«Bolero as an act of revealed identity». Conversation with Loris Petrillo

  Bolero is a classic of ballet. How was it to face up with this work and what interpretation does your work give? It is not the first time that I tackle a classic, it is always fun and stimulating to re-read classics and repropose them in a contemporary interpretation. With Bolero I wanted to […]

«Give body and voice to moments and sensations we often do not dwell upon». Conversation with Igor Urzelai & Moreno Solinas

  How did your performance A room for all our tomorrows come to life and what is it about? A Room For All Our Tomorrow is the result of a troubled creative process. The starting point is far from the point we arrived to. At first the show was called Spot The Difference, and it […]

«Comedy and irony in order to arouse thoughts and reflections through the act of dance». Conversation with Silvia Gribaudi

  How did the performance R. OSA come about? R. OSA is performance which arises from the passion for rounded bodies, for the curvy shapes of the body, from the curiosity to explore their dynamics. I started the work in 2009 creating A corpo libero (which was awarded the Prize for young auteur dance of […]

«Creating a ritual in order to live an experience». Conversation with Daniele Ninarello

  Your work, Kudoku, brings together dance and live music. How did the collaboration with the composer Dan Kinzelman come about?   I met Dan Kinzelman thanks to Enrico Bettinello and to an initiative of Novara Jazz. Enrico proposed to me and Dan to work together, and get know each other through an exchange of […]

«Trigger is a time-specific one: it arrives, gets organised, and finally evaporates». Conversation with Annamaria Ajmone

  Your work, Trigger, is part of the wider project Pratiche di abitazione temporanea (Practices of temporary residence). What is it about? In 2015 Virgilio Sieni invited me to the Biennale College: on that occasion, he devised an action inside the squero di San Trovaso (in Venice, a “squero” is a boatyard where traditional boats […]

«Trying to say something which deserves to be listened to». Conversation with Roberto Castello

  The title of your work, In girum imus nocte et consumimur igni , is very peculiar: it is a latin palindrome which means “We go wandering at night and are consumed by fire”; and, despite being enigmatic, it actually tells a lot about the show. How did this work come about? Everything started from […]

«From the intangible to flesh». Conversation with Francesca Pennini

  Sylphidarium. Maria Taglioni on the ground recalls La Sylphide by Maria Taglioni, a work which was at the origins of romantic dance. Why, among the many classics of ballet, did you choose this one? Sylphidarium continues the research on writing and archeology of dance which started out with 10 miniballets, when I brought to […]

«The computer is a tool for meeting». Conversation with Alessandro Sciarroni

  How did the show Home alone come about? Home alone was commissioned by the artisitc director of the Balletto di Roma, Roberto Casarotto: when I was offered to become an associate artist of the company, he asked me to create a show for children.   This show has two distinctive features: the use of […]

«The body keeps on changing, tirelessly». Conversation with Davide Valrosso

  Your work, We_pop, is the result of a research process which started with the project I would like to be pop. Does the evolution of this show lay, perhaps, in this switch from “me” to “us” from the intent to the actual creation? The show has certainly undergone an evolution, or at least some […]

«A tale of trust and friendship». Conversation with Roberto Lori

  Your performance is an interpretation of the well-known fairy tale Puss in boots. Why this choice? The tale is about the ability to see, in things and situations of supposedly little worth, a chance of transformation and fulfilment; it is a tale of trust and friendship. In the original story, the Cat is smart, […]

«The body stratifies wisely». Conversation with Marta Bevilacqua

  Le quattro stagioni (The four seasons) – From summer to autumn is a co-created performance by you and Roberto Cocconi. How was it to work in couple and how did you carry out your creative work?   It just came out natural. Roberto and I have worked side to side for many years, and […]

«To observe the world means to invent it». Conversation with Francesco Colaleo

Conversation with Francesco Colaleo   The description of your performance, Re-Garde, opens up with a quotation from Giovanni Pascoli’s Fanciullino. Was this the inspiration of your work?   Rather than being the inspiration of my work, Giovanni Pascoli’s Franciullino was the “emotional guideline” I searched for and followed. I believe that the quotation summarises exhaustively […]

«An attempt at breaking the mechanicalness which shrouds our lives». Conversation with Mauro Astolfi

  Mysterious Engine is a creation which reflects on the condition of non-freedom of the human being. What was the starting point for the development of this work?   The starting point, as it is the case for many of my works, was the “appearences” that more often than not characterise human relationships. I talk […]

“My own Pulcinella, symbol of truth and freedom”. Conversation with Michele Merola

  Interview by Lisa Cadamuro – NID Platform staff    Pulcinella is a classic of XX century dance. It was staged for the first time in 1920 by Ballets Russes with choreography by Leonide Massine, music by Igor Stravinskij, scenes and costumes by Pablo Picasso. Why did you choose this work, and how did it […]

“I like to think that viewers can be in their turn creative“. Conversation with Marco D’Agostin

Interview by Lisa Cadamuro – NID Platform staff  You have defined your performance Everything is ok as “an experiment on the tiredness of watching”. You did not use the word “experiment” by chance, because the inspiration is, in fact, science-based. Can you tell us something more about this? The creation of Everything is ok has […]

“Every landscape is a landscape of the soul”. Conversation with Fabrizio Favale

Almost all my works have a tendency to “danced abstraction” – in other words, I like to say that they “aim to the stars”, to the far distances that leave behind the things of this world.

The selected companies of NID Platform were presented in Rome

The fourth edition of NID Platform and the selected companies were presented in Rome at the Ministry of Culture

A first glance on the artistic proposals for NID Platform 2017 on the online portal

118 proposals and 79 companies: these are the first data on the call for NID Platform 2017. The online portal is now active

NATALIA ALVAREZ: COMMISSIONER FOR NID PLATFORM 2017

Build your own network and connect/be aware to/of what’s outside your own country.

NATALIA CASORATI: COMMISSIONER FOR NID PLATFORM 2017

I think it would be useful to envisage sort of a “traverl boursary” in order to support the trips of younger companies. Enhances the enterpreneurial skills of the artists, encouranging them to find ways of self-promotion

ANGELA FUMAROLA: COMMISSIONER FOR NID PLATFORM 2017

Be curious and do not be afraid of the unknown, of investigating with your body through the most culturally distant techniques, nothing is useless.

Gordana Vnuk: commissioner for NID Platform 2017

Be yourself. Be independent. Take a risk. Do not imitate what others are doing only because they are successful in festival circuits.

Italian Dance Web Platform: the new virtual platform for Italian dance

In-progress contents, online calls for artists, independent pages dedicated to proposals and available at any time to operators: the first online platform for Italian dance.

NID Platform 2017, new edition: interview to Walter Mramor

The edition in Gorizia is going to be a big dance festival, where the whole city will talke part. We are working precisely on involving everyone at every level.

Pier Giacomo Cirella, commissioner for NID Platform 2017

My expectations from the companies and shows which will apply to NID Platform 2017? Emotions and most of all a lot of dancing. I don’t like “mannequins”.