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marco d'agostin

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FIRST LOVE ©Alice Brazzit



GENERAL KEYWORDS: Floorwork, Klein Technique, Memory, Release Technique, Schuhplattler

CHOREOGRAPHIC WORKS: Best Regards, First Love, Folks

PEOPLE: Charnock, Nigel; DV8 physical theatre; Godard Humbert; Godder, Jasmine; Klein, Susan; Parisi, Heather; Sciarroni, Alessandro

PLACES: Bavaria, Manhattan, New York, Tirolo


CITATION: ​Interview with Marco D’Agostin, Susanne Franco, online (26/10/2021). Project “Mnemedance”, Collection Mnemedance (#Mnemedance13) URL:<>, (accessed dd/mm/yyyy). 


general info


Marco D’Agostin is a promising Italian dancer, performer and dance maker who has already received several awards at a young age. In his conversation with dance scholar Susanne Franco, he describes his encounters with Nigel Charnock and Susan Klein as crucial in shaping the foundations of his performance aesthetic and the individuality of his choreographic voice. His relation to memory is very peculiar as memory is a constant strategy for moving the body in every choreographic work that he creates. He considers his choreographies as capsules of time, small scale representations of the world through the artist’s perspective. Marco has systematized the practice of engaging memory as a performative action that unfolds through three levels of time: the one that unravels on stage and the ones that have occurred in our and our ancestors' lives. Short-term memory, biographical memory, and imaginative memory, respectively, bring, as he explains, both performer and spectator into the electric state of intense presence and heightened attention, which constitute two highly political premises. The silences between these levels of memory, the oblivions as he exemplifies, become conditions to discover something new about the self, the world and the other.

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SAGA ©Alice Brazzit

interview questions




Which are your first memories related to dance?



What kind of dance techniques have you explored? 



Which forms of transmission have you experienced as a dancer?


Do you apply the principles of transmission that you have experienced as a dancer in your own work?



Could you elaborate further on the role of autobiographical memory in your creative process?



Which role does oblivion play in your creative process?



Could you explain the use of correspondence letters as a tool to connect past, present and future in your work?



What is political about accessing and performing memory?  



Where do you position your work today?

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BEST REGARDS ©Alice Brazzit



MARCO D’AGOSTIN is an Italian artist active in the fields of dance and performance, winner of the UBU award as best performer under 35. His work questions the role and functioning of memory and focuses on the relationship between performer and spectator. He presented his works at many European festivals and venues. In 2019, he has been one of the twenty dancers of the XX Dancers for the 20th-century project, in which he performed the «Schuhplattler» repertoire from Folk-s by Alessandro Sciarroni, and in 2020 he was invited by Marie Chouinard, former director of the Dance Biennale in Venice, to create a new work for the dancers of the Biennale College.

SUSANNE FRANCO is Associate Professor in Dance, Theatre and Performance Studies at Ca’ Foscari University of Venice and curator of dance events and programs for different Institutions. She is the author of Martha Graham (2003), Frédéric Flamand (2004), and she edited the special issue Ausdruckstanz: il corpo, la danza e la critica (Biblioteca Teatrale, 2006). She also co-edited Dance Discourses: Keywords in Dance Research (2007); Ricordanze. Memoria in movimento e coreografie della storia (2010) and The Oxford Handbook of Dance and Memory (forthcoming) with Marina Nordera; Moving Spaces. Enacting Dance, Performance, and the Digital in the Museum with Gabriella Giannachi, and On Reenactment: Concepts, Methodologies, Tools (forthcoming) with Cristina Baldacci. She was the coordinator for Ca’ Foscari’s contribution to Dancing Museums-The Democracy of Beings (2018–2021), and she is currently the PI of the international research project Memory in Motion: Re-Membering Dance History (Mnemedance; SPIN2 Università Ca’ Foscari Venezia, 2019–2022).

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