2015-16 Archivi - WORKSPACE RICERCA X

Paolo De Santis

-->

E’ artista residente insieme a Paolo De Santis.

artista residente 2022

Co-fondatrice del collettivo torinese Tecnologia Filosofica, esplora i confini tra danza e teatro con la sua traiettoria di ricerca Il Corpo Rituale. Dal 2008 produce performances presentate in festival di danza italiani e internazionali, ricevendo premi e menzioni. Coreografa selezionata per Crossing The Sea 2019, bando per la mobilità degli artisti italiani in Asia, collabora con Shanghai International Dance Center per la produzione di Sinfonia H2O, vincitore Residenze Coreografiche della Lavanderia a Vapore con il sostegno della Fondazione Piemonte dal Vivo. Collabora con l’artista franco-giapponese Anan Atoyama per le produzioni Hydden Body e Limpid Sun presentato alla Triennale d’Arte Setouchi in Giappone nel 2019. Collabora con il regista cinematografico Milad Tangshir per la produzione del film in VR Hydrocosmos.

artista residente 2015>2016

Nell’ambito della residenza Workspace RicercaX, il percorso di Francesca Cinalli, danzatrice-coreografa e Paolo De Santis, musicista-compositore, si focalizzerà sulla dimensione rituale nella performance: un confronto costante tra filosofia e tecnologia, in bilico tra artificio e natura.
Magneticamente attratti da una ruralità-pop, una freccia: possibili direzioni, l’arco che si tende, la posizione, la forza e l’equilibrio che precedono lo scoccare: realizzare l’essenza sottile che sta dietro la forma.

A partire dagli studi della danza classica, il suo percorso si orienta verso la danza contemporanea e il teatro-danza con maestri nazionali e internazionali: Giovanni Di Cicco, Roberto Castello, Virgilio Sieni, Giorgio Rossi, Doriana Crema, Raffaella Giordano, Dominique Dudzinsky e Marigia Maggipinto/Tanztheater Wuppertal, Carolyn Carlson, Simona Bucci, Cesar Brie, Alessandro Berti, Michele Di Mauro, Compagnia PippoDelbono.
Si diploma nel 2006 presso I.A.T. Gong_Istituto di Arti Tradizionali dei popoli e delle culture a Genova.

Danzatrice, coreografa e interprete della Compagnia Tecnologia Filosofica di Torino dal 2000 per le produzioni: NIJI_una preghiera/Premio della critica Ermocolle 2012, inserito nella programmazione artistica dell’Istituto Italiano di Jakarta-Indonesia 2015; CANZONI DEL SECONDO PIANO Co-Produzione Théatre Durance, Festival di Avignone, CDC Les Hivernales, Theatre Raymond Kabbaz-Los Angeles, Festival TorinoDanza; IN SUPERFICIE Co-produzione La Piattaforma, Inside/off Mosaicodanza, Palcoscenico Danza_Coreografi del Piemonte, Progetto AS IT HAPPENS con il patrocinio del DAMS Università degli studi di Torino, in collaborazione con Museo d’Arte Contemporanea Castello di Rivoli, Officine Caos, Festival Verdecoprente Umbria; Progetto START ME UP sostenuto dalla Fondazione Piemonte dal Vivo.

verso une flèche

di C.ie Tecnologia Filosofica_Torino
danza e coreografia Francesca Cinalli
musiche composte da Paolo De Santis

Paolo De Santis is with us in: Edizione 2015-16, Edizione 2022,

verso une flèche

di C.ie Tecnologia Filosofica_Torino
danza e coreografia Francesca Cinalli
musiche composte da Paolo De Santis

Francesco Sgrò

-->

Collaborazione tra Teresa e Francesco Sgrò.

Questa ricerca nasce del desiderio di due artisti trovare un linguaggio proprio e un’estetica comune. La scelta del soggetto di ricerca è accaduta per caso. Il principio fu di prendere ciò che avviene facilmente. Citando Umberto Ecco: “Giocare è uno spreco utile di energia”. Il nostro elemento di comunioni è stato un pallone. Un pallone.

Il metodo è diventato uno di cercare tanti punti di vista: dall’associazione più convenzionale pallone-gioco allo studio di altre associazioni come: pallone-mezzo di comunicazione; pallone-suono-movimento; pallone-società; suono del pallone-immaginazione affettiva; rumore-poesia.

La ricerca si è espansa in vari livelli:

La creazione di pratiche – CORPO e MOVIMENTO
Lo sviluppo di strutture compositive e performative – RAPPORTO TRA OGGETI E SPAZIO
Lo studio del “gioco” nell’ambito sociale e antropologico – L’IDENTITA CULTURALE
Sviluppo di strumenti per portare avanti una produzione artistica.

Dal libro O Atlas da Imaginação e do corpo de Gonçalo M. Tavares:

Il corpo è avvolto e avvolge – è un corpo spaziale – influenzato e influenzando lo spazio. Il corpo avvolge ed è avvolto anche dal tempo; il corpo non è solo una cosa che ad altre cose attorno, è anche un tempo che a una memoria e proiezione. Ogni atto nel mondo costruisce un’identità. Agire è un gioco che mete la nostra identità come essendo un elemento fragile, manipolabile.

Teresa Noronha Feio (Portuguese) graduated in 2010 as a dance theater performer in Fontys dansacademie, The Netherlands. Is co-creator of the collective Mammalian. And as a freelancer the most notorious collaborations were with: Vânia Gala, Einat Tuchman, Dot504, Chirs de Feyter, 320 Chili. Teresa Collaborated with Vania still for the conferences (Un)occupy the Body, in Inventing Futures – research with/in institutions, in Artez dansacademie, Towards a Dispossessed Live Presence on Stage – in Seminaire International des Doctorants du CRAL–EHESS La danse comme expèrience and Things go unnoticed – in The Practice of (in)visibility conference in Brighton University.

Francesco Sgrò (Italian) studied in Flic contemporary circus school. Is cofounder of the collective 320 Chili, with which the performance “Ai migranti” won Premio Equilibrio, In Rome. Francesco has danced for: Giorgio Rossi and Raffaella Giordano. Since 2012 is artistic director of Flic Circus School.

Francesco Sgrò is with us in: Edizione 2015-16,

Alessandro Pontremoli

-->

Alessandro Pontremoli is Professor of theater and dance studies at D.A.M.S. at the University of Turin. Since 2004 he is Scientific Director of the Master in Social and Community Theater at the University of Turin. Since 2010 he is member of the Dance Commission at the Ministry of Culture.

Among his publications: La danza. Storia, teoria, estetica nel Novecento, RomaBari, Laterza, 2002; Danza e Rinascimento, Macerara, Ephemeria, 2011 (Premio Pirandello 2015); Elementi di teatro educativo, sociale e di comunità, Torino, UTET, 2015.

Alessandro Pontremoli is with us in: Edizione 2015-16,

Cristina Caprioli

-->

Cristina Caprioli è una delle coreografe più affermate e riconosciute a livello internazionale della scena svedese. A metà anni ’90 fonda l’organizzazione indipendente Ccap, dove produce performance, installazioni, film, oggetti, pubblicazioni e altre coreografie, e conduce progetti di ricerca interdisciplinari di lungo periodo. Il suo lavoro coreografico si caratterizza per precisione, complessità e un’alta tecnologia del corpo. Tutte le sue produzioni sfidano i formati normativi e le economie di scambio del settore. Negli anni 2008-2013 è stata docente di composizione coreografica presso la Scuola di Danza e Circo (DOCH) di Stoccolma, dove ha sviluppato metodi e formati per la ricerca artistica. Ha ricevuto diversi premi e sovvenzioni e ha avuto un ruolo significativo nello sviluppo del discorso critico nel campo della danza e della coreografia in Svezia. Nel 2024 riceve il Leone d’oro alla carriera dalla Biennale Danza di Venezia.

Cristina Caprioli is with us in: Edizione 2015-16, Edizione 2019,

Carlotta Scioldo

-->

Carlotta Scioldo is a researcher and consultant focusing on EU cultural policies. Through her professional and academic trajectory, she has acquired a multifaced view of the cultural and creative sector in Europe. Her fundamental drive is to bridge the communication gap between the cultural sector and policymaking, ensuring that the functioning and aspirations of the artistic field are effectively conveyed. With this motivation, she has worked as dance dramaturg, joined the Creative Europe Unit at EACEA, and served as Network Manager and Policy Advisor the European Dancehouse Network.

Carlotta completed her Ph.D. on how European Transnational Networks operate in the Cultural Sector at DIST the Interfaculty Department of the University and Polytechnic of Turin, and she was visiting researcher at the UCL’s Public Policy Department. Her work questions the political and empirical implications of Transnational Networks in the EU’s cultural sphere and the external dimension. Her doctoral dissertation has been shortlisted as a finalist for the 2023 ENCATC Award.
She holds two master’s degrees, the first in Theater Studies from IUAV in Venice, the second in Cultural Projects for Development from ITC-ILO and UNESCO Centre in Turin. Carlotta’s expertise was also acknowledged through a visiting fellowship at New York University.

In 2015, together with Erika Di Crescenzo, she founded Workspace Ricerca X. She has been curating the project until 2018.

Carlotta Scioldo is with us in: Edizione 2015-16, Edizione 2016-17, Edizione 2018, Edizione 2020,

Francesca Saraullo

-->

POOL LIKE PISCINA is an artistic practice born in continuity with “Archaeology of gesture”, a research project based on personal and archaic memories emerging from the pelvic core as a political act of reconnection to the matrix of the body and to the being who dances. With POOL LIKE PISCINA, I want to develop this study along three axes: archaic-body; animal-body; channel-body. The common intention is to stay in a time of subtle listening to let the body open perceptively and consciously to the impalpable that flows through me and the other in a continuous dialogue between past-present-future, by transforming the gesture into a sound and dancing vibration. Working on passive vigilance, activating a state of receptive presence, combining some somatic and energetic practices, I would like to translate this introspective and trans- identity process into a possible choreographic composition where the intimate merges into the whole and the individual breathes into the collective.

FRANCESCA SARAULLO (1984) is a multidisciplinary artist, Brussels-based choreographer, dancer-performer, video-maker and independent researcher. Saraullo graduated in Choreographic and Visual Arts at the Royal Academy of Fine Arts in Brussels (ISAC/AeSP) after her studies in Multimedia and Performing Arts in Turin, Italy where she had prior attained her degree in Cinema and Media Engineering. Intensively trained in dance and theatre by international masters in France, Italy, Belgium and Austria (“Fondation Royaumont”, “College-Dance Venezia”, “ImPulsTanz-Vienna International Dance Festival”), she continues to advance her education in somatic and energetic practices (sensitive dance®, fasciapulsology, qi gong). From 2013 she has been producing her own choreographic works (ANAMNESIS, LUX, Et toi…, La Sospesa) and visual compositions (W., RACCOLTO, Moulbaix Dr., Ballerina, MiNunn) presented in various international festivals/museums/theatres. For 2020-2021 she received a grant from Charleroi Danse to support her research onto the “Archaeology of gesture”. Francesca collaborates with a variety of artists.

Francesca Saraullo is with us in: Edizione 2015-16, Edizione 2021,

Teresa Noronha Feio

-->

Teresa in collaboration with Francesco Sgrò. Researching the vocabulary between dance, acrobatics and juggling.
The motivation words are resistance and resilience.

Inspired by the Israeli artist Meira Asher song, Maligora the sand child. This research wishes to touch the themes of gender and personality construction. Questioning the modernistic view of an iron hart built man: strong will and fixed ideals. Maligora the sand child can be seen as a work of surrealism. Revealing a never ending transforming body. Like the sand constructions that the water washes away.

Teresa Noronha Feio is with us in: Edizione 2015-16,

Sharon Estacio

-->

Further Studies in Crouching
This is the art of waiting, patience, hesitation, procrastination
Of fear and of hunger
In defense of the fruit of inaction
A study of our contradictions as people, as animals

crouch /kraʊtʃ/
vb
(intransitive) to bend low with the limbs pulled up close together, especially (of an animal) in readiness to pounce
(intransitive) to cringe, as in humility or fear
Facciamo finta,
per un secondo,
che stare sdraiati a pensare
nella nostra casa
distesi sul letto
non sia mancanza,
tangibile ed estenuante vuoto,
ma pienezza e serenità.
Color ciclamino.
(Movimento per l’emancipazione della Poesia)

I began exploring the concept of procrastination with a small solo created in my living room, a study in crouching, which premiered at Dixon Place, NYC, in 2007. Some years later this concept resurfaced, after my move to Italy, in the form of an evening length work entitled bowl to the cat to the fairytale (The Avoidance Dance). The piece was created in 2012 over the span of a 10 days in which my collaborators and I (one coming from France, the other from South Korea and myself from Italy) found each other back in NYC. At the conclusion of this brief, intense creation period the piece premiered at Theaterlab, NYC, where we had scheduled only one show. Needless to say, the entire event felt very intense and very last minute but, at the same time, very natural (though for my colleagues maybe not so natural).

Back in Italy, from 2013 to 2014 I began to revisit some of the elements of this recent performance under the title more on The Avoidance Dance, thanks to residencies at DiDstudio/Fabbrica del Vapore (MI) and Teatro della Limonaia (FI). These sections (solo and duet) participated in the Nao Performing Festival, NAOCREA @ sezione Around Uovo Festival, Fabbrica Europa XX and Peer Coaching project with the support of Company Blu.

Early studies on procrastination:

a study in crouching (2007), choreography & performance: Sharon Estacio

bowl to the cat to the fairytale (The Avoidance Dance) (2012), direction & performance: Sharon Estacio with So Young Yang and Leïla Gaudin

more on The Avoidance Dance, in 3 episodes (solo) (2013),
choreography & performance: Sharon Estacio

more on The Avoidance Dance (duet) (2014),
choreography & performance: Sharon Estacio in collaboration with Lucrezia Palandri

Originally from New York, NY, Sharon Estacio is an American dance artist residing in Firenze, Italy. Her artistic process is driven by the lush complexity of the human condition and seeks to expose more absurd truths by ruffling those intricate (and often neatly tucked) folds. Her most recent project, The Reconciliation of Magik Salap (A Triptych), focuses on perception with respect to social and cultural identities developed out of context.

Bowl to the cat to the fairytale
(The Avoidance Dance)

Sharon Estacio is with us in: Edizione 2015-16,

Bowl to the cat to the fairytale
(The Avoidance Dance)

www.sharonestacio.com

Francesca Cinalli

-->

E’ artista residente insieme a Paolo De Santis.

artista residente 2022

artista residente 2015>2016

verso une flèche

di C.ie Tecnologia Filosofica_Torino
danza e coreografia Francesca Cinalli
musiche composte da Paolo De Santis

Francesca Cinalli is with us in: Edizione 2015-16, Edizione 2022,

verso une flèche

di C.ie Tecnologia Filosofica_Torino
danza e coreografia Francesca Cinalli
musiche composte da Paolo De Santis

Elena Pisu

-->

Corpocentrico is a research project activated in 2011. In its various development phases, it focused on different stages of life, exploring the concept of the mutable body.

Concept
Our starting point in this research project is the body: more specifically, taken its characteristic of mutable entity in continuous transformation, we intend to pose ourselves questions regarding the behaviour and the emotional states directly related to change, for an individual in connection to his/her body, to the image of the body, and to the bodies of others.
We want to give voice to the body in order to let it speak for itself, about its conditioning, the story inscribed in it, as an operator and at the same time object of the language itself.
This approach opens up considerations regarding the vision of corporeality in today’s society: despite its role of central horizon, obsession and surface on which political practices are inscribed, the body still remains partially undefinable, not as an unknown or mysterious object, but rather because its mutable nature escapes every strict categorization and any definition proves to be incomplete.
The body behaves as a threshold between biological matter and construct, it is a border between nature and artifice. It takes shape and builds upon according to the biological, social and political determinations ascribed to it from time to time.

Elena Pisu. Choreographer and dancer, 1979
Elena started studying ballet in Torino. She then moved to the United Kingdom, where she trained at London Contemporary Dance School and Northern School of Contemporary Dance, from which she graduated in 2000 (BPA Dance Degree) with Merit.
She studied ballet with Ronald Emblen, Cristian Addams and Niall Mc Mahon, Cunningham technique with Bernadette Iglich and Kate Price, rep with Richard Alston, Limon/release with Duncan MacFarland, Graham technique and rep with Juliet Fisher, Sharon Donaldson, Gurmit Hukam and Namron, contact improvisation with Beth Cassani, composition with Sue MacLennan and Karen Greenhough, dance history with Christy Adair. In her last year at NSCD she took part in the performing group Verve, as a perfomer in a work by Wayne Mc Gregor, and as a choreographer, with her first work “Chi lo dice lo è”.
In London and Leeds, she attended classes and workshops by companies DV8, H2dance, Henri Oguike, Richard Alston, Phoenix Dance company.
Back in Italy, she took on an apprenticeship with compagnia zappalà danza (Modem Studio Atelier, Catania, 2003-04).
She studied theatre for the youth at the Piccola Accademia del Teatro Ragazzi e dell’Animazione in Torino (2007-08).
She continued her educational path participating in workshops with Raffaella Giordano, Doriana Crema, Michela Lucenti, Alessandro Buggiani, and with Quan Bui Ngoc and Juliana Neves of Les Ballets C. de la B., with whom she completed a masterclass in 2010.
In 2000/01 she worked with London-based company genau dance collective.
In Italy, she worked with choreographers Stefano Mazzotta, Cristina Golin, Valeria Del Vecchio and theatre directors Aurelio Gatti and Elio Gimbo.
In 2003 she worked with Pulsar dance company on site specific projects in collaboration with Italian architect Alessandro Mendini.
She is founder, choreographer and dancer of the company Grimaco_movimentiumani (2004). She continues collaborating as a choreographer, dancer and vertical dancer with theatre and dance companies, among which Teatro di Castalia, art. director Andrea Battistini, Stalker Teatro (Torino), Mo.Lem (Torino), sudatestorie teatro ricerca (Torino). As from 2013 she is a member of dance company TiDA théâtre danse.
Since 2001 she has been teaching contemporary dance, creative movement and improvisation to classes of children, youths and adults in dance schools, youth centres and schools. She consistently collaborates with Institut de Danse du Val d’Aoste as a contemporary dance and improvisation teacher.
In 2014 she worked as assistant for Marigia Maggipinto, teacher and former member of Tanztheater Wuppertal, within the project “Focus Tanztheater” organised by Stalker Teatro (Torino).

CORPOCENTRICO

regia Elena Pisu e Marco Chenevier
con Elena Pisu
scene e luci Andrea Sancio Sangiorgi
produzione TiDA – théâtre danse
in collaborazione con Officine CAOS
un ringraziamento speciale a Francesca Cinalli, Rebecca Rossetti ed Erika Di Crescenzo

nei capitoli precedenti, hanno partecipato al progetto #1 Daniela Bramanti, Gianni Ricciardi #2 Ambra Zambernardi, Marco Brunazzi, Alberto Valente, Claudia Danielis, Liliana Vaccarino, Pierluigi Bruno

Elena Pisu is with us in: Edizione 2015-16,

CORPOCENTRICO