Nicola Galli works on body research, stated in artistic pieces and devices that ranges from choreo-graphy to performance, from body installations to graphics.
He starts as agonist gymnast and then approaches to the body research at Teatro Nucleo (Ferrara), studying the languages of physical theatre and contemporary dance.
In 2010 he starts a personal research focused on shape and definition of the “stratification” and “landscape” concepts in connection with the body, that develops in installations and choreographic pieces.
Starting from the geometry and the astronomy he is fascinated by anatomy, proportion and details; these elements compose the core of his trasversal scenic imaginary.
From 2010 to 2014 he worked as dancer and performer in the company Collettivo Cinetico directed by Francesca Pennini. Since 2014 he is choreographer supported by TIR Danza. In 2014 is selected artist at Italian Istitute of Culture in Paris with the performance Delle ultime visioni cutanee. From 2015 to 2016 creates the pièces Jupiter and beyond, Venus, Mars, a choreographic trilogy focused on solar system.
In 2017 creates the pièce De rerum natura with Balletto di Toscana Junior (Italy) and the support of Prove d’Autore XL – project of the Italian Network Anticorpi XL. In 2018 creates the interactive performance Ge- noma scenico for the Science Museum MUSE in Trento, with the support of Centro Culturale S. Chiara and Festival Oriente Occidente, and wins the prize Equilibrio – Fondazione Musica per Roma with the pièce Deserto digitale. In 2018 wins Danza & Danza Prize as best emerging choreographer with the pièce De rerum natura. In 2019 wins the italian national prize Sfera d’Oro per la danza.
His works are selected for Italian and international festivals: Vetrina della Giovane Danza d’Autore in 2012 and 2015 (Network Anticorpi XL – IT), Nid Platform 2015 and 2019, International Festival D-Caf (El Cairo), Tanzmesse (Dusseldörf). Moreover, he presents site-specific performance in collaboraction with important italian institutions: MUSE (Trento), Scuola Normale Superiore (Pisa), La Galleria Nazionale d’Arte Moderna e Contemporanea (Roma), Fondazione Perugia Musica Classica (Perugia).
About the Vertical Theater. The Vertical Theater stems from vertical dancing Vertical spaces become floors on which the performers, supported by harnesses and suspended on ropes, dance, jump, run, perform…using the walls as orthogonal working surfaces.
We see the Vertical Theatre as a language that brings together different art forms, starting from Theatre and circus, graphics, acrobatics, dance and music, to visual comedy and new technologies. All of these different disciplines get reinvented and adapted to unusual and impressive vertical locations: towers, buildings façades, bell towers, walls, cliffs, trees and great outdoors.
About Us. eVenti Verticali is a cultural sports association aiming to promote an unusual type of Theatre to be performed on vertical and aerial stages. Origins. Founded in 2006 from an idea of Andrea and Luca Piallini, the association has since then realised courses and shows all around the world promoting the Vertical Theatrein twenty different countries.
The idea of working on vertical surfaces came up in 2003, while performing a rope descent from a window during a show in Gdansk.
Cie. l’Insolite Mécanique (FR) ‘s “Je brasse de l’air”
Be transported into a mysterious world of shadow and light, where astonishingly engineered mechanical installations that defy the laws of gravity come alive, illuminating Magali Rousseau’s childhood dream of achieving flight.
An enigmatic yet charismatic artist tells her story: a little girl who wishes to escape by becoming a master of the air. As she leads us all to different parts of the atmospherically lit stage, her simple words become a symbolic force for this promenade performance in which exquisite metal creatures emerge from the dark.
Some small, some very large, each is an actor, a work of art in its own right, set into action through steam power, flame, time or weight, all playing their part in this ingenious theatrical tale. Rousseau’s machines are born out of a career working in set and prop design.
Here she collaborates with musician Stéphane Diskus, whose live clarinet playing heightens the unusual ambience, to relate a most personal memory: how trying to fly became an act of resistance. A journey into the imagination for all dreamers, young and old alike.
Self-Centered Mirror is an arrangement of 34 vertical panes of mirror. It has a retro-reflective behavior, and anyone standing in front of this mirror will see themselves reflected on all 34 panes. The mirror is designed to isolate a very narrow field of vision, and seemingly reflects the image of each viewer individually. It physically illustrates the narcissistic gaze that is usually associated with mirrored reflection. This piece is a wall-mounted sculpture that curves out from the wall on its left and right sides.
Artist and computer developer Daniel Rozin is best-known for incorporating ingenious engineering and his own algorithms to make installations that change and respond to the presence and point of view of the viewer. Exploring the subjectivity of self-perception, Rozin’s works are made from a wide array of materials from video to wooden pegs and even street refuse. Trash Mirror No. 3 (2011) uses motors and software designed by the artist that manipulate ‘pixels’ constructed out of flattened, reflective pieces of garbage, which shift to render the silhouette of whomever approaches it.
With his own productions and his collaborations with Dimitri de Perrot, the choreographer, theatre director and clown Martin Zimmermann has performed in renowned theaters and festivals across Europe and throughout the world.
Hans was Heiriis built around a rotating house. The set looks like a dolls’ house, a square of four rooms with simple furniture. Then it starts to spin. The performers stay upright as the floor tilts under them, until gravity sends them tumbling from room to room.
Appearing as part of the London International Mime Festival, the show was created by choreographer Martin Zimmermann and composer Dimitri de Perrot, both festival regulars. In Hans was Heiri they put six acrobat-performers through a series of transformations and tangles. They switch costumes, quarrel, teach yoga classes and hide in boxes.
The performers switch personalities, arguing with each other or pursuing their own obsessions. These character scenes go on too long, milking the jokes, though the material is inventive.
Hans was Heiri is strongest when it stops trying so hard to be wacky. The most deadpan artists are the most impressive. Mélissa Von Vépy, a wonderfully serene aerialist, floats around the house. She hangs from her knees from the set, pulled into a great circle as it turns, casually picking up a fellow performer as she goes.
Dimitri de Perrot mixes the soundtrack live on stage. The show starts with audience chatter, the real conversations in the auditorium blending into the recorded sound of the same thing. Then Perrot starts chopping and looping it, turning it into rhythms that get the show moving.
The house brings out the best in everybody, as they dodge falling furniture or stay insistently seated on chairs that have turned upside down. Leaning into the slope, they hold themselves at impossible angles. A man leaning against a wall finds himself lying down, then sliding across a tilting floor to bump his head on what used to be the ceiling. Another runs clings to the outside of the house, running to stay on top as it picks up speed.
The poetic gesture – from a monologue for a single spectator to an Olympic ceremony. Theatre, dance, acrobatics, circus, opera and documentary: all come together in the work of compagnia Finzi Pasca.
Daniele Finzi Pasca (Lugano, Switzerland), co-founder of Compagnia Finzi Pasca
Author, director, choreographer, lighting designer and actor
Daniele Finzi Pasca lives in three worlds at once: stage directing, performing arts, and the art of clowning. Born into a family steeped in the arts, he starts his career as a gymnast and becomes a circus artist before delving into the world of theatre.
In 1983, he heads to India where he volunteers to care for terminally ill patients in Calcutta. On his return to Switzerland, with Maria Bonzanigo and his brother Marco he creates the company Teatro Sunil and its peculiar vision of the art of clowning, dance and acting: a theatrical technique they name the “Theatre of the Caress”. With Teatro Sunilhe creates and directs around 30 shows depicting a profound sense of humanity and playfulness, performed in about 20 countries.
In 1991 he writes Icaro, a monologue imagined for a single spectator that he performs nearly 800 times, in 6 languages, still on tour. In 2009 he co-founds Inlevitas with his wife Julie Hamelin Finzi (†), aiming to create and develop various artistic projects, where the opera L’Amour de Loin (Love from Afar) for the English National Opera London is its first production.
In 2011, together with Antonio Vergamini, Hugo Gargiulo, Julie Hamelin Finzi and Maria Bonzanigo, he co-founds Compagnia Finzi Pasca and continues creating and directing numerous shows like Donka– A Letter to Chekhov (a production with The Chekhov International Theater Festival, coproduced with Vidy-Lausanne Theater to mark the 150thanniversary of the birth of Anton Chekhov), La Verità, Bianco su Bianco and Per te (the latter dedicated to the life of his late wife Julie), lyric operas like Verdi’s Requiemand Aida (with Maestro Valery Gergiev) for Mariinsky Theatre in St. Petersburg, Pagliacci (Maestro Donato Renzetti) and Carmen (Maestro Zubin Metha), both for Teatro San Carlo in Naples, big events like 3 Olympic ceremonies (for Turin and Sochi Olympic and Paralympic Games, in 2006 and 2014 respectively), 2 shows for Cirque du Soleil (Corteo with 8,400,000 spectators on a 10-year tour, back in 2018 and Luzia, ongoing since 2016), Montréal Avudo, a multimedia outdoor show on the banks of Montreal’s river produced by Compagnia Finzi Pasca for the city’s 375thanniversary (2017), Abrazos, an interactive show for families at the Feria de León in Mexico (2019, 200,000 spectators, production Compagnia Finzi Pasca) and also the 2019 Fête des Vignerons (Winegrowers’ Festival), a celebration held in Vevey (Switzerland) every 25 years approximately. Amongst his most recent directions, the opening opera for the 2019-2020 season at the Grand Théâtre in Geneva: Einstein on the Beach by Philip Glass and Robert Wilson, co-produced by Compagnia Finzi Pasca.
Daniele published some books, appeared in seven languages: a collection of short stories, two dramaturgies of his shows, a novel, a novella and a long interview-book by Facundo Ponce de León, Daniele Finzi Pasca. Teatro de la caricia. Other projects are on the making.
Amongst many recognitions (e.g. 3 nominations in Broadway for Rain, 2006), Daniele received the Montréal English Critics Circle Award (MECCA) 2009 for Icaro, the Hans Reinhart Ring (2012), the highest distinction of Swiss theatre for his lifelong contribution to the performing arts and the Best Director of Circus Performance Award 2016 (Russia) for La Verità.
Since 2008 the originally small group of enthusiasts who wanted to create a single performance has grown into a grouping of almost one hundred actors, dancers, acrobats, musicians, producers, technicians, doctors, make-up artists and other professionals.
Following the unexpected success of the debut show La Putyka the brothers Rosťa and Vítek Novák founded Cirk La Putyka. The first as the artistic director and the second as the executive director have since then set the direction and speed of travel for our theatre and contemporary circus wagon.
Over the first ten years of our existence we created more than 20 projects, we cooperated with more than 300 people of 25 nationalities, we gave more than 1,500 performances and visited more than 21 countries.
“I don’t want our company to stagnate and pander to the expectations of the general or professional public. I want to create freely and with the energy that allowed the company to come into being and live.”
– Rostislav Novák Jr.
Firm theatre foundations
Our company started with nothing, with no experience in the contemporary theatre genre. We know what it’s like to rehearse under unsuitable conditions and only in your free time, what it’s like to teach yourself and how long it takes to reach a proper level, not only in terms of the show but also in terms of production and creative facilities. We know what it’s like to improvise and how important it is to be sure that you have taken the right path. And how fundamental it is to persist. This makes our company strong and viable.
Our roots are in theatre, and when we were starting to create our work we replaced virtuosity and acrobatics with theatricality until we gradually started to create our own contemporary circus and theatre style. The central point of each project is always a theme. We attempted to express this using various expressive means, multi-genreism and multi-culturalism. We have never enjoyed doing the same thing twice, every project is different, we are constantly searching to find where the boundaries of this genre are (not).
We aim higher and further
We want to continue. We want to search, to create, but we also want to break down prejudices and barriers and reinforce our own poetry that depends on the people who make up the company and the individual projects and put their all into it.
In the years to come we want to bring interesting themes to the Czech scene, to develop the next generation, and to offer space to renowned visiting foreign theatre directors who have never created a contemporary circus production and for whom such projects will be a great challenge.
Our Own Space
Jatka78, our home stage, is a place with ideal conditions for contemporary circus, dance, non-verbal, alternative and puppet theatre. In the Prague Market complex, in halls 7 and 8, you will find a multifunctional theatre hall, a small theatre, training hall, rehearsal room, gallery, bar and bistro. The Holešovice cultural zone is in the wider centre of Prague and is accessible both by public transport and car (parking in the market complex).
Having our own space where we could rehearse, practice and perform under a single roof was a long-term dream of our principle, Rosťa Novák Jr. Thanks to the support of our artistic friends, several months of work on the part of volunteers, and financial contributions from firms and individuals, we managed to turn it into reality. On 5 November 2014 we could start a two-month trial operation that would show us the way forward.
Between February and April 2015 we organised a crowdfunding campaign aimed at getting the money for partial construction alterations and the purchase of basic technical equipment allowing year-round operation.
Public resources and professional performance
Cirk La Putyka has been more than just a theatre company for a long time now. With each year of existence we develop our performance in both the artistic and educational field.
But constantly increasing demands for financial securing are associated with the professionalisation of the whole team. However, one can say that in spite of the fact that without the support of many private sponsors and public grant providers our activity could not be extensive, every year we manage to reduce our dependence on public grants. For example, in 2018 our self-sufficiency level exceeded 80 %. Economic management with healthily structured budgets allows us to maintain a balance between freedom and education and culturally-socially publicly beneficial activity.
But it must be emphasised that our foreign activities in particular, via which we represent the Czech Republic and the Czech contemporary circus scene, constitute an extraordinary burden in terms of production and finance that we could not manage without grant support.
The company operates on the principle of multi-source financing. Over the long-term it operates with funds from own resources (sales of tickets, additional economic activity), with revenues from the grant systems of the Prague City Council, grant systems of the Ministry of Culture of the Czech Republic, and with other public resources and income from private business subjects. Over the long term revenues from own activity constitute approximately three-quarters of the overall income of the company, which shows financial stability, solid potential of projects and the organisational ability of the implementation team.
Cirk La Putyka Studio is an educational project of our company in which we organise sporting and leisure activities for children and youth, coaching and artistic development of young acrobats, senior circus with Elpida and, last but not least, regular education of instructors.
Courses for the public
Acrobatics courses for the public are held regularly once a week in the Jatka78 training hall. The programme is divided into several classes according to the age of participants (3-5, 5-8, 9-12, 13+), and the last lesson is open space, where there is space for everyone, and there is an assumption of a certain specialisation and at least a slightly advanced level in the specific discipline. The courses are held from September to June and are divided into two terms, winter and summer. The lessons are taught by experienced tutors, more than half of whom perform actively in productions of the company.
There is no creative idea that would not fit in Les Halles: its unique dimensions make it the perfect space to reinvent performance and find unique ways to break the fourth wall.
Les Halles is a space open to everyone: we are all about participation and outreach. Sometimes egoist, sometimes collective, just like the world we live in. We are open to the hopes and changes faced the people who make Les Halles : from our neighbours to those coming from far away land. We are showing the best work coming from all over Europe, looking for answers to the big questions of our times. We explore new passions, adventures, and freedom.
Dance, circus, cross-art forms… Explore, experience and have fun!
We also host other types of activities: between 3 days and 3 weeks long, these special events gather professionals, students and amateurs. We combine academic thinking and emerging practices: reflexion and direct application. These events are unlike anything you would have seen before: Foire-Attraction, CIA Fair, the Astronautics & Leisure Fair, Assemblée d’Avril or Bruxelles-Africapitales.
Last but not least, Les Halles work with emerging Belgian and European artists to support their development. We are executive producers for some of the best companies from Fédération Wallonie-Bruxelles and also co-producing with other partners the best of tomorrow’s performances from Belgium and Europe.
Example of Les Halles program:
Cosmic Neman & Martin Palisse
Futuro Antico is a circus performance but also a visual and musical ode.
The premises are simple : one the floor and ceiling, nine white and blue squares, a stick, a white balloon, a few balls, a juggler who pushes the limit of his skills and an obsessively calm musician. It is ageless like an antique temple and futuristic like a Mars landing. Is he a cosmonaut ? Is he a Greek priest about to perform a sacrifice ? Whether he is wearing a ritual mask or spatial helmet, Martin Palisse has a mysterious and ethereal aura around him. He is juggling without panache, yet he is simply beautiful. As the piece progresses, his craft become more precise : with an extreme and organic precision, Palisse keeps on juggling. Every time the balls falls into a new crack, a new joint. Halory Goerger’s writing, that accompanies the piece, becomes a psalm, the ephemeral soundscapes become oceans. We are playing cosmic hopscotch; we play with the infinitely big and the infinitely small. Atoms, stars and their secret pas-de-deux. They give us the whole universe in nine square meters. How did they even do it ?
Nicanor de Elia
Through the unique use of ‘juggling-dance’, Juventud is an ode to physical freedom.
The performers are inhabited by a spirit of freedom, of utopia. In Juventud, beauty doesn’t come from a perfectly executed movement, but from the off-the-wall complexity of the figures drawn by a group in constant movement and acceleration. Juventud celebrates speed and changes through constant mutation. Objects fly between artists in an endless race where one can make mistakes at every turn : ball drops, end games, immobility, timeouts. This piece needs performer to master the most masterful skills : a miraculous instinct, a genius perception of what’s to come. The artists have let go of their relationship with ‘their’ jugging clubs, they share them with the other performers, opening new alleyways and take responsibility for their own destiny : the end of the game or its indefinite renewal. A formidable cure for eternal youth !
cie 32 novembre
New Magic that will make you forget time and space.
Are you ready to cross the threshold of reality? The missing “K” in the clock of the title indicates that time and space as we know them do not matter anymore. In the hands of Jérôme Helfenstein and Maxime Delforges, two of the most respected magicians of this world, the mundane warps and evaporates, turning into a parallel reality, which is absurd, comical and poetic. Due to their exceptional skill to create illusions, visual effects and prestidigitation, an unstable universe materialises before the eyes of the audience. The manipulators are manipulated as well, and the impossible becomes possible.
Theaterfestival Basel were full of dance, theatre, nouevau cirque, performance and everything in between.
Theaterfestival Basel presents an international, biennial festival program featuring a range of genres and forms: from city projects to renowned dance and theatre productions, performances, nouveau cirque and installations.
After three hugely popular editions under the direction of Carena Schlewitt, the theatre festival (29.08. – 09.09.2018) will continue the successful work done so far with artistic director Tobias Brenk at the helm.
The city of Basel and the local region are transformed into a wonderful venue: discover new forms and tales of theatre during the 12-day event throughout the city centre and the surrounding canton, at the Kaserne site, including Turnhalle Klingental, at Kaserne Basel, at ROXY Birsfelden, at Theater Basel and neuestheater.ch and at junges theater basel.
It was modelled after the Rencontres chorégraphiques de Seine-Saint-Denis in Paris, a pioneering festival that’s been dedicated to contemporary choreographic creation since 1969.
Swiss Dance Days made it their mission to create a platform for the promotion of the Swiss choreographic arts in a context that facilitates the encounter between dance professionals, the audience and both national and international programmers.
Co-organised by Reso – Dance Network Switzerland since 2006, the event takes place every two years in a different Swiss city. Unique in Switzerland, it represents an exceptional opportunity to discover remarkable dance pieces from across the country that have been created in the two years prior to each new edition.
Geneva, Basel, Bern, Lausanne, Lugano, Lucerne, Zurich: Swiss Dance Days has taken place in many of Switzerland’s largest cities as well as in its three principal linguistic regions.
After the great success of the last edition in Geneva in 2017, professionals and dance enthusiasts alike are ready to head to another Romandy city for the highly anticipated 10th edition. A leading city for performing arts with an extremely active and diverse choreographic scene, Lausanne will give its all for dance from the 6th to the 9th of February for Swiss Dance Days 2019.
Reso is a network of organizations from the professional dance creation context. Reso realizes a vision of a coordinated and extensive system of dance support with funding agencies. It strengthens local and regional initiatives in the areas of infrastructure, audience development, production, diffusion, observation and analysis of practices. This networking creates a center of competence that fulfills needs with national relevance. Every two years Reso co-organizes the Swiss Contemporary Dance Days together with the partners of the host city.