paola bianchi

2012

2012-01-03T13:23:00.000-08:00

18 march
DUPLICA
Teatro Novelli _ Rimini

22 january
ERBARME DICH
C_A_P 04 CoAZIONE
OLTREMISURA 012
Teatro Rosaspina _ Montescudo RN

2011

2011-08-23T07:41:00.000-07:00

9 november

DUPLICA
Crossroads 2011
The XVIII-th International Meeting of Live Arts
Performances of the artists from Italy and Warsaw
The Centre for Contemporary Art Ujazdowski Castle, Warsaw

10 october
ERBARME DICH _ il secondo movimento
Short Formats, Teatro CRT, Milano

26 september - 12 october

rehearsals and premiere DAS KLEINE ZIMMER AM ENDE DER TREPPE

coreography Paola Bianchi

direction Barbara Klein

Kosmos Theater, Vienna

24 september

ERBARME DICH _ il primo movimento

Ipercorpo 2011 Premere sui confini, Forlì

27 august - 22 september

rehearsals DAS KLEINE ZIMMER AM ENDE DER TREPPE

coreography Paola Bianchi

direction Barbara Klein

Kosmos Theater, Vienna

24 june
DUPLICA

Il Giardino delle Esperidi 2011, Monte di Brianza

27 may
DUPLICA

Teatri di Vetro 5
Teatro Palladium, Roma

6, 12, 13 14 may
eMotion

Le Séchoir, Saint Leu – Réunion
Leu Tempo Festival

12 e 13 february
DUPLICA

PIMOFF, Milano

13 february
MASTERCLASS

PIMOFF, Milano

paola bianchi

2011-08-23T07:16:00.001-07:00

DUPLICA

2011-08-23T07:12:00.006-07:00

by and with Paola Bianchi
lighting Paolo Pollo Rodighiero, Chiara Girolomini
technician Chiara Girolomini
photography Valentina Bianchi
production Agar
in collaboration with INCANTI/Controluce Teatro d'Ombre _ Torino, L’attoscuro,
Teatro Comunale Rosaspina _ Montescudo, Istituzione musica teatro eventi _ Rimini,
Teatro dei Cinquequattrini, Teatro A. Massari _ San Giovanni in M., KosmosTheater _ Vienna
thanks to Teatro Comandini _ Cesena, Ivan Fantini, Roberto Giari, Fabrizio Albanesi,
Rosa Mogliasso, Gabriella Bellorio, Francesca Divano

An autistic monologue in two parts. A mute dialogue, sometimes deaf, between the body and its image.
The journey of a body, of its shadow, the trajectory of the dissolution of the shadow and the fall of the body into a naked, unveiled space; hanging in the “pure time” which is taken away from temporality.
A lonely body. Ensnared in the black. Doomed to a double glance. Monstrously reflected, perpetually searching for other than the self. Salome is forced to dance in an orgy of power with no powerful figures.
I am the unveiled donkey that carries the weight of the inability caused by the excess of light.

The inception of Duplica was a desire to experiment with the world of shadow and light by using the body, my own body.
I wanted to explore the shadow: that black body outside of our body, that projection of ourselves beyond us and in spite of us.
I wanted my approach to this project to be open to any new possibility. I didn’t put up resistance, I opened myself to failures and contradictions. I allowed uncertainty and insecurity to come along with me during most part of the process. For the first time I abandoned the sense of certainty which derives from a preconceived script in order to create a new dramaturgy through the various possibilities offered by my research on shadows. I worked on subtraction. Light on the body, the shadow of the body.
The sentence that followed me since the beginning is: “I don’t know this matter”, together with a decision: black.

Black on black. Front and back. I go in and come out. Passages become traumatic. Every passage is a change of the body’s state and consciousness, a change of what the body reveals through movement as well as in stillness.
I enter a space that reveals who I am – it is an egress. I enter a space that protects me, and I cannot tell whether it is an entrance or an exit. The embarrassment of the passage. Difficulty. The world of shadows protects you. The curtain that hides the action becomes denser, it becomes a shield. It modifies the sense of being on stage. The projection of the image becomes a place which is out of itself. The body’s consciousness, its attention, moves beyond the body only to crash into a flat, levelled, vertical space. The tree-dimensional plane vanishes, while the shadow, implacable, unveils and reveals.

DUPLICA from paola bianchi on Vimeo.

UNO _ frottola contemporanea

2011-08-23T06:48:00.002-07:00

contemporary humbug

by and with Paola Bianchi
text Giuseppe Genna – extracted from Italia De Profundis
translation Francesca Divano
sound processing and voice Paola Bianchi
music Fabio Barovero
lighting design Paolo Pollo Rodighiero
technician Chiara Girolomini
photo Valentina Bianchi
production Agar
thanks to Istituzione musica teatro eventi – Comune di Rimini,
Valentina Buldrini, Città di Ebla, Ivan Fantini, KosmosTheater

UNO -one- is an act without words, without solution, without end, without game.

one is there: I have to do. one tries, sits down, disappears.
one is feeling alive, one is disguised.
one is looking for a way. one surrenders.
one is speaking. one could decide not to answer.
one could go away.
one is unique and everyone.
what face has “me”?

The main character of UNO is non-identity. Unable to change into something else, unable to take part in the action she’s doing, unable to take a snap decision. Atonal arrhythmia. Staying there without being there.

Hesitant, unfinished movements. Indecipherable sign.

In UNO there is desolation, announced disaster, errors after errors, the decline of our time, our land, “the beautiful country” Italy. There is the unperfected silence of our age.

The aesthetic illiteracy of meidinitali.

A recorded text, extracted from Italia De Profundis by Giuseppe Genna (one of the most interesting italian contemporary writers) helps in creating the desolation, the effort of staying.

Inside our virtual rooms we change identity and moods estimating the effect of screen spectators – a fragmented audience in single unities.

This decadent room is coloured with the necessarily useless tints of a fake life.

Here nothing happens.

And in this loneliness one is not even able to dance...

UNO _ frottola contemporanea from paola bianchi on Vimeo.

VISIONI IRRAZIONALI

2011-08-23T06:11:00.001-07:00

Come Conigli - Like Rabbits

concept and choreography Paola Bianchi
original music Fabio Barovero, Gionata Bettini
lighting design Paolo Pollo Rodighiero
production Agar
in collaboration with Santarcangelo 07 International Festival of the Arts, Velvet Factory, Giardini Pensili, centrale FIES, Città di Ebla
thanks Giacomo Sega, Leandro Lotti, Katjuscia Fantini,Ivan Fantini

if number is order… and if everything is established by number, everything is order. Pythagoras

Come Conigli project is based on Fibonacci series (1 1 2 3 5 8 13 21 34 55 89 144 233 377 610 987 1597 2584 4181 6765…) and the golden section.

Fibonacci series is a rapid progression toward the infinity, like a continuous and inexorable rise upward; the golden section’s process of growth is constantly similar to itself; the golden proportion proceeded from these two phenomenon is an irrational, unpronounceable, crazy and inebriating number. These characteristics fascinated and conquered me.

Come Conigli will provide a lot of different public visions that will be used for the creation of a new performance.

During a new creation it happens to have some “visions”. When I’m studying, thinking, sleeping some images come out. I write them and, when I work on dramaturgy, I use them. They become materials, images to be transformed during rehearsals. This time I’d like to present these “visions” in front of an audience. It’s quite as if I opened my notebook, but this time visible and realized.

The visions – catalogued according to Fibonacci series – will be strictly connected to the places. The visions could be developed in various expressive languages (video installations, sound installations, performances with one, two or three dancers). The visions will be performed in unusual spaces, theatrical or not.

The combination of the visions creates a place outside the place, obscene for its being outside the scene.

visione irrazionale # 1

on stage Matteo Garattoni, Valentina Bravetti

perfection/imperfection, precision/vagueness, order/ruin.

visione irrazionale # 1

on stage Matteo Garattoni

with the participation of 1 1 2 3 5 8 13 21 people

Golden rectangle, organic flatting, homologation.

The immovable, coagulated space, cut with precision becomes a closed space, visible in its every point. A constantly examined and controlled man, made with strengths tactics, acephalous - without head - without face - therefore Anonymous. A research about manipulated body.

Obscene– out of the scene – multitude.

visione irrazionale # 2

on stage Leonardo Diana

Real motion/apparent motion. A Stillstand which is threshold between immobility and movement. Vitality of movable immobility. Distorted, diverted, deflected visual perception.

visione irrazionale # 3
on stage Matteo Garattoni

Movement arranged in numerical order. Order in chaos. inner forces that carve, that compress the shapes - completed forces.

Human been, measure of everything, which symbol was explicated in Leonardo da Vinci’s Uomo Vitruviano lost his sense of being. The harmonic equilibrium is vanished.

visione irrazionale # 5
on stage Valentina Buldrini

Inner forces decompose movement. Breakage, undoing. Impossibility to stay, here, now.

5, the number of Christ sores.

visione irrazionale # 8
on stage Alessandro Bedosti

Permanent, omnipresent surveillance. Videosurveillance – asymmetric sight system.

To catalogue, to classify, to file the actions. We are neither actors nor spectators, we are living in a “Panopticon” machine. Loneliness is the first condition for submission.

visione irrazionale # 13
on stage Valentina Bravetti
Caducity, static fall. Fallen angel.

visione irrazionale # 21
on stage Elisa Depentor/Giulia Di Giannatale
Innocent perfection

visione irrazionale # 34
on stage Valentina Bravetti

Aware imperfection. Inner forces that they tear to pieces, that bite like dogs, that crumble the shapes.

visione irrazionale # 55
on stage Alessandro Bedosti
dePEAUsition
iconic preparation to de-flight

visione irrazionale # 89
on stage Alessandro Bedosti
exPEAUsition
athletic preparation in possible/impossible liberation from the matter.

visione irrazionale # 144
installation
offended identity

visione irrazionale # 233
on stage Paola Bianchi
post-morten of the image in a latrine

visione irrazionale # 377
installation
crushed image

visione irrazionale # 610
installation
raped identity

SINESUIDE

2011-08-23T06:04:00.002-07:00

imposizione verticale

by and with Paola Bianchi
thanks to Ivan Fantini
production Adius, Agar
collaboration to production Blusuolo

We are meat, we are potential carcasses. If I go into a butcher’s shop I always think it’s surprising that I wasn’t there instead of the animal.                                            Francis Bacon

the closed room.
installation of a body forced into a place had on loan.
the white room.
aseptic, tiled room. slaughter house’s working block.
        slaughter house’s modernity
vacuum.
no gleam of darkness is permitted, no outer air is allowed.
the colour of flesh stands out in the white without injuring the whiteness around.
flesh does not undo, compact, it consents to stay in the structure containing it, the skin.
undergone violence, violence created as a reaction.
viscera’s silent rumour.
        slaughtered thing’s modernity.

ERBARME DICH

2011-08-20T14:09:00.005-07:00

by and with Paola Bianchi
text Emanuele Tonon – excerpt from Il nemico
voice Paola Bianchi
sound elaboration Fabio Barovero, Paola Bianchi
lighting Paola Bianchi, Chiara Girolomini
photography Valentina Bianchi
production Agar
thanks to Francesco Renzi, Federico Dalpiaz, Francesca Divano, Natalia Zarzecka
thanks to Ivan Fantini for the words spoken
thanks to Emanuele Tonon for the written words

I read about them, I feel them around me - wasted and exhausted bodies, consecrated to the effort. My glance touches them while absorbed by the difficulty of their day, by blasphemy, by their being nothing, by the slowness of their pace. It smells rotten, the vomit foretelling the end. I sense the bare, essential language of those bodies.
And in the given space I invest my body with a continuum of harmoniously sclerotic gestures, with a mute grimace, suspended between revealing and retaining.
A linear dramaturgy has been broken down and recomposed by following an illogical sequence.
A stupendous heresy which raises nothing.
A claim for mercy with no intentions.

ERBARME DICH develops through the asphyxiation of our constrained everyday life.

ERBARME DICH from paola bianchi on Vimeo.