DUO GOLDBERG ©Salvatore Pastore
GENERAL KEYWORDS: Anthropology, Archives, Body Archive, Choreographic Score, Choreo-writing, Matrix, Memory, Musicality, Movement, Rhythm, Taoism, Tai chi, Technique, Transformation, Transmission
CHOREOGRAPHIC WORKS: Allegro, vivace, mais pas trop | Beltà, poi che t’assenti | Chi è devoto | Di me in me | Duo Goldberg | Il corpo antropologico (Processione, Rosario) | Kyrie | Midi – Minuit | La Gatta Cenerentola | Scirocco | Tammorra
PEOPLE: Béjart Maurice, Bausch Pina, Cunningham Merce, D’Adamo Ada, De Simone Roberto, De Keersmaeker Anne Teresa, Droulers Pierre, Laban Rudolf von, Schirren Fernand, Rosas
PLACES: Accademia Nazionale di Danza, Belgium, Civica Scuola Paolo Grassi, DA.RE., France, Mudra School, Napoli, Teatro di San Carlo
INTERVIEWS MAY ONLY BE REPRODUCED WITH PERMISSION BY MNEMEDANCE
Dance scholar and dramaturg GAIA CLOTILDE CHERNETICH interviews Italian choreographer ADRIANA BORRIELLO, whose work is characterised by a deep attention to the rhythmic structures of dance and music and an anthropological approach to dance, which the choreographer developed in particular between 1997 and 2006. Beginning with the memories of the first experiences that shaped Borriello’s professional choices as a dance student aspiring to become a dancer and then a choreographer, their discussion revolves around her views on dance memory, transmission and the development of her teaching approach. In Borriello's oeuvre, dance transmission and memory are intertwined with the pedagogy of teaching dance composition that, in turn, is considered a tool to investigate her past choreographic works. In this perspective, Borriello comments on the responsibilities of the dance teacher whose transformative role consists of connecting dance technique and choreographic thinking to the aesthetics, the politics and the ethics of nowness. Furthermore, Borriello understands memory as the individual’s contribution to the collective memory of humanity and she places this idea at the core of her artistic and teaching philosophy. Through this lens, the reenactment of the choreographer’s works appears as a process of giving new life to past choreographic materials through ways that maintain them faithful to the original performance but also open to transformation.
DI ME IN ME ©Jacopo Gennari
What do you recall from your first experience in dance? How did it inform your approach to choreography?
How did you first approach choreography?
How do you view the practice of dance transmission?
If I told you that "transmission is a form of delving into memory" would you agree with me?
How would you position your work within the contemporary dance scene?
Do you archive your work?
What is the relationship between archive and memory in your work?
Do you think that the notion of "choreography" should be updated?
How do you consider spectatorship in your work?
Can memory be activated as a tool and as a relationship?
In your work, is there any room for nostalgia?
Can memory run out?
ADRIANA BORRIELLO graduated from the National Dance Academy in Rome and Maurice Béjart's Mudra School in Brussels. She has been practising Tai Chi since 1984 and she was a founding member of the Belgian dance company Rosas by Anne Teresa de Keersmaeker (Rosas danst Rosas). In 1986, she founded her own dance company in Paris and she later realised a number of co-productions and international tours from a new basis in Italy. Since the early 1980s, she has dedicated herself to pedagogical research in the field of dance and choreography and has collaborated with institutions and universities in Italy, Europe, Brazil and China while also creating choreographies for students. In 2017, the book Chiedi al tuo Corpo – La Ricerca di Adriana Borriello tra Coreografia e Pedagogia was published by Ephemeria with texts by A. Borriello, A. D'Adamo, F. B. Vista. In 2018, she conceived and directed DA.RE. Dance Research, a three-year project of training and research (2018-2020) funded by MiBACT (Italian Ministry of Culture). In 2018, Duo Goldberg, a choreographic work based on J.S. Bach’s homonymous variations and performed together with the pianist Gilda Buttà, made its debut at the Napoli Teatro Festival in Italy.
GAIA CLOTILDE CHERNETICH is a dance scholar, dramaturg and writer based in Italy. In 2019/2020 she was appointed research fellow at University Ca’ Foscari of Venice (Department of Philosophy and Cultural Heritage) in order to work on the European project “Dancing Museums. The democracy of beings”. In 2017, she completed with honours a European Phd in Arts, with a specialization in Dance, at the University Côte d’Azur (France) and in Humanities at the University of Parma (Italy). Her first book Architetture della Memoria. L’eredità di Pina Bausch tra Archivio e Scena is going to be published by Accademia University Press, Italy. Her research and published writings deal with contemporary dance, epistemology and dramaturgy. She collaborates on Ormete - Oralità, Memoria, Teatro, an expanded research project conjugating the methodology of oral history and performing arts history. She has curated “Archivio Anno Zero” for the associated artists of Associazione Culturale VAN (Italy) and she has worked on different educational projects dealing with the choreographic practice. As a dance dramaturg, she works in Italy, France and Spain collaborating both with independent artists and resident dance companies. As an author, she regularly contributes to Doppiozero, Teatro e Critica and Springback Magazine.