Short stories between a devil and a soldier

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On a shared evening, two Palermo’s choreographers over 40, Giuseppe Muscarello and Giovanna Velardi propose two solos on the theme of expressiveness and identity. Two choreographers whose linguistic and stylistic figures are deeply rooted in Sicily but look forward towords the world. About identity with and by Giuseppe Muscarello is a choreography realized with mechanical simplicity; the protagonist Gengè moves on in a simple everyday life where self-depictions, personal and social projections are lost in fragmentation. Look me inside, with and by Giovanna Velardi is the portrait of Lu, a woman who investigates the body exposed to the eyes of others. Lu lights up and shuts off through her costume of light; when it is on she is pure and expresses herself freely, without fear of any judgment, exhorting the audience to find the same impetus.

Gengè
about identity

by and with Giuseppe Muscarello
a production of Muxarte - FC@PIN.D';OC
with the contribution of Mibact, Regione Sicilia
supported byi Officine Ouragan

"I did not know myself at all, I did not have my own reality, I was in a state of continuous illusion, almost fluid, malleable the others knew me, each other in their own way, according to the reality they had given me; they saw in me a Moscarda that I was not, because I was not really anybody for me: as many Moscarda as they were. "

A stereotyped man who is victim of all the schemes that society imposes on him. A man in the spasmodic research of authenticity because he realizes that his life is absorbed by randomness. The awareness that his body is animated by the forms that society demands, a mortified body that decides to experience emptyness and tries to live being nobody and not living experiences. He decides not to be. The show is freely inspired by "One Nobody and One hundred thousand" by Luigi Pirandello. Genge is the main character of a novel born in 1926 but more than ever corresponds to today's men. Dance could be the ideal tool for telling and transmitting the feelings of the protagonist. A body destabilized by a new reality that discovers randomly and with "free acts".

 Giuseppe Muscarello

 

In the articulate gesture typical of popular languages, reinterpreted one can trace a perfect detail that connotes the creation of Muscarello and his lively and fertile Sicilianity.
(Enrico Rosolino - VERVE MAGAZINE - published May 11, 2017)

 

Giuseppe Muscarello
Choreographer, dancer, performer has worked for over twenty years with many Italian dance companies as well as with directors of cinema and theater. His solo dance career began in the early 90s and develops in many and various forms. For years he ha salso been engaged in dance and stage training for dancers and professional actors throughout Italy. In 1999 he founded and directed Muxarte, a group of young artists from different educational realities, working on various contemporary dance techniques. From 2017 he is artistic director of ConFormazioni, Festival of dance and contemporary languages in Palermo. Currently the company is engaged in a national tour with the new creation (About Identity) freely inspired by the novel One Nobody and One hundred thousand by Luigi Pirandello. Also the shows currently in distribution are: "Me-She-It", and "I Am My Mother". This last one is a large project born with a photographic exhibition, a book that contains a tale, published by the publisher Leima and available on www.editoriileima.it. and a solo.

 

Look me inside

Lu: my name is Lu. She says. Look me. Inside. She says.

creation, direction, choreography, text and dance by Giovanna Velardi
costumes Concetta Guercio
organization Danila Blasi
press office Benedetta Boggio / Rosa Shocking
a production FC@PIN.D';OC
with the contribution of Mibact, Regione Sicilia 
with the support of Scenario Pubblico, Officine Ouragan

 

Lu shines. Like light.
Lu talks about herself and says very intimate things. Things nobody knows. She tells us how to tell a fairy tale. Lu reveals details of herself otherwise secret. But Lu needs the dark to oper herself, infact when there is light Lu is too human. Darkness is her friend. In the dark Lu lights up, speaks, tells. Lu tells us secrets and reveals emotions. And to do this she uses the language of the heart. As in a monologue made of words and movements, she pushes herself over the boundaries, following the unpaved map of her inner dynamics. Lu dances and gives us her heart.

 

Giovanna Velardi
Sicilian choreographer and interpreter, artistic director of the company Giovanna Velardi, graduated at the National Academy of Dance in Rome, Giovanna Velardi, at the age of 14  awarded  the City of Catania International Competition. Giovanna studies in Italy and France, and has worked with some of the choreographers of the French Nouvelle Danse as Genevieve Sorin. She develops her tendency to work on improvisation and she founds her own company in Marseilles collaborating with musicians and composers. Among her creations and interpretations: Puppet, Ophelia (Hamlet Machine), The three studies, Versus, Short circuit, Pupidda, Clown, Alice's Room, Live Vucciria and I Picciotti, Straw man (European project built between Prague and Marseille Palermo) Carmen, Core / Demeter 2.0, Look me. From 2011 to 2014 she is the choreographer for the Palermo Symphony Orchestra,she creates the choreography for IL MACELLO DI GIOBBE of Fausto Paravidino and works with the director Vincenzo Pirrotta and for the musical conservatory Bellini in Palermo. In 2015 her creation Look me is at the Venice Biennial. In the same year, the Company Giovanna Velardi becomes Associate Artist to Scenario Pubblico, Catania international choreographic center directed by Roberto Zappalà. She also work with directors Fabio Grassadonia ed Antonio Piazza. She developed a method that he uses in creating and training for dancers and actors "The articular heart"

 

Ufficio stampa e comunicazione
BENEDETTA BOGGIO 333 2062996 This email address is being protected from spambots. You need JavaScript enabled to view it.

Organizzazione
DANILA BLASI 346 4137956 This email address is being protected from spambots. You need JavaScript enabled to view it.

 

 

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(il linguaggio del cuore articolare)

 

Coreography: Giovanna Velardi
Dancers: Federica Aloisio, Valentina Iaia, Silvia Oteri, Tiziana Passoni, Sabrina Vicari, Giovanna Velardi
Music (composed and performed live): Angelo Sicurella
Costumes: Dora Argento
Noses creation: Paolo Roberto D'Alia
Light design: Danila Blasi

Production: PinDoc
Supported by: Mibact and Regione Siciliana
Duration: 50 minutes

 

A research on flexing heart. On stage a musician and five dancers. A show, Flexing Heart, born from the research of Giovanna Velardi and her reflection on the center of the body, from the idea of the center of the active, stable, energetic and flexible body. A show that focuses on the polarity between homologation and diversity. Diversity that can be seen as madness, as marginality to a system, which becomes an energy carrier that infects the vitality of a child. A child that is also a fool, that manages to contaminate with its energy a group of perfectly homologated characters, perfectly part of a world that wants them to be similar.
Oversized noses underline polarity between homologation and diversity reminding us how often someone who is outside the schemes find it hard to be accepted. This fool has an explosive energy, explosive like the music conceived and played live by Angelo Sicurella who, similarly, works around diversity, creates a parallel world, a substratum of a larger container, a sequence of pictures that are grafted into the peculiarities of each dancer.

The delicate, muscular, heavy, elastic expression always characterized by the peculiarities of the dancers, in music finds its place in a universe of sounds that constitutes a sort of apeiron, a container of sounds that constitutes the galaxy inside which the worlds move (the bodies of the dancers, each with the movement that belongs to them) in the constitution of a whole that is inscribed in the concept of social diversity and homologation, in total harmony with the dramaturgy of the show. In the sphere of a purely connotative language, body and music tell us crisis that is getting deeper and deeper.

 

FLEXING HEART THE METHOD
The method was born to pay attention to an area of the body not used in dance, linked to the vital organs and to the anatomical center. It is the area that joins the liquid and gaseous parts, which articulates the thoracic and pelvic respiration. It is located on the vertebral column, where deep ligaments pass from the organs to the muscular and skeletal areas.
The axis of the body passes from the flexing heart, the peripheries of the body and space are related, the tension of the body is left and the vital energy is recovered. Before experimenting the flexing heart - so called because the heart is the main vital organ - it will be important to mobilize the rib cage and the basin, which protect and contain the heart of the anatomical center. To better visualize the flexing heart, Giovanna Velardi has drawn two lines from the epigastrium to the pubis, a trans-umbilical and the other perpendicular to this, to work on the quadrants, windows-oblo, as they were also articulations in turn tied to the organs. The work of mobilizing the flexing heart is carried out on two-dimensionality and three-dimensionality.


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BENEDETTA BOGGIO 333 2062996 This email address is being protected from spambots. You need JavaScript enabled to view it.

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DANILA BLASI 346 4137956 This email address is being protected from spambots. You need JavaScript enabled to view it.

 

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Concept: Giovanna Velardi
Coreography: Giovanna Velardi
With: Giovanna Velardi and Federico Brugnone
Costumes: Dora Argento
Coordination of the dramaturgic project: Roberta Nicolai
Direction consultancy Luciano Colavero
Dramaturgic consultancy: Andrea Milano,Matteo Finamore
Organization: Danila Blasi
Communication: Benedetta Boggio
Production: PINDOC
With the support of: MIC e REGIONE SICILIANA
With the collaboration of: Triangolo Scaleno/Festival Teatri di Vetro, Rosa Shocking/Festival Tendance, Armunia/Festival Inequilibrio, Spazio Franco
Thanks to La Vicaria, house of the company Sud Costa Occidentale

Matteo Finamore and Andrea Milano have been selected for this project among the participants at “Esercizi di Regia 2019”.

 

A man and a woman. A fight. Is it the start or end of a crisis? Is it the turbulence of a beginning or are they stepping through the end of love?
We experience the encounter between a man and a woman, two celestial bodies - one into the orbit of the other - until they collide to generate the greatest explosion of light, an apocalypse. It’s the story of a change of state, of how an encounter can turn into a clash, of how ice can become water or can steam or become ice again. How to change the point of view? How to get a vis-à-vis without glasses?

 

Press office
BENEDETTA BOGGIO 333 2062996 This email address is being protected from spambots. You need JavaScript enabled to view it.

Organization

DANILA BLASI 346 4137956 This email address is being protected from spambots. You need JavaScript enabled to view it.

 

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dall'articolo:
OPERE APERTE / TEATRI DI VETRO
di Gianluca Valle - 12 Gennaio, 2020
su teatro.persinsala.it

"In I broke the Ice and saw the Eclipse, Giovanna Velardi – che ne è l’ideatrice – esegue insieme a Federico Brugnone una performance originale e coinvolgente, in cui i codici della danza contemporanea si mescolano a quelli della parola d’amore. I loro corpi si cercano o si respingono? Le loro anime si toccano o si ignorano? È amore o crisi? È un lavoro decisamente convincente sui significanti, sui gesti e sui fonemi di diverse lingue, quello che Giovanna e Federico propongono al pubblico, avvalendosi anche della consulenza drammaturgica di Matteo Finamore e di Andrea Milano, selezionati per il presente progetto nell’ambito del concorso Esercizi di Regia 2019.

Per conoscersi, occorre dapprima “rompere il ghiaccio”: i passaggi di stato di questo materiale solido, ma solubile, capace di farsi acqua e vapore o di tornare ghiaccio, e quindi mai uguale a se stesso, costituiscono il frame metaforico di fondo attorno a cui ruota l’esibizione. Quello che viene narrato in una sequenza di immagini e suoni è il gioco, a un tempo eccitante e tormentoso, dell’assenza amorosa, dove è sempre l’altro che parte, mentre sono io che resto: «all’assente, io faccio continuamente il discorso della sua assenza; situazione tutto sommato strana; l’altro è assente come referente e presente come allocutore» (R. Barthes, Frammenti di un discorso amoroso). Il mio cuore si scioglie, esponendosi al rischio di essere amato di meno di quanto io ami: in fondo, che cos’è il mio amore, se non rivolgermi a te, che sei sempre sul punto di metterti in viaggio, di eclissarmi?"

LEGGI L'ARTICOLO COMPLETO

 

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the empty chair waits for the next one to sit

Performance danced by Giovanna Velardi
From an idea by Giovanna Velardi and Paolo Roberto D 'Alia
Production PinDoc
With the support of MIC and Regine siciliana

 

Marked by a global device made of artificial satisfaction, dissension indicates a critical perspective. Diverging from the definite form, the attempt to modify a state, to seek authenticity in order to be there

An anonymous character, seated in a chair, observes the audience with transparent glasses and a shimmering jacket.
In front of her the audience. So many eyes, penetrating eyes look at her. Eyes that wait. Eyes that judge. Eyes that make her a target. So why not become a real target to throw Tomatoes on? Red, ripe, merciless tomatoes.
And the character accepts the blows, calmly cleans herself up and says "I prefer your tomatoes to your indifference".
But does the audience, who is now laughing and having fun, aiming to live the same experience? Do you know what it feels like to get red tomatoes on your face, on your dress?
The empty chair is waiting for the next one.

 

Press office
BENEDETTA BOGGIO 333 2062996 This email address is being protected from spambots. You need JavaScript enabled to view it.

Organization
DANILA BLASI 346 4137956 This email address is being protected from spambots. You need JavaScript enabled to view it.

 

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CONTACTS

info@compagniagiovannavelardi.it

art direction: Giovanna Velardi
giovanna.velardi1@gmail.com

organizational direction: Danila Blasi
danila.dada@gmail.com

management: Letizia Coppotelli
letiziacoppotelli@gmail.com

communication: Benedetta Boggio
benedetta.bo@gmail.com

Ass. Cult. PinDoc Onlus

registered office
Via Maqueda 232 90134 Palermo
   
legal representative
Theodor Rawyleri

VAT number 07149771003  
NIN 97249270584

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