Notes on teaching

And if the body does not do fully as much as the soul?
And if the body were not the soul, what is the soul?
W. Whitman

To teach, to pass signs on. From body to body. As art does: tendentiously. Schooling that is tied closely to intense stage activity, seen as the ground for actions and emotions that attempt feeling on a higher, other plane. A continual return to the technical, improvisational and compositional aspects of dance, regardless of codes and habits. On the look-out for any expressive stage potential, particularly physical action (form) as the presumable contour of the soul and therefore a more direct, coherent type of theatre.

General division of the meeting: TECHNIQUE (interpretation) and WORKSHOP (creation).

Introduction: Za zen, immobile dance. Study of standing still.
Action: the use of choreography codes seen as the means and not the end. From basic “positioning” exercises (on the ground and standing up) to the definition and development of a sequence of movements.
The stage being: neutral action.
Presentation: stage action as disposition and offer.
Improvisation: from intuition to execution. Thinking with the body. Listening.
Composition: from execution, via memory, to creation (finished and repeatable work).
Epilogue: Kin hin (the thief’s footstep). Study of mobility.

Among the schools and theatres that have hosted us we would like to mention: Fondazione Accademia d'arti e mestieri dello spettacolo-Teatro alla Scala di Milano, Piccolo Teatro di Milano, Fondazione Nazionale della Danza-Aterballetto, Accademia Isola Danza - Biennale di Venezia, Civica Accademia d'arte Drammatica Nico Pepe di Udine, Union des Artistes-Montréal; Compagnie Les Nuages en Pantalon-Québec;Bolzano Danza, ETI-Laboratorio di formazione teatrale Progetto Aree disagiate: San Giuseppe Jato (Palermo), ETI- I Porti del Mediterraneo V Edizione (Lebanon), Scuola d'Arte Drammatica Antoniano di Bologna, Scuola di teatro di Bologna (A. Galante Garrone), Scuola del Balletto di Toscana.

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