Also scheduled on
June 1, 2018 20:00
A tear goes down and becomes a smile. A seed destroys itself blossoming into a bud. Matter, subject to the flow of time, slowly changes its shape. An encounter gives rise to a new life. An instant dives into the past and becomes memory. A question looks for an answer extending itself into a mute shadow of a voice. An event that becomes, the line of a gesture, is like the wind which shakes an entire landscape, and escapes, uncatchable by memory. Anything that we can observe closely has an infinite time and is infinitesimal in other distances. A deviation that brings a vast and vital mystery to all elements of reality, a potential power, which is unstoppable, unfillable, suspended beyond the end of any dynamic act: it’s the capability and the need to produce change, movement in several parts and these parts themselves part of another movement.
Life: an ongoing, everlasting change. Birth, development, growth, maturation, ageing. Happiness, sadness. Surprises, illusions, disappointments. Encounters, abandonments, detachments, changes of venue.
This work wants to examine change in its different, various aspects. Continuously and perpetually, something within or outside of us changes, from the cells of our body, which divide and reproduce, to planets, asteroids, and comets, which perennially rotate around the Sun. Small changes, big changes, involuntary changes; changes that we accept and changes we want to escape, stubbornly holding on to our ideas and convictions.
Isabella Giustina started dancing in 1996. After studying for about ten years at a local dance school in Monfalcone, in 2007 she moved to Florence to pursue a professional training at the dance academy Opus Ballet. After that, from 2011 to 2012, she attended the vocational training in Nikolais technique held by Simona Bucci and Paolo Mereu in Florence. In 2013 she moved to Brussels to study with a number of choreographers active in Belgium, among which Thi-Mai Nguyen, Robert M Hayden, German Jauregui, Inaki Azpillaga, David Zambrano, Peter Jasko, Anton Lachky, Dominique Duszynski. In Brussels she also regularly attended the company classes at Ultima Vez/Wim Vandekeybus. In 2013 she also participated in the Biennale Danza in Venice directed by Virgilio Sieni. From 2014 to 2017 she has attended almost every year Carolyn Carlson’s one-week masterclass at the Atelier de Paris.
In 2016 and 2017 she attended the vocational training in contemporary dance “Progetto Azione” that consists in monthly masterclasses with Tuscan choreographers. She has been employed by dance companies since 2011. She has danced in the following shows: Visitazione (2011) and Locus (2012) by Virgilio Sieni; If (2012) and (Ri)conoscere (2014) by Compagnia Gabriella Secchi; Sguardi nel tempo (2012) and Ultima Cena (2013) by Giardino Chiuso; Incontri inaspettati (2014) and Enter Lady Macbeth (2014) by Compagnia Simona Bucci; Angel (2015) by Charlotte Zerbey – Company Blu; Arcitaliani (2015), Mille brividi d’amore (2016) and La scomparsa delle lucciole (2017) by Gianfranco Pedullà; Nata Femmina (2017) by Paola Vezzosi-Compagnia ADARTE. She is also currently working for Sabrina Mazzuoli’s new creation Alla Montagna (2018).
In 2017 she created Destinata Guerriera, a dance solo which was selected for Vetrina del Network Antcorpi XL 2017 platform and for Essenziale Festival 2017 (Essen). She is working for her new dance solo Mutamenti and in the meantime she’s pursuing an undergraduate programme in Drama, Art and Music at the University of Florence.
choreography: Isabella Giustina
with Isabella Giustina
music: Piero Corso, Einstürzende Neubauten
production: Company Blu
With the support of MiBACT Ministero dei beni e delle attività culturali e del turismo
[photo: Monica Vitali]
platform A35 develops in the new space of Fabbrica Europa, PARC ex Scuderie Granducali in Florence, an unconventional place.
The project is based on the idea of presenting young choreographers, Italian and not only, whose research shows new creative processes, but also the changing society that is necessarily reflected in them.
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