NEW WORK 2019 HIVE Pietro Marullo / INSIEME IRREALI - Page |!
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our hydrological need of cosmic lines
NEW WORK 2019
HIVE
Pietro Marullo / INSIEME IRREALI
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HIVE - our hydrological need of cosmic lines
Pietro Marullo / INSIEME IRREALI (ITA/BE)
Concept, choreography and direction Pietro Marullo
Soundscape Jean Noel Boissé
Lightscape Ryoya Fudetani
Sculptures and costumes Pietro Marullo and Diana Ciufo
Scenic constructions Atelier Théâtre Varia de Bruxelles, Bertrand Nodet
Danseurs Maria Barreto, Julia Eva Bondone, Ines Carijo, François Delcambre,
Paola Madrid Garcia, Vasco Pedro Merine,
in alternance with Marianna Cifarelli, Adrien Desbons, Elda Gallo
Production Teresa Gentile
Promotion Estelle Ruei Jen Wu
Produced by INSIEME IRREALI asbl
Coproduced by Festival Oriente Occidente nell’ambito della “Vetrina delle idee”
per produzioni culturali originali, Théâtre Varia de Bruxelles,
La Coop asbl, Federation Wallonie-Bruxelles, WpZimmer, IF
Barcelona Festival, Tax Schelter
With the support of IntercettAzioni - Centro di Residenza Artistica della Lombardia (un
progetto di Circuito CLAPS e Industria Scenica, Milano Musica,
Teatro delle Moire, Zona K), Sala Hiroshima of Barcellona,
Wallonie-Bruxelles International,
Supported by Scenario Pubblico / Compagnia Roberto Zappala di Catania, Arts
Printing House di Vilnius, Derida Stage Center di Sofia, Sala
Hiroshima di Barcellona
Length 1h
PREMIERE 30th August 2019 - Festival Oriente Occidente (Italy)
CONTACT Teresa Gentile / Producer
production@pietromarullo.com
Estelle - Ruei Jen Wu / Promoter
promotion@pietromarullo.com
https://pietromarullo.com/
vimeo.com/pietromarullo
http://instagram.com/pietro.marullo
https://twitter.com/nuitverte
CREDITS PHOTOS: Diana Ciufo
P a g e | 3! Presentation What would be our common future if we start to consider ourselves as a specie? What would be our new philosophy, our new institutions and laws? How we will change our habits related to everyday life, food, energy, animals? Which kind of emotions this new dance should express? HIVE (beehive / community), a project that focuses on the reflection on the essence of the human species. This time the imaginary painting is the famous painting by Michelangelo La Sacra Famiglia on which Marullo's iconoclastic gesture lashes out to open up reflective dimensions that touch upon cosmogony, anthropology, sociology and movement. It is a "choreographic" picture that marks the end of an era, of the Renaissance, and whose vectors and looks, and whose forces and twists of the bodies, try to capture that anguish of the loss of contact with the ground, with the Earth / Mother. A cubic metal structure evolves in the stage space. It is a symbolic object in which it is possible to recognize the image of the hive, the web of human relations, the border between inside and outside; or an allegory of Power, Technique and Religion. The geometric shape is imposed as a totem creating a connection between the bodies of the dancers. These are catapulted into a conflictual dynamic where the internal disintegrating forces, carried by each member, are ready to take over and harm the very life of the holy family. HIVE stages a community that is facing the possibility of self- disintegration for the first time. This performance is made to be presented in different spaces: normal stage or site specifics. It also appreciate the presence and participation of local communities that integrate the show after a short process of rehearsal.
P a g e | 4! ORIGINS At beginning there is a meditation on the majestic Michelangelo’s Sacra Famglia. This round painting represents the holy family in an everyday life moment. Holy Mary’s body takes the most of the space of the painting, and she is captured in a strong position, making a huge torsion with the chest. She is giving the baby to the father. I was, first of all, completed under the charme of the colors, lines and vectors presented into the painting. Michelangelo was putting all his genius to express deep emotions with a very formal language: colore, shapes, volumes. Thanks to this tableau, I started to reflect on the topic of holy family in the history of art and I decided to visit the Uffizi Museum in Florence. When you enter, the first image is a huge Madonna sitting on a beautiful throne, on a gold backboard. This is the archetype of the topic of holy family, in a matriarchal way. Room after room, this topic is present under the form of repetition or emulation till to arrive to master such as Leonardo, Raffaello and Michelangelo. For them, the holy family became the reflect of a patriarchal vision of the society. I was shocked to realize that we could consider all the Uffizi collection under the kaleidoscope of holy family.
P a g e | 5! VISION The topic of Holy Family represent for me an anthropologic issue rather than a religious aspect. And I immediately started to reflect about the relationship between families and our planet. Where does the idea of family come from? From really far. And it is always related to survival of a human group. According to last paleoantropologic studies, the gender Homo had the possibility to organize himself into small groups, families and tribes, as consequences of some different aspects: this is the story of a small monkey that is starting to explore savanna’s fields and to use the bipedy. Under the pressusur of climate changes like glaciations, he has to move above and cross those spaces in small groups. Something incredible is going to do the difference between his species and the others: the time parents share with babies. This push fast the evolution of the culture: learning, imitation, p l a y, relationships, sharing food, etc. Family has been the strongest invention to survive during very difficult times. Should we enlarge today our vision of family? And what would be the consequences? Those questions are in my mind since the beginning of this project. For my generation it is easy to represent itself out of the context of the family. Even out the context of the society and the nation, as citizen of the world. But, the point is that the nations are not able to imagine them out of their paradigm. Today we are facing such global issues (climate change, migrations, etc..) we should reflect on the real power of the Nations to pass through that issues and to bring humanity at the end of the XXIst century. Probably we should imagine other political form of living together if we won’t create big inequalities on this planet and if we want to reestablish a good level of responsibility with Nature.
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P a g e | 7! HIVE creates a dialogue between dance and those fundamental issues. Dance is the moment when humans take a pause and find the joy to be together. This is possible thanks to the need of kinesthetic empathy we have. And when we dance in a circle we break the unrestrainable flow of life. This is ,of course, an illusion. Ephemera illusion. But we need to generate that energy able to move our person out of our confort zone. One of the stage issues related to bodies and movement is how to produce a new and original language able to express this new need. The dramaturgical strategy adopted is to create a link between will and power. In this case, the experience of the relationship between puppet and master’s puppet suggests us an in interesting challenge: to transform the dancer’s body into an “object" and to ask to an other dancer to manipulate it.
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P a g e | 9! HARD SCULPTURE An iron cubic structure reveal his presence on the stage, under all the mass of fabrics. Abstract shapes has the power to become symbolic or allegoric object on stage. In this case we also manipulate it to create an evolution of forms into the space. We let dance this material that has a weight, a skin, a temperature. A history too for our species, as iron material and as cubic shape. When we manipulate the cubic sculpture, because it is empty, the brain can read a lot of other shapes (triangle, rombo, trapezio, etc.). Spectators assist to a real metamorphosis. Where we are when we dance in the middle of abstract forms?
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PIETRO MARULLO (ITA)
Artistic Director of the INSIEMI IRREALI Company (BE)
AEROWAVES ARTIST 2018
Associated artist at Festival Oriente Occidente (Italy)
Associated artist at IF Barcelona (Spain)
His interdisciplinary work lies at the intersection of visual arts and theatre, installation and
movement. He was born in 1985 in Napoli (Italy) where he attended the Faculty of Modern Letter
Federico II and the International Center for the Research on Actor (ICRA Project).
In 2008, he moved to Brussels to study directing at the Higher National Institute of Performing Arts
(INSAS). Here, he wrote and directed a project on the relationship between drama and
documentary, Blackboard for a colourless city (2010); a project of dance theatre rewriting the myth
of Ycare, To the dreams of our children (2011). He graduated with the creation of Prenditi cura di
me (2012), a theater, dance and video project with his father. Artistically, he multiplies his
experiences between France, Italy and Germany playing in Death in Venice by Thomas Mann
directed by Thomas Ostermeier at the Venice Biennale 2011. He participated in FINDPlus Festival
2011 at the Berlin Schaubühne. He was selected for the international project Europe will art you in
Paris in 2012. In 2013, he met the director and filmmaker Federico Leon and the director Kristian
Lupa. In Brussels, he attended some workshops Wim Vandekeybus and David Zambrano. He was
sponsored by Valérie Dreville as a young artist for Kadoms Travel project at the Festival Avignon
2013. He participated in the 1991 – a science fiction about Central Asia led by the choreograph
Costanza Macras as part of the Nouvelle Ecole des Maitres 2013. He met the accomplices that
lead in the experiences of NOMAD ROMANCE.
ARANCE – avoid shooting blacks is about the issue of modern slavery in Europe. A hybrid show
that blends the codes of theatre and the visual art. The project was created during the The Festival
Emulation 2015 of the Théâtre de Liege and presented at the Théâtre Varia in Brussels in February
2016. In June 2016, he was invited to the International Meetings at the FestivalTransAmeriques
2016 in Montreal.
In 2017, he presented the performance WRECK-List of extinct species, for the opening of the
International Dance Festival OrienteOccidente. A soft moving sculpture move into the space
among several dancers. It’s a project between installation and dance on the theme of shipwreck. It
is coproduced by the Théâtre Varia de Bruxelles, the Wallonia-Brusels Federation, by the Centro
Internazionale della Danza of Rovereto (Italy), the TanzHaus of Zurich and the CDC La Briqueterie
of Paris.
MIMESIS, a dance and video show about the concept of imitation that he will present for the
opening of the Festival Scripta Manent at the Théâtre de la Balsamine in Brussels, on December
2017.
Today he is working on two new projects: The second project is ARIANE [eu]phonie, a reflection
on the concept of border starting from the Greek Mythe of Labyrinth. The show is coproduced by
the Théâtre Varia de Bruxelles and the Wallonie-Bruxelles Federation. The premiere will be next
January 2019 in Théâtre Varia de Bruxelles.
The second show is HIVE an international coproduction that will premiere in Festival Oriente
Occidente in Italy, in September 2018.
Since 2017, he works at the Academy of Music and Theatre of Vilnius (Lithuania) where he
proposes workshops and lectures about the « metaphorical body method » and « documentary
theatre ».
He is also associated artist in Festival Oriente Occidente de Rovereto (Italy) and IF Barcelona
Festival (Spain).
http://pietromarullo.comP a g e | 11
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INSIEME
IRREALI
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