A meeting with Alessandro Sciarroni

During our daily meeting at 4, yesterday we invited Alessandro Sciarroni to join us for a chat on the works he has presented this week in Bassano, Folk-S and Joseph.

Issues such as endurance and representation came up, as Alessandro also told us about the process. We talked about how the context can inform the content of a work, how the feedback from the audience can sometimes provide suitable suggestions for the development of a piece.

Folk-S is the metaphor for the creation of a group, and its first core was created during Choreoroam 2011. Three of Folk-S performers had been Choreoroamers 2011 (Marco D’Agostin, Pablo Esbert Lilienfeld and Alessandro Sciarroni himself) and one had been Choreoroamer 2010 (Francesca Foscarini). How do group dynamics work within Choreoroam? What do these groups, different every year, have in common when it comes to actually becoming a cohesive group?

 

I speak two languages

sunset in Bassano del Grappa

Last year I invited the Choreoroamers to do the exercises of translation, a creative transfer exercise. This year I narrowed down this proposal to the written transfer or translation of their own work and of the works they see during B motion.To deal with the sketches they presented during the sharing, I gave them some titles or themes, as a starting point. They are allowed to contradict these themes and to write in the form and genre they prefer to convey their idea. They can also write in their own mothertongue and they can choose whether to share their writing with the blog readers or not.

It is definitely not an easy job, basing on the assumption that dance is also a language and on the attempt to translate it into another language, the written form.

While we were talking about this, Eva quoted Mae West, “I speak two languages, body and English”. To which extent are these two languages mutually translatable? How can the verbal form be an expression of a performing art?

Sharing day

Today at 3 pm, at the CSC Garage Nardini in Via Torino, Bassano del Grappa, the Choreoroamers will share the research they have developed during their Bassano residency.

The sharing is open to the public, and the admission is free. Needless to say, this is neither a formal show, nor a finished product, but a moment in which the choreographers generously reveal what they have been engaged with.

At the end of the showing the audience will be able to talk with the choreographers, provide them with some feedback and ask them questions, for example about the journey that brought them there.

Or maybe the Choreoroamers themselves will ask questions to the audience…

Get prepared for Giorgia Nardin, Tommaso Monza, Marina Mascarell, Rut Balbis, Irena Mikec, Eva Maria Kupfer, Loic Perela and Amy Bell!

 

 

Rut Balbis

Rut Balbis

For Rut Balbis, Choreoroamer from Spain, this has not been her first time in Bassano del Grappa.

During B motion 2008 she and her company, Pisando Ovos, presented an extract of their work No intre 1800. I remember the work had a lot to do with duration, time, simplicity, letting go of the body.

Today Rut reaffirms her wish to be simple, her challenge to express ideas in a clear way. “I want to talk about how you can look at an artwork. At the moment I am working on the audience’s point of view, and on the different ways I can present my artistic thought”.

At Palazzo Grimani she was fascinated by the essential compositional lines of Paesaggio, by Toni del Tin, 1953. A black and white photograph, with a line dividing the sky from the earth, a donkey inbetween. The shapes are clear, the colours are basic, this reminds Rut about Kandinsky.

I asked her to draw the lines of the picture she chose for the beginning of her journey.

Then, right there, a donkey appears. The donkey is an animal she likes, something which she connects to her region. She has always lived in an urban area, but Galicia, where she comes from, is also a rural region, and donkeys can be seen there.

The connotations are several, a donkey is a sweet animal, but also a naive one. “Especially in this moment of crisis, politicians are telling us what to do, and we’re like donkeys there. There were many demonstrations, but we’re still donkeys. This animal can stand for manipulation“.

Writing and moving

The four states, the four past lives in Yasmeen’s written task were processed into four titles: from there, going to the movement material was a spontaneous passage for Rut. “Each word, each title, was like a satellite, around which many other concepts revolved. Thinking of past lives, of the past, it is easy for me to go back and feel the movement I associate with that. My associations are physical, related to the imagery, mental, emotional. For example, starting from the word agotado, exhausted, I can connect the memory of feeling exhausted, then what I define as such, etc.”

The passage from one room to the next one was net, in Rut’s case, that is to say she did not inform the next room with what she had experienced before, nor did she melt both, but she decided to cut.

Rut defines two basic ways to physically process a word. Let’s take the words donkey and agotado, exhausted: for the first, she started by being in the body of a donkey, and then gradually went into the mental state associated with that; for the second, she did it the other way around, ie she connected with the state of mind of being exhausted to gradually be physically exhausted.

Her challenge is to make her body move her, she trusts the movement of her body, so she follows it. “Of course, it’s not possible to separate soul from body, but sometimes one part takes the lead over the other”.