9 June, 8 p.m. and 10 June, 10 p.m.
Tese delle Vergini
cut-outs & trees (2010, 60’)  [world premiere]
choreography Cristina Caprioli
digital images and programme Panajotis Mihalatos
electronic score Carsten Nicolai aka Alva Noto
with Julia Sundberg, Anja Arnquist, Annika Hyvärinen, Johanna Klint, Emelie Johansson, Madeleine Lindh
produced by CCAP, La Biennale di Venezia, DansensHus Stockholm, Dance Umbrella London
as part of the ENPARTS - European Network of Performing Arts
with the support of the European Commision’s Culture Programme
Further performances:
9-10-11 September, 7 and 9 p.m., Dansens Hus, Stockholm
20-21 October, 8 p.m., Riverside Studios, London
 
Italian but resident for more than 20 years in Stockholm, Cristina Caprioli is today one of the leading choreographers and experimental theoreticians on the Scandinavian scene, the author of works that push the boundaries of the linguistic and perceptive conventions of dance.
 
Believing that modern dance must face the question of its raison d’être, Caprioli develops the idea of a choreography as “critical discourse in continuous motion”: the creative act is never dissociated from reflection; indeed, it is a thought that questions itself about dance at the very instant in which it is generated. Whence the conceptual nature of her choreographies and the need for a documentation and elaboration that constantly accompanies the creative work.
 
“Choreographically speaking, I grew up be meeting dancers”, declared Cristina Caprioli in an interview with Joseph Houseal. “I have always asked them to observe what they were doing and, once on stage, to observe themselves while being observed by the public”. In this sense, one can understand how “the dancer” is “choreography itself”. One can also understand how the problem of looking be fundamental for Caprioli, and how her work focuses on creating a crisis for our perceptive conventions.
 
The same holds true for cut-outs & trees, Cristina Caprioli’s new choreography, interpreted by her company, CCAP, and presented as a world premiere in Venice for the 7th International Festival of Contemporary Dance. It is the result of an international co-production with Dance Umbrella of London and Dansen Hus of Stockholm, the Biennale’s partner for the the European ENPARTS (European Network of Performing Arts) project.
 
The space of cut-outs & trees is not an empty one to be filled, as usual, and the dance does not signify occupying this empty space in which to perceive oneself. The scenography has the character of a mobile installation designed digitally: a large full volume comprising a forest packed with fragments of trees that can be put into motion, becoming denser in given areas, thereby “circumnavigating” the space and interfering with the dance, which finds a way through the gaps allowed by the setting, in the always new routes opened by the “displacement” of the trees. Architect Panajotis Michalatos has worked on this complex work: his strong conceptual aesthetic has contributed to the contextualisation and enrichment of numerous of Caprioli’s most recent works. Electronic musician Carsten Nicolai, also known as Alva Noto, will instead be responsible for the audio content of the show. An all-female cast of six dancers who are accustomed to Cristina Caprioli’s work will be competing for space with the trees hindering their movements and altering the visual and audio perception of the show. “The final aim”, declares the choreographer, “is to disturb and overload visual perception, make the dance uneasy and only partially visible, to convey a sense of disorientation, disappearance and simulate danger”. Caprioli’s goal is to “expose dance as a chain of unfinished bits and pieces, collected bits of a larger ungraspable whole”. Moved by force and hindered by inertia, the dance veers from speed to slowness, from materialisation to transparency, from highlighting to self-cancellation. Order of sight, disorder of motion, time moving in all directions. A clear dance, but dense, deceiving and impossible to catch hold of.
 
Cristina Caprioli (Brescia, 1953) - After her studies at the Accademia di Belle Arti in Brescia, she studied at the Ballet Academy in Stockholm from 1971 to 1974; from 1975 to 1977, she moved to New York, where she trained at the Merce Cunningham Studio, and subsequently at the America Ballet School. She also worked in America with Douglas Dunn, Dan Wagoner and Viola Farber. From 1979 to 1981, she was again in New York and found inspiration above all in the work of Jennnifer Muller, Larry Rhodes, Maggie Black and Zena Romett. It was during this period that she frequented the classes of Twyla Tharp.
After a career as a dancer in Switzerland, Germany and New York, in 1983 she moved to Stockholm to teach and cultivate her interest for choreography, founding her own independent company, CCAP, in 1998. Active too as theoretician and teacher, between 2001 and 2002, she was Director of the programme of choreography at the University College of dance in Sweden, where in 2008 she was nominated Professor of choreography. Caprioli has also taught and communicated her theory at ImpulsTanz in Vienna, SEAD in Salzburg and the Skolen for Modern Dance of Copenhagen.
In June 2006, she won the Cullberg prize. Among her recent works are cccover, Slope, Cicada, Cicadaremix, my lips, very very, decover, Jacob and cc.nu, which have toured Europe and the United States, to considerable critical acclaim.