Globe Theatre: not just an institution, but an example to follow

The photo accompanying the article, depicting the stage atthe Globe Theatre in London. I took it during the guided tourI attended a few days ago. Yes, in my short stay in the city,the Globe was a must. It is not my intent to bring the history,dates or how many times it was rebuilt, but share someobservations regarding a couple of highlights from thefriendly guide throughout the tour. These reflections, pertainto the structure of the theatre and its why. First of all I wantto say that despite the latest reconstruction of the Globegoes back just twenty years ago, the atmosphere of anotherera: an open air theater, all wood, where despite thetechnology of today, sunlight is a component essentiallighting. If you can see the marks on the wood of thesessions at times cleared up, especially on the right side ofthe audience, because they are more exposed than the restof the structure. But, what mostly sparked my interest is thefull use of the Standing Area, during performances, just asthey did in  600. In fact, as in Shakespeare’s, the spaceimmediately next to the proscenium, is occupied by thosewho choose to attend the play, standing up or sitting on theground, priced at 5 pounds, certainly, rates have increasedsince the playwright (there was talk of just one penny), butstill affordable for all budgets. Not be more comfortable, butit has its advantages, like to live close to the performance,see clearly the expression of actors while alternate feelingsof jealousy, anger, but also of hilarity and gaming; be part ofthe performance as Hamlet (to name one), pronounce thefateful enigma, “to be or not to be, that is the question”, andlooks at you as he says, expressly asks; live in short anexperience with participation, drawing wealth comparedwith a minimum contribution. There I thought it would bereally great, if each theater was equipped with its own“Standing”, accessible to all and to the pockets of all, asustainable theatre to which the crowd can make itscontribution, small, but no less important. A sustainableTheatre, in my opinion, it would be good for society as awhole, since working on it are not just actors, dancers orperformers in General. No, the sets not fitting alone beforereturning to their seats at the end of a show, the costumesare not created out of thin air, as well as lights and otherlighting effects, not alternate without someone who isdirecting; the doors with access do not live their own livesand the tickets they retreat again at the box office wherethere are people ready to accept and answer questions fromvisitors. This to remind you that the end result is the resultof cooperation of many different professionals and allessential for which every extra ticket purchased, it makes adifference. In sample title talk and wonder actually how youmight apply widely. Who knows that sooner or later you donot find an answer.

OnDance Milan: city like a stage

Destiny has wanted my first week in Milan, coincided exacly with inauguration of OnDance, but before continuing to write, I must necessarily make a premise: I am shamelessly ARRAYED. Yes, I am biased because I could happly live attached to the armchair of a theater, evening by night, from theater to theater and from city to city. I am partisan because even though Ilove theater and art in its different forms of expression, my heart beats a little (no, indeed more than a little), for dance. I can’t help but be captivated by the beauty and the perfection of that movement that draws the space and goes beyond it. As a spectator, my body is still, or better almost still, but the spirit is incredibly free, light and free from any conditioning.

The emotion that pervades me every time I see a dancer performing on stage, is reinforced by awareness of the constant sacrifice, the daily search for excellene, and the overcoming of the limit imposed by main instrument of work, which is the body pushed beyond nature. All this in function of a magical moment, in which a galvanized public, at times moved, is able to return even more of the effort, sweat and  forced sacrifices, whatever the goal to be achived.

Returning to OnDance, what has exited me the most is the spirit of initiative, just as the one who wanted it defines a great celebration of all dances, whwrw Milan has became a stage, with events, workshops, shows, located in various part of the city, although based on the Arcimboldi Theater. The strength of this initiative, in my opinion, consists in having given space to dance in all its styles, exporting it from the stage, and transforming the streets, squares and gallery (as in the case of tango in Galleria Vittorio Emanuele, last Thursday which saw the same Roberto Bolle perform, with the First dancer of Scala, Nicoletta Manni), in real outdoor theaters.

This means that whwn the two essencial elements, public and artist are present in the same moment and in the same space, the theater is already there, without any need for structures and superstructures because the feeling of aggregation and sharing, lives regardless of the physical features of place. This is exactly what I experienced yesterday afternoon in Piazza Duca d’Aosta in Milan Central Station for the Red Bull Dance Your Style battle. Seeing people of all ages and backgrounds have fan and cheer, for the sixteen dancers in the race, and than, explode at the and of the same in a loud plaudit, I was conveyed that invaluable feeling of belonging, that felt in front of a big event where the looks and hearts of people far away or unknown to the each other, are inexorably connected. It was nice to see the participation of people who probably would not have gone to the theater for thousand different reasons, but who have had the opportunity to live an experience that they will rememberand it turn tell. And if the art, specially the dance is so capable of making this, I wonder can it really be the prerogative of a few?

For my part, I will carry out mi mission of telling you stories and experiences direct and indirect, and perhaps never read this article, I conclude by thanking Roberto Bolle on my behalf and that of all the people I have had the opportunity to talk to this days, for having brought the dance to a popular dimention, without trivializing the quality of  its content. Good Sunday at all and good OnDance #Last1Day.

– Federica Perretta

Dance As Art_The New York Photography Project. Interview with Kevin Richardson

1. When did your passion for photography begin and how did it all’ happening?

To be honest, I never really liked taking photographs. I would never take any pictures on holidays while everyone else was and the only time I was around a camera was in front of it as a bodybuilder. I have a personal training business and one day I needed some photos for my website and decided that instead of hiring someone I would just buy a good camera and take the pictures myself. Big mistake, as those were the worse shots ever taken- the color was just awful and it looked nothing what I imagined it would!!! I vowed that I would learn to take better photographs and started shooting landscapes and somewhere along the line I got hooked!

2. I was blown away by the pictures of the dancers and by the fusion between the dancers and the city.How do you choose the right spot?

Most of the locations for the project are places that I myself frequent, or have frequented in the past, so I have an idea of what the location look like and the lighting that I would want there as well. When walking around I am always looking for that location with just the right angle and you can see me at times stopping in the middle of the street in New York City if I see a spot that has potential.

3. Among the many artistic expressions why did you choose Dance?

I love comic books, it’s how I learned to read and was my first introduction to art and what was fascinating to me was that all the characters, Spiderman, Batman and the like, were all drawn in positions that only a dancer would be able to easily replicate. I could see that the artists often used dancers as their inspiration for a lot of the moves, and so I wanted to have a real life version of what you see in the pages of comic books. And dancers fit the bill perfectly.

4. How do you choose the dancers involved in your project?

I have an application form on the website and the dancers apply by sending a brief biography, some photographs and why they would like to be part of the project. So far I have had well over 1,000 applicants and it can be hard as I so get so many really talented dancers applying. I have really been overwhelmed to be honest by the level of talent that I have been fortunate enough to work with and I am always looking for new faces.

5. Did you feel any emotional connection with any of the places you took picture in?If so,why?

Each location holds some memories for me. Living here in New York over the span of 22 years has some with the accumulation of countless experiences in some of those locations. Some good, some bad, but all part of the mosaic that has been my life here as someone coming from another country. (I grew up on the island of Trinidad and Tobago and came here when I was 20 years old.) Some ask why I don’t take photographs of some other parts of New York, like Staten Island and the Bronx, and it’s not to snub those places, it’s just that I don’t have as much of a connection. The connection has to be there and I hope it’s something you can feel coming through in the images.

6. I have read that Dance as Art started out as a hobby.When did you decide to turn it into a work project?

It turned itself into a work project when I signed the book deal with Insight Editions. Before that it was really just me expressing myself as an artist and occasionally getting calls for paid jobs as a result of my work.

7. Which feature do you prefer the most in a dancers?

Passion. so much so that it comes out in the photographs. Everything else can be learned or simulated, but when you have someone in front of the camera who truly has dedicated their life to their art and loves to show what they do, it really comes out in the photographs.

8. My blog deals with stories,both on a professional and human point of view. You have metà and worked with many artists.Is there a story that moved you more then others or that you consider as an example?

So many to be honest, but in the context of my work, what moved me the most, was an email I received from someone who saw my work. He said that he really wasn’t into what he called “dance stuff” but that he saw one of my photographs on social media and he could not explain what it was but that seeing the image made him feel something. Something he could not quite put his finger on, but he kept on tuning in and he said that after having so many moving experiences with the photographs that he decided that he was going to go take in a dance show to “see what this thing was all about.” I could have cried when I read that message!!!

9. Dance as Art is an awareness of the potentials of art and it is a celebration of artistic,architectural and landscaping heritage of New York City.I definitily share the spirito of your project,because I am firmely convinced about the Vital importance that art and culture have form the growth of cities and people why live in them.I would like you to talk about the objective of your project and about its possible evolution.

The book coming out next fall is the next step as I believe the work itself is a statement about the importance of dance and the arts in general in places like here in New York City. It is very difficult for an artist of any kind to afford to live here in New York and funding for the arts keeps dropping as well. I want people to see dancers in the streets, and have a moment where they reflect on how beautiful the experience was, or how moving the photography might have been and have it encourage them to support the arts by going to a show, or even by doing whatever they can to show their appreciation to artists in general. I would love to do a world tour shooting in various parts of the United States, it’s such a beautiful country, and internationally as well.

10. Have you avere thought of expanding Dance as Art in others countries of the world?For example in Italy?

As I mentioned, I would love to take the show on the road as they say and Italy would definitely be one of the first stops!!!

11. Which is for you the meaning of art? What does this word mean to you?

Art for me is the word people give to something they see coming out of those of us who have an indomitable desire to express ourselves. Be it dance, painting, sculpture, music, photography or many other modes of artistic expression.

 

 

 

A life in dance. Interview with Agnese Riccitelli

1. Agnese, first thanks for agreing. I would start from the beginning. How was your first encounter with dance? How old were you?

Thank you for this opportunity.

My first Carnival suit made of crepe paper that I made my mum … I was about 3 years old, was a dancer. I started towards the knowingly 10 years, expressing the desire to dance.

2. Did you instantly Know that dancing would be your life?

I think I knew, or at least I wished it were.

3. The skills acquired and the results achieved are the result of intense and constant study which still you work tirelessly. Graduated Scale, you’ve got to confront different teachers and therefore, with different approaches. Student/teacher ratio, what is what, in your opinion should never fail?

The respect. And the “Cheer” for each other. I’m a huge advocate (not all do), keep studying, because if you’re daily by the student, it becomes easier to dissolve certain ways too exasperated that departure from some teachers, towards their students. It is not full of “no correction” that we build a dancer but with “you’re almost there, you’re not perfect, try again it will get better,” it is through positive and proactive fixes that you create a strong student. It is necessary to cultivate his passion in parallel with the growth of his esteem.

4. You often go to New York. I read in an interview that you appreciate the atmosphere you can breathe in the Big Apple’s Dance Centers, and the relationship that you build with people. What are the main differences between American and Italian school of thought in the teaching method?

The welcome. You are accepted for who you are. You’re not judged, you’re criticized. They don’t care how good you are, how many pirouettes you do and how you raise your leg. for them you’re “great” anyway because you’re there, to sweat, to discussion, to seek within yourself that little bit extra. Sometimes you forget that studying dance is not a race with others or against others, but only one race with itself, a personal training strength, courage, physical endurance and love for what you chose to do.

5. I have been following your journey to Italy ‘ s Got Talent. It is thanks to your participation on TV who are aware of what you do and your Center Danzaricerca. Your choreography I was impressed and intrigued. Not only were aesthetically beautiful, but something always told a story, a scene, a point of view and the urgency to communicate it to others. In this regard, I read of the shows you’ve accomplished with your pupils and students, among them “Dance Social Network-the evolution of relations and way of life with the advent of Social”. Caught my attention given the relevance of the topic. Do you want to tell me about it? How did you get the idea, what’s your thoughts on that?

Of course. At that time I had started working with FlashMobMilano (creative digital). I’ve always been curious and attentive to the evolution of the social networks. With them, beyond the events arranged together, such as flash mobs and similar situations, I had the opportunity to quiz me talks about using social and how was their status in that period (2012). Twitter was exploding. I was looking for a theme x end of year show … and … boom, I had the idea to write a story (in the plot), he could tell of the social networks. I brought in them and, together with Cristina Usai and Daniele Judges “impacchettammo” a truly groundbreaking, where members of the public could interact with the same direct, sending sms, so we simply changed the lineup based on the answers that we were coming. It was a nice experience.

6. From the first essay of the Center Danzaricerca, in 1984, the shows produced in addition to the above mentioned, are innumerable. I took part myself in the dance, both as student essays that because of my work as a mask in the theaters, and I know that every show has something special. For all there is one that you feel linked more than others?

Se ne cito uno escludo tutti gli altri e mi dispiacerebbe. Ogni volta dico: questo è il più bello. Ogni spettacolo racconta di ciò che siamo noi del Centro Danzaricerca in quel momento, e ogni step è prezioso in un cammino che non ha una meta o una fine.

If I will mention one exclude everyone else and I wont. Every time I say: this is the nicest. Each show tells of what we Danzaricerca Center at that time, and each step is valuable in a way that does not have a goal or a purpose. But I can say that I have realized my “dream” and I want to tell you: 26 November 2016 FEEL THE LOVE, with Sarah Jane Morris and Tony Remy. Her extraordinary singer and songwriter, he’s one of the greatest guitarists. A concert where I could choose the songs from their run and on which I created choreographies, mostly danced with my students. The event had been organized for the international day for the Elimination of violence against women, in collaboration with the municipality of Cologno Monzese and thanks to the sensitivity of the cultural Director Dania Perego. Behold, it is those experiences that ultimately say “now I can die happy.” The energy, love, emotions and vibrations that I received at that time by these two great artists, I still retain them in the heart, like precious treasures.

7. What would you like to do that you haven’t done?

Anything to give me a chance to grow, experiment, and most importantly move me and excite.

8. Are you working on new projects right now?

Yes, I have a couple of projects I’m working on it for luck, I can’t tell you any more.

9. The past year has been full of satisfaction and shared goals. Behind the results, we know that they are inevitable difficulties. There is a phrase, a motto, a Council that repeat to yourself and to those who work with you (students and employees), when the effort is likely to take over?

I can do it. We make the greatest thing in the world.

10. Through my Blog, I choose to tell the positive side, to bring forward examples of people with sacrifice, they manage today to live their passion. The story of each of them, may be a warning to those who, on the other side looking their way. Among the people you’ve met, there is someone who has left you an emotion, a special memory due to his personal and professional path?

My mom who is no longer there, was the person who knew how to calm down when I innervosivo too. He had time to smussarmi the corners, leaving me free to be who I am and she now is in its own way, every day at my side and gives me answers when I find them.

Sara Jane Morris, about what I told you above. She is extraordinary. It was capable of a year ago, at a concert (I was sitting in the front row), to say into the microphone: “Agnes, take off your shoes and come up and dance.” He danced Fast Car, my favourite piece, so, no heating, no prepare, on a stage full of wires and microphones … it was great.

My “family”, which is all the Center Danzaricerca and I with emotions every day. Moreover, home is not where you live, but it’s where you get it. They know how to “take” for what they are and know how to support me when I need it.

11. A greeting to our friends at sognaecondividi?

Of course, to say that life is full of surprises if you can put yourself in the right condition, to open our arms and widen horizons, without forcing things. The results come if you fill with love and smiles your every gesture, with a bit of healthy madness, and lightness that makes us capable of flying over the world.

A thanks to you Federica for this valuable opportunity.

Edhel: the fantasy that blends with everyday life. Interview with director Marco Renda

1. Hi Mark, thank you for accepting my interview. Talk about Edhel very happy and success. How does it feel to occupy the podium at an event as important as the Giffoni Film Festival? 

I knew the Giffoni Film Festival as a child and get to the finalwas in itself, a great satisfaction. Once there, we realized thatthe audience responded well. We weren’t expecting and itwas even more exciting. Arriving seconds, behind a film ofSony and important American productions, which are placedafter us, it was really a great achievement. We tried anindescribable feeling.

2. Today we talk a lot about bullying, especially because of  insane bond, which often maintains with the world of theWeb and Social. What do you think about it? 

What’s going on today with the world of Social is a rather complex process, which has the power to amplify behaviors always existed, such as bullying. I happened to see videos, in which young girls were biting violently of their peers and thisgot me thinking. Usually we always talk about the kid made victim of mockery, excluded from the group. The female aspect of this phenomenon, it comes off more difficult, but it exists and is growing. This prompted me to want to tell astory, in which the main character was a girl.

3. Why did you choose this theme for your movie? 

Again, I’m just inspired by what I saw. There is no reference autobiographical. Remember being a kid more solitary than my peers. Simply, I had as a child, musical tastes, different hobbies  to other kids my age and this pushed me to stay sometimes aloof.

4. In the interview for Naples Today, it strikes me in particular a statement: talking about your penchant for the Fantasy genre, say that this and the reality, not enough for you. I wish I broadened this concept. 

The film is also known as Seventh Art, an art that has the ability to include, contain, any other. The cinema creates worlds and characters that in reality does not exist. So I wonder, why restrict my art to mere reproduction and interpretation of the facts that occur around me? It would belike having a car super handsome, fully equipped, fast, crazy and always walk with the first. I want to have the freedom to tell different worlds, to send a person on a planet that does not exist. Let me, cinema is its peculiarity. Why not use it?Even through the Fantasy, you can tell the most noble andprofound aspects of reality and you can improve yourself,make more sensitive than their views. In Italy there is a fixobvious to consider the fantasy genre, as a kind of first category. We tend to regard him as a kind of less, less noblethan others, but, I think it is a common place entirely unfounded. I include in this thought even the fantasy  literature. I find such as the Lord of the rings, a novel expressive and thick, like many novels based on social issues such as the family, crime, etc.

5. What value to attribute to the words imagination and creativity? 

I would like a third word, that is freedom. Where I can imagine a story, even before arriving on the set, script, I feel a great sense of freedom. I feel really free, only when my mind can travel far without restraint, without limits and, when this trip is transformed into something concrete like a movie and is able to give emotions to other people, the circle closes, everything comes back.

6. Among the film makers who have dealt with and dealing with the Fantasy genre, is there anybody in particular whom you’ve inspired?

The directors are dozens, but when we talk about Fantasy, rather than a completely invented version of the medieval flavor, I refer to the whole “spielberghian” strand of the late 1970s, early eighties, as it succeeds in creating the right mix of reality, relationship with the young and surreal, incarnated for example in the shape of an alien. I love all those directors who have been able to combine intimate, everyday stories of ordinary people, extraordinary elements, out of reality. Among younger directors, I remember Guillermo del Toro, who with the Labyrinth of the fauna, managed to do a wonderful operation. Here, I try to point out that I like Fantasy, but more than the pure genre, I love contaminations. I love when the two hemispheres, that of reality, drama, and imagination meet. Edhel, in fact, has surreal elements, along with other real and tangible things.

7. Always in your interview with Napoli Today, state that cinema is the place where you can express who you really are. When did you find your passion for the cinema? Is there anyone who has addressed you, encouraged to follow that path and today would like to thank you?

It’s a bit hard question. Hard why, my father failed last year, suddenly. What I can say is that my parents were my first fans and if at 17 I decided to be the director, it’s because since I was little, I went to the cinema with my dad. He had no connection with the environment, he was simply Keen on it. When I was five, I was given the VHS Star Wars trilogy. That was surely the beginning.

8.  We know that production of Fantasy in Italy is rather complicated. Although it is a genre used by a broad and transversal audience, and sci-fi films produced in other countries, they are a success, we are not competitive. What would you suggest to change that fact?

I would like to emphasize that I have found a brave production, the Vinians, who decided to invest in my project. Many of the productions in Italy, however, lack courage. They move by following a habitual and safe way to reduce the risks to the minimum. The reasons for my point of view are two: the first is the justification, aware that the Fantasy genre requires very high budget availability. Obviously we can not compete with a continent like America, it is a fact that we can never invest such high budget. There is more than this, a second reason, which is not justified. I mean. It is not true that they always serve exorbitant figures to make a Fantasy. You can build such a movie, even by inserting few special effects and structural elements.

9 . We travel a bit with the imagination (so much to stay on the subject): if you were at this moment, the opportunity to invest in a project in total freedom, such as myth, story, fairy tale, would you like to tell?

I have it, but I do not want to reveal the idea. No doubt, I would do the Edhel series.

10. Are you already working on it?

I’m developing a serious subject, but I do not say anything else by accident. I’m expecting the exit in the halls and the audience’s response.

11. Can we say that the protagonists of your movie are teenagers?

In fact no. Within the story film a generational clash, a difficult relationship between a mother in difficulty (played by actress Roberta Mattei) and her daughter Edhel (Gaia Forte),  to the death of her father. The third ring, the one behind Edhel on Fantasy Road, is the nerd bunny, a 20-year-old boy, a bit disordered, well-played by Nicolò Ernesto Alaimo. The moral characters in this movie are pretty much everyone. We have a woman and mother who suffers for her husband’s death and is totally disenchanted and a little girl missing her father. In the common difficulty of overcoming mourning, there is a land of incommunicability between female protagonists. In this situation is inserted the twenties that finds in Edhel an alter ego, as both are in their own way marginalized. There is still another character and therefore another generation, the riding instructor, which represents the granitic point of view of history, and whose face is that of Mariano Rigillo, a colossal Neapolitan theater. For all, the message is the same, that sometimes illusion and dream can solve real problems.

12. How important do you think is the role of art and the specificity of cinema, the growth and the emotional education of the latter?

Art in the formation of an individual, especially if a child or adolescent, has a fundamental role. A child absorbs as a sponge everything he sees and he feels. For good and for evil, I am the result of all the images I have resembled a small one, through cinema, television, exhibitions I went to with my school or my family. Art is able to form you, to develop a sensitivity that allows you to go beyond the custom of thinking.

13. With your first feature film, you’ve already reached a significant goal and I hope you are the first of a long series. Do you feel you give advice to teenagers who are studying for affirmation in the movie directorship?

It may seem despicable, but the advice is to invest in your training. To do the job of cinema, whether as a film director, sound engineer, or as an actor, you must first study. True, there are talents, but they must be cultivated. I think training is the key to everything.

 

 

 

Interview with Cristoforo Scorpiniti, in Crisco art. Color, light and uncontaminated landscapes.

1. Hi Christopher, you are very young but with a great follow up. You started drawing during a rather dark period of your life, where you suddenly found yourself out of work. How did it go right?

Hello, you can call me Crisco. Unfortunately in Italy it happens that many young people are hired for a certain period and often short, and then be dismissed as happened to me. After about 3 years of casual and ill-paid work and yet another disappointment, I decided that I had to change something in my life .

2. When did you find your passion for the drawing?

About five years ago, I started this road as self-taught, though my passion for color pencils has been around me for quite some time. One day I took some brushes, a cotton sheet and made a frame. I began to paint for the first time in my life, and at that moment a world opened up. I knew that thing belonged to me, it was inside me, it was as if I had always done it.

3. In your paintings, make a symbolic use of the colors and often represent forest landscapes, in their uncontaminated nature. Which message do you want to communicate through your creations?

As I was telling you, from that day onwards began a journey of discovery and search for myself and my pictorial style and of course to communicate my thoughts and everything that I like and represents me, I started with color symbolism first and foremost  later on, making scenarios of naturalistic life and of strong emotional impact, in their simplicity. I often recall that I like to think of an uninfected, primitive, magical world. But I felt that something was missing, so I added a pinch of light. In recent years I have always thought that humanity was wrapped in a kind of darkness. Every day we learn news that makes us shiver. In my little space, I intend to express a message of “Hope, Love and Freedom”, blending everything into a pictorial style, what everyone can see today and what I believe to distinguish me.

4. Today we can finally say that you can live your art. Are you currently working on some project in particular?

After several years of sacrifice, I can finally realize some of my dreams / projects and the first one is already a reality, or “Crisco Art Factory”, a laboratory where I create innovative products, within which I turn my ideas into something concrete. One of the first projects I’ve been devoting to and dedicating to is my Glow in the Dark Pendants, but this is just one of the many I have in mind.

5. Which of these is the most important, your dream in the drawer?

My biggest dream is to open my gallery in the major cities of the world, so that everyone can admire my creations.

6. Before greeting you and thanking you for your availability, I want to ask you a last question: Among your friends, relatives, acquaintances, is there someone in particular who supported you and would like to thank you?

If I should thank someone I should thank myself. It may seem selfish but trustworthy, it is not. For years my only belief in my abilities, in my ideas and in my dreams was me. I often repeat it to the guys who follow me on the social: BELIEVE YOURSELF AND YOUR CAPACITY. By sacrifice and working every day, the results arrive. Only so I think, it is possible to realize your dreams.

    

 

 

Interview with Matthew Totaro

1. ALTHOUGH YOU ARE VERY YOUNG, YOU HAVE A RESUME IMPORTANT “FOR ALL” BY SIANI, “ROMEO AND JULIET” BY DAVID ZARD WITH CHOREOGRAPHIES OF VERONICA PEPARINI AND DIRECTED BY GIULIANO PEPARINI, BUT YOU’VE DONE A LOT MORE. AMONG THE VARIOUS WORK EXPERIENCES THERE’S ONE OR MORE THAN ONE IN PARTICULAR YOU’D LIKE TO SHARE? WHY?
I don’t feel under any particular point in my career, in fact I think absolutely to be even earlier, he still has a lot of road, but I also think that, as a matter of talent, will I be able to reach many beautiful goals so let me remind the public and hit some people in the world of dance. I hope to make more jobs possible, to gain experience and keep doing what I love, for a long time, namely dance! Among the many experiences surely the most important were two: Romeo and Juliet and Beloved Enemy. I started Romeo and Juliet in Turin in may 2014, I play the part of the cat and I went to the show because I was called by Veronica Peparini and persons who take care of the show that they felt it was suitable to play this part. For me it was a great honor because initially seeing the show I thought I wouldn’t be up to par; rather slowly with great help from them and committing myself very I when interpreting and studying the movements that cats just per se do, I started to come up with a character who, although different from others, did his job well to express through dance Tybalt’s emotions to the fullest. So I was not so convinced of doing such a thing … but the people who saw that are gifted in making certain things I have chosen to do this part and today I feel more and more cat, every show I do, everything I do is studied more and more, even a small movement, a glance, a movement , I take care of everything in every detail to give the audience the feeling of seeing an animal on that stage taking shape both human and animals.
It was very important to cover the part of the cat in the play Romeo and Juliet because it is a role that I diversify from being a dancer, I also have the opportunity to represent the better with my changes and my steps a very important character, very relevant to the work that is Theobald. The cat is a bit like it’s the shadow of tybalt, I have the responsibility to represent his emotions. In particular this is a character has given me the opportunity to make a personal growth, to learn about even more my body, my anger, my expressions, my ability to take in the scene the sadness in losing artistically a person with the death of tybalt. This role, this story, this show made me understand many things about myself that I didn’t know. I used to be much more centered on the breakdance, the steps I did, instead joining the break, to theatre, to the emotions and the dramatic scenes, situations and different scope in which you are, rediscover a part of yourself that you never knew, indeed pull it off because maybe existed is never output. Doing a show like that I discovered another Matthew, another character who is locked up in me. In fact do for me the cat was very significant because it categorizes as a single artist, a professional covering a major part of a major show. From September to November 2016 I had the great honor of working with Heather Parisi and Lorella Cuccarini in Beloved Enemy, aired then on Rai 1 in December. It was a unique experience for several reasons, primarily for having had the opportunity to work in the Hall for a few months with two icons of dance, entertainment and tv, two great professionals from whom I could learn a lot and learn their secrets. Also I still worked under the direction of Veronica Peparini whom I respect very much as a choreographer and as a person and I found colleagues and friends with whom I had previously shared other experiences, all of excellent professionals with whom it has been a pleasure to share the stage.
2. WHAT INSPIRES YOU for YOUR CHOREOGRAPHIES?
For the moment I am a dancer, but I enjoy also to choreograph in my courses and internships that I do in my city and beyond. I really enjoy creating choreographies, be inspired by a song and try to represent it well against steps that come to imagine; I follow my gut and I enjoy it a lot especially in the Stage. The lessons in my schools or in schools that invite me, are occasions when entertain the kids on a song of any kind it is because the movements follow for wire and sign the music … is a lot of fun to teach and explain to people who try to follow what I’m imagining it, what I am hearing, understand how I express music and particularly I like to teach because I love seeing people who they laugh when I do some explaining. In fact I try to always be funny despite the breakdance is a discipline hard to play, I love to make learning fun with the guys, I like to keep them entertained while I explain a choreography.
3. LOOKING for INFORMATION on YOUR CAREER I READ that all started by BREAK DANCING and YOU HAVE to MUCH in THIS discipline, but when you STARTED your path? THERE IS A TRIGGERING INCIDENT OR PERSON WITH WHICH YOU APPROACHED IN THIS WORLD?
It all started when I was 11 years old and I saw from a friend of my sister some movements of breakdancing. While dancing I was immediately impressed so it was a love at first sight! The following day there was no day that do not have danced, has tried to make some movements of breakdancing and then gradually this thing was always constant training and fortified over the years his passion for breakdancing has always grown. Together with some friends, I then created a crew called the Knef. Belong to a Crew means being part of a family, with the guys from the group you share everything, positive and negative situations situations, in particular, comes when we need help. The guys in the group become their brethren and indeed one can always count, especially when there is need really. In a crew, everyone has a task to be accomplished in order to ensure that the Crew is always up, never down. The best thing is to share everything, divide responsibilities, commitments and competitive situations. With my crew Knef, from 2012 onwards, when we began to tighten DeKlan relationships, and to strengthen our cooperation with them, I started to attend not only worldwide, but also to those foreign competition because many experts of international breakdance scene invite DeKlan to represent our nation in world competitions. These appointments are obviously odd jobs, i.e. are organized into specific periods of the year. Us DeKlan we always very well received because we try to keep our home a success.
4. IS  THERE ANYONE YOU’D LIKE TO THANK? SOMEONE IN PARTICULAR WHO TOOK YOUR SKILLS? WHO DO YOU CONSIDER WAS YOUR OPPORTUNITY?
My first thanks go to Alessandro Siani that when I was still very young has given me the opportunity to perform with my crew on his show. Perform in the city of Naples is always a pleasure for me because the people of Naples is a people full of art and so consequently the theatre in Naples gives immense satisfaction. The people of Naples has always lived by sight, art, theatre, music, comedy and so is supergratificante performing on stage in front of this audience. Not that it isn’t a pleasure to perform in front of an audience of other cities, but the difference for me there. Dance, dance, to show my art where they lived, where I grew up, where maybe somebody in the past I also saw and thought that my dance was a joke and instead today I found on the boxes, is a unique satisfaction and Saini was the first to take on the big stages of Naples but also and above all my thanks goes to Veronica and Guliano Panchal who believed in me from Friends Maria De Filippi, who later led me to Romeo and Juliet, to work to friends as a professional, a Beloved Enemy, the Nutcracker, joined the Corps de ballet of Alessandra Amoroso’s concert … I experienced a lot of different situations with them who have always been able to exploit my art and my talent made me discover new aspects and giving me a chance to grow and improve professionally. I have also collaborated with Emanuele for Dance Dance Dance and to Do that I was the show of Virginia Raffaele and with many other choreographers and directors and I have to say to everyone I extend my thanks because every experience has enriched me.

The dance introduced me to so many people and are more and more grateful to it for this, many people have jobs but are not satisfied with their lives and cling to what they find to go ahead and than I that I did of a passion my job, are in a more difficult situation. I myself always goals and is a great satisfaction to get to these goals to become more and more known and active in show business.

5. THINKING ABOUT YOUR ROUTE, WHAT WERW YOUR BIGGEST SOTISFACTION  WHAT YOU’D LIKE TO STILL EXPRESS AND ACCOMPLISH?

Success is nothing more than a reflection of his art, of what one is good at it and manage to stay embossed, giving positive energy to people, the people themselves will give you positive energy back and they still have the strength to do your job well and to try to remain at high levels. The breakdance is important to me, is the situation that raised me, that I have always lived, which always gave me and continues to give me much, participate in national and international events, juries, workshops and especially to continue teaching at new levers, to young people, to people who want to do so, it is very important both for myself and for others first of all because it continues growing and gives me the opportunity to divulge what I learned over the years and second because the events and situations in which I participate now part of me.

6. WOULD YOU GIVE ADVICE TO STUDENTS TO PURSUE A CAREER IN  THE WORLD OF DANCE AND PERFORMING ARTS?

The dance allows you to express yourself and express your feelings with music and rhythm and to get yourself with the movements. The dance is for all and should have it all or many because it can be an escape valve, a great help for people who are unable to express themselves with words, but they can do it with the movements and with the body. When I say that the dance is for everyone I mean however that is for everyone of course according to their abilities. I think trying anyone who might be able to do things that he never expected to do. The dance should practice it all, is for everyone because it is life, you vent, you represent yourself and bring out all the emotions that you have inside. Dance as a profession is not something that everyone can do … If dance is for everyone, make dance an art and a profession is for those who have certain physical qualities and fine motor skills. Serve the study, technique, commitment, perseverance, but also the ability to collaborate with others, to live in the group. The majority of shows I made were collective works, sharing, group, there were more people working and it was beautiful, in team work there is always an advantage. Many ideas are born, you connect with people, create a feeling very strong, do not neglect your personal side because you have to always try to improve yourself personally anyway. Although you’re a part of a company, you should always do a personal search of your style, your evolution because for a dancer is important to have technical, coordination, work well in groups, but also be very prepared mentally.

The growth of a dancer is not only into the practice and technique, but also in being ordered at the level of thoughts, you must always stay focused.

7. WHAT ARE YOUR NEXT PROJECTS?

I have already achieved many goals: in 2014/2017 I trod the scenes of the most important theatres in Italy (and even those of Switzerland and Turkey) with Romeo and Juliet Love and change the world, I was in the studios of Cinecittà as a professional for Amici di Maria De Filippi, in theater 5 for Beloved Enemy, at the Rome Opera House for the Nutcracker , at the Teatro San Carlo in Naples for the show ten times ten with Maradona and then toured again in major theaters with abusive Prince a. Siani and again at the Arena di Verona with Alessandra Amoroso and Cinecittà Studios to Do that I was show…ma despite this who knows what news still will be there. A dancer must always invest on himself to reach new goals, always has to do more to get higher and higher. Plans for the future … well there have been several proposals which I declined for artistic choices, but I am convinced that continuing to do what I’m doing in my world and even in showbiz, I’ll definitely new proposals, already there are already some things planned … we must be able to live from day to day and discover with enthusiasm and confidence in what the future holds. Surely you’ll see me again very soon on stage, you’ll see me again at work, join me on my page and you’ll know what I will do in the future as soon as possible.

Pablo Neruda

Pablo Neruda

Il 12 Luglio del 1904 nasceva Pablo Neruda…
“Ognuno ha una favola dentro,che non riesce a leggere da solo.
Ha bisogno di qualcuno che,con la meraviglia e l’incanto negli occhi,
la legga e gliela racconti”.

Ho sempre pensato che ognuno di noi agisca in base all’ aspettiva che ha di se stesso.
Per quanto sia in ogni caso nostra, la responsabilità delle persone
che siamo e di quelle che diventeremo, coloro che incontriamo, possono fare la differenza.
Possono rappresentare la nostra opportunità.

One word Creativity

testo alternativo

One word Creativity  “Mia madre mi disse che io ho cominciato a danzare ancora prima di nascere.
Pare che sentisse i miei piedini che tamburellavano per mesi dentro di lei.”
Ginger Rogers 16 Luglio 1911

A volte è tremendamente inequivocabile,ma non è la regola….
Se così fosse,avremmo forse risolto molte, delle comuni umane paturnie.
Molto più di frequente,succede che si ha difficoltà a capire, o riconoscere, le
proprie qualità e inclinazioni,ma ciò non vuol dire che non esistano.
Ciascuno di noi può dare il proprio meglio in qualcosa.
Auguro a tutti voi una splendida domenica.
#OmaggiandoGinger #Riflettendo #OneWordCreativity #DreamAndShareIt