Space, body and power: live interviews and shows, till december 2012

Space, body and power – Spazio, corpo e potere

SPACE, BODY AND POWER: LIVE INTERVIEWS AND SHOWS WITH PROTAGONISTS OF DANCE, ART AND THEATRE’S WORLD, AND NOT ONLY, TILL DECEMBER 2012

An idea of: Federicapaola Capecchi and Francesco Tadini
Interviews by: Federicapaola Capecchi
Organization: Spazio Tadini

Moderators and speakers: Dance: Viviana Palucci, Author and organizer of Choreographic Collision, formation’s plan, choreographic research/Danza Venezia/Biennale Internazionale di danza contemporanea di Venezia, DanzaVenezia President, Member of National Directive CNAFAM; Manola Bettio, Author and Organizer of Choreographic Collision, formation’s plan, choreographic research/Danza Venezia/Biennale Internazionale di danza contemporanea di Venezia. Many special guests from Dance and Theatre’s world.

People who are invited to partecipate: Franco Reffo and Barbara Geiger, Armando Punzo, Maurizio Argàn/Teatro della Centena, Simona Bucci/Compagnia Simona Bucci, Motus, Danio Manfredini, Marco Baliani, Maria Maglietta, Alfonso Santagata, Emanuel Gat, Jerom Bel, Michelina Capato, Renato Sarti, and many others. Most of them are International professionals, engaged in tournée, so we are going to communicate one by one event, date and protagonist.

Lucio Fontana, Coreografia d’Arte 2009

Space, body and power.  This is the focal point, thematic and of surveying, of the new edition of Coreografia d’Arte (24-30 November 2012), festival of choreography, art and teatrodanza. This is also the focal point of the shows that are in program for  2011 and 2012 of  Spazio Tadini. From the end of November 2011, a cycle of interviews takes shape, beginning from the infinite sollicitations born by this thematic nucleus. Some of the interviews are related to short show’s moments, where it is possible  to face multiple aspects concerning space, body and power. There are the will and the objective, creating a direct and open dialogue, to deepen these arguments theoretically speaking  and also involving and analyzing several implications with social  and  individual aspects. This is the reason why there are interviews involving men of theatre, artists and choreographers and interviews involving citizens, professionals that are useful to have to do with space, body and power: a pilot, a mason, an architect, a pediatrician, for example.
The world of theatre, dance and art belongs to us and we recognize its civil and social role, the possibility to open a new horizon, a point of view that we don’t reach on our own and, sometimes, theatre and art capture, something that takes shape also in social critic who moves the focal point of the speech and the vision of the things. They are also the only linguistic system to communicate quickly and in effective way with the society.

sous la peau…, Coreografia d’Arte 2010, opere di Gianfranco Testagrossa

The interviews move from the thematic research of Coreografia d’Arte – the research and the plan of the human being’s space – and from some other cues which are:
What is body, today? What is it going to become? Which place has it? What does  place/space mean? How does man find in space? What is space? Which spaces exist? Does the man’s space exist? Have body and space a strict relation with power? What does all of this mean concerning art,  thought,  theatre, choreography,  society, politic?
Body talks, tells, changes- it changes  events in signs – it articulates space and language; it is the place, as Michel Foucault says, where power is enrolled. The body exposes, incarnates an infinite series of signs. It is a writing space and a knowledge one. It has nothing to do with things that live in bodies, his is about living bodies. Body occupies space. But what does it mean? Is body delimited compared to space? Where does body end? Is body is limit and excess? Border and overlap? Are we in front of  a desolate body or in front of an exceeding space?
Our Vision. The contemporary world is made by violence, coaction exclusion, coercive administration of the body, life, pain (euthanasia for example), desire and sexuality. We see un’ continuous habit with which technological instruments (PC, tv, etc) and services (web and many others) that shorten the space, speed time up, alleviate the pain, cancel the body. We see a continuous research of a relation not with a body, but with a two-dimensional projection of it (image/figure’s cult, roulette chat’s internet phenomenon, for example), a kind of “not me, not itself, no body”. We want also to inquire how and i and if the man is measure of what he creates, to search for  border space between different languages (writing, music, art, theatre, dance, etc), to search for man’s space and to plan it, the possibility to focus it. We really need to inquire as a theatrical scene’s space is the space of a work of art, of a picture, of a stone block, of a photographic or cinematographic objective. The perimeter of a conflict, a limit’s movement . The space of the research of freedom.
Moving from these cues, together with the specific ones of Coreografia d’Arte,  every guest is invited to talk about them, considering their  life and artistic career.

SOUS LA PEAU PEUT TOUCHER…,Coreografia d’Arte 2010, opere di Gianfranco Testagrossa

“[…] The Theatre, the unique moment of the improvisation, the physical relationship with what happens, the minimal distance between who makes and who is involved. These are the most cutting weapons that humanity has to  grant to Time to gain the battle against the great Electronic Freezer […] and, perhaps, also to align oneself  for a vision, that is not retinal,  of art, not enlisted of life.”  Francesco Tadini

“[…] Arriving to a stronger and deeper relationship also with the languages of art and taking care of  knowledge is essential expression of every society […] remembering  the need to be witnesses of our  own contemporary, pouring a thought, to communicate it, to take positions. […]” Federicapaola Capecchi

“[…] to inquire the space. As a choreographic element, physical and conceptual, it is intrinsic to the  art of choreography and to art itself and as a general element: natural, daily, psico-physiological, associate-cultural, civil, political. As a still open question, fundamental for research and creativity[…]” Federicapaola Capecchi

“[…] In our Vision, the only remedy to the loss of identity of the human being/mutant  is the reconque  of the lost land: the unique space of the scene. […]” Francesco Tadini

The videos of the interviews will be published online on the website of Spazio Tadini and Coreografia d’Arte. Contained and tests, for the 3rd edition of Coreografia d’Arte , will be collected in a publication. Cues and specific reflections of Coreografia d’Arte can be read online.

backstage prove Resistenze, Federicapaola Capecchi

Federicapaola Capecchi, that cures the interviews is choreographer, dancer.
Choreographer and dancer, she debutted on june 2008 at the 6th Biennale  Internazionale di Danza Contemporanea di Venezia. (Artistic Direction of Ismael Ivo), with a original creation about “Beauty Art is beautiful! ”, inside of the platform “young Italian choreographers”, fruit of the plan Choreographic Collision Part 1 and 2. She begins studying classic dance at the School Aurelio Millos, then she attends  the C.S.C of Milan, today SPID, with Elisabeth Kahan and David Sutherland. Her first encounter with the contemporary dance is with Residenziale by Adriana Borriello at Elfo Theatre in Milan. She continues to study with Susanna Beltrami, Brigitte Hyon, Dominique Dupuy, Franco Reffo, Michele Abbondanza and Antonella Bertoni. In 1996 she meets the butoh dance and teatrodanza. For the  butoh dance she studies and works with Kayo and Yukio Mikami, participating also to the international production “Luna di Terra” at the Theatre Franco Parenti of Milan. She meets Kazuo Ohno and his son Yoshito Ohno, to Teatro Comunale di Ferrara. The encounter with teatrodanza marks her formative experience. Seminaries and training courses of Michele Abbondanza and Antonella Bertoni, Felix Ruckert, Raffaella Giordano and Giorgio Rossi are very important for her artistic career. But her language, choreographic code and sign, she says, comes primarily and fundamentally from his research by herself, in which she has “betrayed” the most of her’s teachers. She assiduously studies contact improvisation elaborating it with a on her own choreographic code. On everything, dance, words, gestures, she search a lived and living language coming from the body and breathing  in without automatism neither technicality.
After a happy experience with Marco Baliani in the plan “Le Antigoni della Terra” at Bologna, she decides to complete its artistic distance being deepening also the actor’s formation, attending for several years the school of theatre of Opus Personae in Milan, “Progetto Novecento” of M. Pernich and Regione Lombardia  and intensive laboratories about actors’ job with Danio Manfredini. Her research and curiosity push her to face and approach new experiences, as African dance, traditional and of expression, the bharatanatyam, afro-contemporary, and she attends refresher courses of dramaturgy, stage writing and contemporary dance. In 2006 she is invited to the International Festival of Gorazde “Prijateljstva”, in Bosnia Erzegovina, with the show “Hybris”. She curates  the study of movement and the choreographies. In 2002 she founds with Riccardo Walchhutter, dramatist-writer, OpificioTrame company. She realizes the show “Bambini non tirate gli estintori ai carabinieri” in collaboration with Médecins Sans Frontieres e Mani Tese, in retort from 2003. Then she realizes the show “Sotto Pelle”, “L’unico pensiero che mi occorre”, and in 2006, the show “Resistenze”, whose choreography makes her gain the selection for the first part of Choreographic Collision, a plan of choreographic research of Viviana Palucci and Manola Bettio of FNASD and Biennale Internazionale della Danza Contemporanea di Venezia. In this occasion she deepens the choreographer’s and contemporary dancer’s job with Ismael Ivo, Jacopo Godani, Ted Stoffer, Reinhild Hoffann and Mi Na Yoo. At June 2009 she debuts with the show  “E ancora” inspired to the work of art Fiaba by Emilio Tadini, first job of the plan Coreografia d’Arte by OpificioTrame and SpazioTadini. At July 2009 she is invited with her company to the PlayArezzo Festival. At November 2009 (26> 29) there is the preview of the Festival Coreografia d’Arte; the second edition of Coreografia d’Arte takes place from the 2nd to 5th  of December 2010 in partnership with Midanza 2010 and the 3rd edition for 2012 is in preparation. Currently she works to two new productions.

Other texts and details of space, body and power:

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Read the article in Italian Here

Read the pressrelease Here

Le traduzioni dei testi in inglese sono di: Beatrice Pozzi e Valeria Fornara