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emilio calcagno


Compagnie Eco, NOUVELLE VAGUE - Génération Bagnolet [2009]



GENERAL KEYWORDS: Cinema, Choreography, Concours Chorégraphique International de Bagnolet, Comics, Graphic novel,  Fairytales, Corporeal memory, French contemporary dance, Mediterranean, Memory, Non-danse, Repertoire, Technique, Technology, Theatre, Trace, Transmission, Video-mapping

CHOREOGRAPHIC WORKS: Catania Catania; L'IsolaLes Quatre Saisons où Le Mariage du Loup; Les Vertiges D'Hitchcock; Nouvelle Vague - Génération Bagnolet; Peau D'Âne

PEOPLE: Bausch Pina, Castellucci Romeo, Chaurand Jacques, Dubois Olivier, Forsythe William, Lang Jacques, Marin Maguy, Perljocaj Angelin

PLACES: Angers, Bagnolet, Cannes, France, Italy, Sicily, Taormina


CITATION: Interview with Emilio Calcagno, Chernetich Gaia Clotilde, Tunis, 23/12/2019. Project “Mnemedance”, Collection Mnemedance (#Mnemedance01) URL:<>, (accessed dd/mm/yyyy). 


general info


In this interview, EMILIO CALCAGNO, choreographer of Italian origin who has resided in France since 1989, provides an overview of his training and his work as a dancer and choreographer. His creative approach interweaves current socio-political events with an in-depth awareness of topics such as memory and choreographic transmission. As a choreographer, Emilio Calcagno has focused on the reconstruction of past choreographies such as the project Génération Bagnolet that led to the remaking of handpicked choreographies previously presented at the Bagnolet choreographic competition. Another characteristic of his work is his interest in multiculturalism and specifically the Mediterranean cultures. He currently collaborates with the National Ballet of the Tunis Opera and directs Compagnie ECO, the company he founded in 2006. In addition to his career as a choreographer, Emilio Calcagno’s work revolves around dance pedagogy and the transmission of the choreographic practise to the new generations.


Compagnie Eco, Catania Catania [2016]

interview questions




Emilio Calcagno’s self-presentation


What kind of dance knowledge do you preserve in your body?


What do you mean by the notion of "repertoire" in contemporary dance?


What do you think you have forgotten? What remains of your career as a dancer?


How do you access your body memory?


What is included in your archive as a choreographer?


What are your choreographic references and the cultural contexts where you position your work?


In your choreographic work, what is your approach to memory and specifically to your own memory?


What is your relationship with the Concours International de Danse de            Bagnolet? How did you work on the project Génération Bagnolet?


Compagnie Eco, L'Isola [2019]


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 in 2020 (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.

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