ARTEMIS DANZA /
Artemis Danza supports its associated artists in in the production, distribution and promotion of their creations. It carries out tutorings, exchanges and creative residence activities for young choreographers.
“Farde – Moi”, from the french farder, means trick me/do my make up. This physical theatre piece for five interpreters wants to explore the theme of identity in today’s society. How do we face diversity, in a world which is more and more scared by it?
Concept, choreography and direction Francesco Colaleo e Maxime Freixas, Performers Francesco Colaleo, Maxime Freixas, Francesca Linnea Ugolini, Laura Lorenzi, Rosada Letizia Zangri, Music Vincenzo Pedata, Light design Antonio Rinaldi, Costumes Vittoria Papaleo e Maria Barbara De Marco,Production Artemis Danza, Co-production Festival Oriente Occidente / CID Centro Internazionale della Danza, Partners AMAT Associazione Marchigiana attività Teatrali, Arteven Circuito Teatrale Regionale, ACS Abruzzo Circuito Spettacolo, Supported by MiBACT and SIAE, for the intiative “SIllumina – Copia privata per i giovani, per la cultura” and ResiDance XL – Network Giovane Danza D’autore directed by L’arboreto – Teatro Dimora di Mondaino.
Re-Garde is a duet of contemporary dance and physical theater based on the use of the sight. Two man that are facing each other and fight for a deep confirmation of themselves. The aim is to keep a balance within the internal proportions of the emotional path, and by doing this we add lightness
and vitality to the work; going up and down as it happens in the circle of our lives. The turnover between opposite binomials, helps the two performers to face delicate boundaries and edges that are dividing youth from old ages.
Coreographed and performed by Francesco Colaleo e Maxime Freixas, Music Maxime Freixas, Production Artemis Danza/Monica Casadei, Supported by ACS Abruzzo Circuito Spettacolo, IDRA, Teatro Akropolis, Anticorpi XL, Tersicorea T.Off, Micadanses
The show wants to put on stage the games of the past, creating in the public a strong recognition process. The primary objective is to raise awareness of a dimension of contact and game that is being lost because of the ongoing sharing virtually and not physically. Freely inspired by the “slapstick movie” genre, to the comedians Laurel and Hardy and the characters Beckett Estragon and Vladimir, the work wants to focus on the important social changes that see the gradual dismantling of relationship dynamics.
By and with Francesco Colaleo and Maxime Freixas, Concept Francesco Colaleo, Music Vincenzo Pedata, Co-production Artemis Danza/Monica Casadei, In collaboration with Anghiari Dance Hub, Capotrave/Kilowatt, Espace Glandier (Montpellier), Choreographic Residences Lavanderia a Vapore 3.0, Scenario Pubblico, Interno 5 e Artisti Associati Teatro Area Nord, Supported by Magic T
No Game aims to face the complexity of having an addiction to alcohol, video games and human beings. Nowadays, the ways the new Smart generations are amusing themselves can represent a huge danger, a “game over”. The realistic gesture, either theatrical or danced, leans to some memorial places as the ones we live in a real life: starting from the disorder of our sensorial perceptions to the inner solitudes.
By and with Francesco Colaleo, Maxime Freixas, Francesca Ugolini, Music Mauro Casappa and Maxime Freixas, Production Artemis Danza, In collaboration with ACS Abruzzo Circuito Spettacolo, Micadanses (Paris), Anticorpi XL, Twain Residenza Spettacolo dal Vivo
Two points. In the middle, the only viable path, gravitational and attractive. The roleplay of getting and rejecting. The play between cause and effect. Generational conflicts spread across time and space, on the wall of iniquity. An old fashioned riff evokes memories of fight, of changing. Ride the King’s Highway. Hold on or fall through the oblivion of uncertainty. Change, distort,risk. The performer attempted to merge contemporary dance and slacklining,finding a connection between a musical riff – that of The Doors’ notorious song “The End” – and the bounce produced by the human body walking on the slackline.
Special report in Danza Urbana XL 2018
Coreography and interpretation Andrea Dionisi, Music The End –The Doors, Video Roberta de Rosa, Production Compagnia Artemis Danza / Monica Casadei
Time leads us only forward, towards the future. We have built a time that is determined and uniform and flows at constant speed in only one direction. However, we do not perceive time like a straight line: minutes can last for hours and hours seem seconds. Sometimes our mind dwells in the past or is projected into the future. It might happen, several years from now, that those projections turn real, giving to each one of us a sort of premonitory power. Limitless and infinite worlds can be reached thanks to time and to our imaginations. The immersive performance is a flight of fancy and wants to generate thoughts about the unrepeatable, about the moment, the likelihood of something happening and on the very nature of our perception. Lingering over time finds its beauty where the will to reflect is.
LIMITLESS WORLDS is a two-dancers performance in three acts. The reading of L’ ordine del tempo by Carlo Rovelli has inspired the work and lead to a deeper understanding of the many facets of time. We mainly perceive time thanks to the movement of things around us. On that perception, mankind has built its own time structure: a relative, but definite time on which the life of almost every living being is based upon. We know that time doesn’t physically exist, but it comes from our special perspective. Our imagination has no limit when we understand that there is not a single time, but there are several: even in our daily life, with the right sensibility we can notice that. On these premises, we worked a free body in order to generate the “when” of our actions, in the attempt to break a pattern of improvisation which often leads to a constant rhythm, as if it was unconsciously leant upon that linear time we experience since our birth. To break that rhythm amplifies the focus of the audience and of the performer, who seeks his own unpredictability in his movements helped by a world of images, constantly creating different and unique times. Probability, the mathematical determination of the likelihood of an event, is the keystone of this pièce, and it is considered specially in the first act. We present a brief journey that hopefully can stimulate reflection, a dantesque trip from a dark and gloomy beginning, through delirious scenes, to broad daylight, where man lives. After having transcended the unknown we must return to that macroscopic and actually fake place we call home.
Direction, Choreography Andrea Dionisi, With Andrea Dionisi, Francesca Linnea Ugolini, Music Alfredo Giammanco, Hong Chulki, Chroma, Stefano Bollani, Jan Bang, Music Elaboration Andrea Dionisi, Duration 15 min, Production Compagnia Artemis Danza/Monica Casadei
A project realized within the artistic residence Earth from glass heart, by ProgettiCarpeDiem with the support of the Oxidian Museum of Pau and the MenabòAssociation. Selected for The Young Artist Dance Competition, action of the XL Anticorpi Network, coordinated by the Cantieri Ravenna Association
Pau is the name of a small village in Sardinia, at the base of Mount Arci, which represents one of the most significant sources of obsidian in the Mediterranean sea. It is in this place, during the artistic domicile “Terre dal Cuore di Vetro” by Progetti Carpe Diem, that OXIDIANA was created. After the charming tale told us by the archeologists that currently run the Museum of Obsidian in Pau, the desire of telling the most interesting aspects of this unique type of glass emerged. The body of this research is available to experience the particular conditions that are the cause of this rare and singular matter, trying to bring it again to light and to give a new virtue to the complexity of its aspects. All this by crossing the geological, archeological and energetical values linked to the field of crystal therapies. Obsidian is a volcanic type of glass: the specific conditions of the fast cooling of the lava are the cause of its structural homogeneity and its vitreous aspect. This first dialogue with glass moves our attention to the topic of time and compactness in a constant relation the one to the other. The reflection is another feature of obsidian, which does not reflect as a mirror, but it gives us back an undefined and amorphous image: the reflection of ourselves, but also the continuous duality to which the individuals are inexorably compelled, in which each one of the two parts can be understood just in relation to the whole. Obsidian, always considered as one of the most significant elements in the field of crystal therapies, is used to let our fears emerge, so that we can face them and overcome them, aiming at reaching the integrity. Since the most ancient times, two antipodes archetypes of nature were represented not only from above and below but also from the male and female point of view, from the rigid and the flexible one, from the obscure and the bright one.
Choreography Antonio Bissiri, Dancers Miriam Re, Chiara Toniutti, Antonio Bissiri, Salvatore Sciancalepore, Lights Fabio Sau,
VALERIA MUCCIOLI/ VINCENZO PEDATA / CLIO GAUDENZI
ALICE IN THE BOX OF WONDERS
It’s evening, Alice has to go to bed but she doesn’t want to, she is no longer so small to fall asleep as soon as the sun goes down, and at the same time she is neither big enough to go out alone when it gets late. So, not being able to leave her room on her legs, Alice starts to fancy on how nice it would be to do what she wants and for once stay awake at night and sleep in the day. This is how our young protagonist slowly enters the world of her fantasy, a world that, thanks to the mysterious presence of the Stregatto, a character that expresses itself only through the body movements and the seraphic face expressiveness (who is he? an imaginary friend of Alice? Her conscience? Or the adult who intervenes by imposing rules and making decisions?), reveals the passage in progress between a child’s imagination and a girl’s, with its consequent and inevitable confusion. This magical world comes real in the bodies of the actors and in front of the eyes of young spectators is transformed in the form of panels of wood, paper, cardboard, fabrics: a brilliant dramaturgy, a surreal two-way step between the living and the inanimate body.
with Clio Gaudenzi e Valeria Muccioli
scenery Valeria Muccioli
original music and light design Vincenzo Pedata
direction Compagnia delle meccaniche semplici
PROGETTI IN CORSO
First work of the young Sicilian dancer, actress and director. Through a game of structured improvisation, developed with the annihilation of all the layers that compose an armor of mirrors, Icaro crosses a labyrinth made of light and possibilities.
“WHATEVER FLOWER YOU ARE WHEN YOUR TIME ARRIVES, YOU WILL BLOSSOM”
“Whatever flower you are when your time arrives, you will blossom” (inspired by Walter Gioia’s poem) is a travel into the discovery of your own true self. It starts from the awareness and the acceptance of your own individual value and potential to finally understand that we are all unique and perfect, exactly the way we are.
“STANISLAVSKIJ_EP. 1 ”is the first of 5 episodes in which “extraordinary ordinary stories ”will be collected, absorbed and narrated with the body. Through the basic notions of Stanislavskij’ s System, Teresa Morisano tries to investigate the deep ego of five people-characters of different ages, genders and backgrounds, creating not only objective imitations of the people involved, but also going through their emotions and experiences, resulting in her getting herself involved. These people will be present on the scene through a virtual mosaic of images and sounds, while the dancer lets their emotions and stories live through her body as a tool and through the dance as words, in search of the true humanity of dance.
A Bharatanatyam-style Indian classical dance show. Stories and dances alternate in a series of moments of pure dance, in which the aesthetic beauty of the style and the intricate rhythmic passages will stand out. In some expressive moments, the dancer becomes a storyteller, using her gestures (mudra) and radiant facial expression.