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Xplore Rome 2013

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Nicoletta Cabassi

nicoletta

Her Workshops:

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Nicoletta Cabassi was born in Parma (Italy) where, when she was very young, she started her training in ballet and contemporary dance. Just after the Diploma of Art, he moved to Toulouse in France, staying first at the 'Ballet-Théâtre Joseph Russillo' and then to Cannes at the 'Centre International de Danse Rosella Hightower'. During this apprenticeship she focused especially in contemporary dance with choreographer as: A. Preljocaj, W. Vandekeybus, Ed Wubbe (she danced in his “Arrabbs”), Virgilio Sieni, Raffaella Giordano (she danced in her “Evento”), Abbondanza/Bertoni (she danced in their “Della bellezza. Studio all’imbrunire”). In Wien she met Jean-Yves Ginoux  whose style will be her fundamental  influence (with whom she danced Spirales des pleurs).

She attended the Advanced Professional Course for Contemporary Dancers organised by Veneto Department and directed by Ersilia Company, and the course directed by Frédéric Flamand / Charleroi Danse by IUAV in Venice. For the theatre she studied with Thierry Salmon, Pippo Delbono (with him she worked in Enrico V), and Teatro Valdoca (of whom she performed Noi corridori veloci). She is one of the founder of the music group Belmez Visions and she recorded with the group “In the garden of faith”.

She worked as dancer (often as a soloist)  and actress for many opera theaters : (for exemple in Tourin, Parma, Venice, Macerata Opera, Bologna, Bozen, Genoa and many others). She worked with the companies: Infidi Lumi, XE Company by Julie Ann Anzillotti, Teatrodanza Skené by Ugo Pitozzi, ArtemisDanza by Monica Casadei, Tocnadanza by M. Barasciutti, La Fura del baus ecc.

Essentially, it was the meeting with William Forsythe, whose style the marks for life. She worked for a period with Maguy Marin in France (“she trained “May B” and “Waterzooi”). In LIII° Biennale of Venice she worked as a performer and assistant for the German Artist Tino Sehgal, in the German pavillon, in the work: “This is so contemporary” and in “Instead of allowing some things to rise up to your face, dancing bruce and dan and other things” like a danse/performer by Villa Reale in Milan for the Trussardi Foundation. She had co-operated many years with C.T.R. Centro Teatrale di Ricerca of Venice, where she are taked care of the dance division and she are the principal choreographer. She choreographed for CTR productions (sometimes with the Oscar Schlemmer costumes).

In the 90s she founded her own Company Lubbert Das with whom she created and interpreted: El Bosco, Assiduo Furor…les mangeurs des reves, La Metamorfosi o piccole tragedie quotidiane, Vite brevi di idioti, Oxymel,  Corpi Provvisori - Part I: the woman, Bacchini 8 e mezzo, Inquieto concerto barocco, “XXX – Numero presente non identificato” (a ‘solo’), the short solo-pièce “Non tutto il buio è uguale” (from Fedor Dostoevskji) the performance Beech and, latest, the new projet 2968/BE_EACH against stupidity.

With Sub Rosa – C.s.O. opera aperta she has wons the Critic’s Award at the ‘Ermo Colle’ festival in Parma (2006). With S O L (on the unpublished music of the composer Ezio Bosso) won the Audience Award and the Prize oh the Organization at the festival Voci dell’Anima, 2010. Collaborations as choreographer free-lance: the direction of the coreographic event for the world present Lancia’s Delta car (2008), with the visual-artist Martin Romeo, video-maker Daniele Spanò/NU Factory and the brasilian director Leandro Lisboa (with whom he created the short film Crisalide). Is sent to the Festival d'Avignon as a choreographer and dancer for the Study of the show "La Séance Therapeutique" of mixed group Vi.D.A. (able and disabled dancers). Since the end of 2010 working as a dancer (soloist) with opera director Stefano Poda with whom he created and starred in "Rigoletto," "La forza del destino" and the world première "Leggenda".


www.youtube.com/nicolettacabassi
vimeo.com/nicolettacabassi
www.facebook.com/Nicoletta-Cabassi

 

 

 

BEECH - Hypothesis 1-3

Beech - against intolerancenicoletta-WS

The embodiment of the Dalmatian in Rome

Workshop and Performance

hypothesis 1) the Dalmatian woman comes from one of the biographies of P. Greenaway’s “Falls” and have suffered the Violent Event Unknow. After that she became immortal but can die due to another external accident violent. From the plot of this fiction movie participants will be invited to use their imagination invention to create drama and performing original that interest, at the same time, the imaginary themes private and common destiny.
Word, visualization, but especially the corporeality will be the basic elements of a subjective work that conduct each person to develop a small physical drama –
An audience member recently told me: “If it’s possible I would like to make an animal with long hair black, with gentle eyes looking at you and sniffs you … “ so I could bring the participants (or participant) to get in this "animal" situation …

hypothesis 2) as if the public was dirty of ash (metaphorically) the 'viewer' (in this case the workshop participant) clean Himself to find his skin clear, 'candid' and 'innocent', the participant is invited to undress and to repeat the same experience of conducting. It is preferable That this process is Conducted with only one participant in time (many different rooms or participation in different shifts).
a)    The participant may be warn that which will be completely soiled and/or immersed in ash (or clay or sand or earth or other material that dirty skin) and subsequently washing is by means of gestures almost ritual
b)    the participant undresses himself through ritual gestures, the authentic movement is designed to remove clothing but without any seduction, but as an experience of ritual and symbolic
c)    the driver (me self, the dancer, the dalmatian woman) interacts with the participant: alone in the situation 'intimate' or in a collective situation as if it be celebrated a 'mass'.

nicoletta-PFhypothesis 3) liquid body as liquidity borders (seminar particular of body painting): as I leave marks on walls and floor during my performance, participants are set to "paint" the partner through the movement (obviously one of the ‘actors’ is not maculated and it is necessary to give some element of contact/improvisation)

 

 

 

 

 

 

 

 

 

 



 

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