a project by Paolo Aralla and Luca Veggetti
theatre | music | dance
Space as the common ground for different skills.
The human body possess a knowledge, in its single parts and as a whole: a biological and archetipal knowledge that traverse its every single cell, a memory, an inexhaustible patrimony to explore through a combination of rigour, patience and discipline, in other words, the necessary tools for the dancer and the musician to be skilled. Languages, and therefore music and dance as well, are the fruit of this search, they are the conscious image of an originary learning. The notion that the vocabulary at the base of any choreographic and musical traditions is, in fact, beyond time, seems a necessary point of departure for any experimental work in our disciplines. In their difference, the skills proper to the dancer and the musician create a linguistic universe made of symbols, syntax and customary practices connected through a tight web of analogies, the one teaches the other his own vocabulary within the common ground of the stage space, a place where the time of sound and the time of movement coexist in a sort of free polyphony.
Recording as a mean to observe, isolate and recompose experience.
Every new adventure in composition, whether it is musical or choreographic, leaves traces of itself in images, sounds and words: working proofs, sketches, archival documents. They witness the creative process a work stems from. These documents suggest new ways, new possible paths, different from the ones that had led us to a finished work. They are traces that demand to be reconsidered from different and multiple perspectives. The ritual of visioning engenders a reflection on the very nature of recording, showing the creative possibilities that such an activity can contain. The act of selecting, isolating and framing implies an increased sense of focus, a process where a detail becomes the unity of measure in a new compositional logic. A way for archival material to become the source of a new creation.
Born in Lecce Italy in 1960. His artistic formation is marked by the encounters with Franco Donatoni and Marcel Couraud.
Winner in 1990 of the international competition 'Gaudeamus' in Amsterdam, his music has been played by renowned ensembles and musicians such as: Ensemble Intercontemporain, Either/Or ensemble, BIT20 Ensemble, Österreichisches Ensemble für Neue Musik, Zephir Ensemble, Orchestra del Teatro Comunale di Bologna, Orchestra Toscanini, Günter Neuhold, Jonathan Nott, Eva-Maria Kurhau, Maurizio Ben Omar, Francesco Dillon, Yoichi Sugiyama, Het Trio, Manuel Zurria, Keiko Murakami, Sarah Leonard, Michael Nicolas, Erin Lesser, MDI ensemble, Quartetto Foné, Quartetto Klima.
Interested by the performative interaction between different artistic disciplines, creates in 2001 the group PRISMA (Pedagogia e Ricerca Internazionale sui Sistemi Musicali Assistiti da computer), together with other European composers and the support of IRCAM.
Since 2005, he collaborates with choreographer Luca Veggetti on a series of choreographic and musical pieces characterized by the exploration of the live processing of sound in relation to motion capturing.
In 2002, he is one of the founders of the FontanaMIXensemble in Bologna. In the conservatory of music of the same city, he teaches composition and technologies in relation to composition.
Born in Bologna in 1963 and trained at La Scala Milan, he began in 1990 a career as choreographer and stage director after having danced in London and the U.S. Turning his interests toward contemporary music, experimental forms and new technologies, he has developed collaborations with some of today’s most important musical ensembles, and with composers such as Toshio Hosokawa and Kaija Saariaho. His work has been produced and presented by some of the world’s leading theaters, companies and festivals, and by visual arts institutions such as the Drawing Center and the Metropolitan Museum of Art in New York. He was the first Italian choreographer in the 20th century to be invited, in 1999, to work with the legendary company of the Kirov Ballet at the Marinsky in St. Petersburg. Since March 2007 Works&Process at the Guggenheim in NY, in coproduction with the Miller Theater, has produced and presented his work, notably an evening on the music of Toshio Hosokawa, the US premieres of Iannis Xenakis’ Oresteia and Kaija Saariaho full length dance piece Maa. His collaboration with composer Paolo Aralla has produced a number of dance and theater pieces that explore the relation between motion capturing, dance, theater and new sound technologies, notably Silence/Text at the Joyce Theater, Four/Voice at the Miller Theater and Pier Pasolini's Vivo e Coscienza in Milan. In 2009 he has directed the Japanese premiere of Toshio Hosokawa’s opera Hanjo at Tokyo’s Suntory Hall. In 2011 he was the resident artistic director of Morphoses, a New York based dance company, presenting at the Joyce Theater his multidisciplinary production of Bacchae. In 2012 his piece Meditation on Violence was awarded a Golden Mask in Moscow after its performance at the Bolshoi Theater. Recent engagements include creations for the Martha Graham Dance Company, the performance/installation NOTATIONOTATIONS for the Drawing Center in New York and Iannis Xenakis' Pleiades for the Japan Sociey. His has recently directed and choreographed Toshio Hosokawa's opera The Raven at the first New York Philharmonic Biennial, Hosokawa's opera Vision of Lear in Hiroshima, and the US premiere of Kaija Saariaho's The Tempest Songbook for Gotham Chamber Opera with the Martha Graham Dance Company at the Metropolitan Museum of Art in New York.