2014 MA Choreography Portrait Matteo

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    MATTEO MARZIANO GRAZIA

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    Ich begann mein Masterstudium,als ich merkte, dass ich mich nicht genug mitmeiner eigenen knstlerischen Arbeit befasste.Knstlerische Kontinuitt zu nden war schwierig,und ich wollte das ndern. Ich hatte einfach an nichtsgenug zu knabbern! In den Niederlanden fhlteich mich knstlerisch einsam, zudem fanden dortradikale Krzungen in allen kulturellen Bereichenstatt. Ich brauchte frische Luft. So zog ich nach Berlin

    und begann mein Studium am HZT. Als ich meineKommilitonen kennenlernte, stellte ich fest, dass wirhnliche Fragen hatten. Dazu auch die Angst, unserekreativen Gedanken zu ffnen. In dieser Zeit schafftenwir, gegenseitiges Vertrauen aufzubauen.

    Ich befasse mich intensiv mit dem Zuschauer. Ichversuche zu begreifen, wie Menschen ein Kunstwerkverstehen, was sie darin lesen, was sie daranprovoziert und was sie herausfordert. Der Dialog mitdem Zuschauer soll unmittelbar und tief sein, obmittels Tanz, Performance oder Film. Ich interessieremich fr die Komplexitt einer nicht-linearen undassoziativen Dramaturgie, wobei meine Afnitt

    zu unkonventionellen Rumen mich antreibt, sehrortsbezogen zu arbeiten. Daneben fhle ich michdurchaus auch wohl mit der greren Bhne: Sieist visuell exibler und lsst zu, verschiedene Bildernebeneinanderzustellen.

    Der Prozess des Theater machens und desFilmemachens sind sich nher gerckt. Ich habe neueWege entdeckt, wie man auf dem Set arbeiten kann;nher am kreativen Flow des Theaters, dabei aberimmer noch berzeugt von der sthetik meiner Filme.Ich nehme dadurch auch deutlicher die visuellen

    Aspekte meiner Arbeiten fr die Bhne wahr. Es istdie Kreuzung zwischen den beiden Knsten Tanz undFilm, auf der ich gefhlt exakt jetzt stehe. Ich habelange gebraucht, um dahin zu kommen; nun ndet esstatt. Darber bin ich tatschlich sehr glcklich.

    Der menschliche Krper war und ist die Quellemeiner Kreativitt, und meine Faszination fr seinmysterises Universum ist wacher denn je. Musik

    bleibt eine Schlsselgur in meinen Arbeiten - undwird es wahrscheinlich immer sein.

    Das Masterstudium gab mir die Mglichkeit,kontinuierlich zu arbeiten, viel zu produzieren undzutiefst nachzudenken: In meinem kreativen Prozessdehnt sich seitdem der disziplinbergreifendeSpielraum aus, die Genres verschmelzen, und ichtraue mich mehr zu experimentieren. Auch Berlin

    hilft. Meine knstlerische Hybriditt ist hier zu Hause.Die Berliner Szene stellt manch starres Bild davoninfrage, was Theater bieten kann. Ich wehrte michanfangs gegen Performance als Ausdrucksform undintegrierte sie am Ende in meine Arbeit. Ich fhltemich verpichtet, Stellung dazu zu beziehen. Dannng ich pltzlich an, Tanz zu vermissen und bringeihn jetzt zurck ins Spiel.

    Im Groen und Ganzen habe ich das Gefhl, dassich knstlerisch an einem aufregenden Punktangekommen bin. Viele Pfeile zeigen auf ein Ziel.Zu ringen werde ich immer noch haben, aber meineStimme ist klarer.

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    I look through peoples bodies. The stories that Itell are already there.

    My work starts from the internal space of thebody and of the individual: that is their physical,emotional, intellectual and energetic space. From theinside it will reach the outside and with its strongestmanifestation, it will reach the spectator too who isboth a witness and a reader.

    Somatic practices have been fundamental for thenourishment of my creativity and dance works. BMCand somatics in nature have enormously enlarged thespectrum of my perceptions and inner body #states . Ibelieve I can see, hear, feel more because of these. Asa person and as an artist. Also the invisible things, likesubtle energies and intuition are very important. I relya lot on my intuition and on meditative contemplation.

    I also rely a lot on sweating and hard work.

    I dont nd somatics per se particularly interestingfor the stage. Often it stays too interior. A somaticexperience, on the other hand, is exciting on the bodyof the spectators: #perceptions are crucial today.Somatics are intrusive practices and they rufe withour substance, latent traumas, and hidden layers ofus. If art can come very near and shift emotionally (et.ex-movere, out + move) something inside of me, I ama satised spectator. I am changed.

    I think that contemporary art needs to be immediateand very near to the viewers world. We are surng

    the waves of previous generations of artists and weare looking ahead. The risk of being anachronistic orputting out weak focuses is there. I am preoccupiedwith the ultimate meaning of my work, with whatmoves the spectators and what is their urgency. Myartistic drive is a consequence of such urgency.

    I reect (on) the people, the places, the situationsI meet. I feel the need to address life as a whole, thevulnerability and the preciousness, and the powerof subtle beauty. I reject intellectual escapism inperformance. It is relevant for an elite alone and Ithink that art should be politically transitional. A deep#resonance must happen. It should be everywhere

    and meet all the possible faces.

    I sit sceptical in front of performances in whichI have to ll in lots myself and look for meaning. Iwish for an immediate contact with the spectator.If I can be precise with my writing for the stage, wecan talk about small and big issues very quickly, andleave room afterwards for thoughts and unsolvedquestions. I do not wish to bore anyone. I dont dismiss

    spectacle, rather, it must be cleverly articulated. Idont support mere entertainment either. I crave foralerted attention. A performance should never be toocomfortable. There is so much we need to dig up. Ifeel embarrassed when the audience giggles outof amusement. I want to control the reaction of thespectator because I want to bring them to a place theydont know yet. This place is very complex.

    Somatic practices taught me also to rely on thepower of the creative matrix that each creative processgenerates. In BMC you speak about the intelligenceof the room we are in. The bodies create it on thatvery day of rehearsals and location. I leave plenty ofroom for the unexpected. I wait for the unplanned andthe extra-ordinary. The body is able to generate it, I just need to push the right buttons and then wait. Iget artistically excited when somatic practices areable to lead to complex, energized situations. Itsan expansion of cellular movement, composed andcodied but still very much in contact with its originalsource. This #source is ungraspable and its verypowerful too.

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    I make use of several genres of performing art,including contemporary and more traditional. I am anactive lmmaker as well. The medium is the messageand the multicultural society speaks many languages.

    I assume the spectator any spectator is intelligentand I want my art to be just as intelligent and speakto them, very directly and very intimately. I also wantreworks, explosions, and magnicence. I feel alivewhen I am overwhelmed by the power of big things,like the loudness of a midsummer rain, or the verticalmajesty of Berlin TV tower.

    I hardly prepare rehearsals: I prepare a warm-up and I prepare myself. I need to be very centred

    as anything could happen in the studio. Even theroad to the studio could reveal signicant insights.Choreography requires lot of handwork too. Thisis what I understand as artistic research: diggingthrough the body and waiting. I get nervous whenthere are many laptops around.

    I have started to rehearse more often outside ofthe dance studio. There are many conventions on howwe are supposed to work in the studio. The dumpster,the suburbs, and the forest have also been places Ihave visited with my performers. I do feel at home inthe theatre though. I wish I could grow very old insidea theatre.

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    I attempt to reconquer the organic nature of the bodyand to reconnect with its ancient energetic currents.This #transformation is in itself a creative process,both conscious and subconscious. To do so, the areaof the cervical vertebras must be very free. There lotsof control mechanisms and resistances are embodied.Also the feet should be versatile and the pelvis mobile.Movement should travel uidly across the body andbring messages where needed. I need to challengemy performers. As a choreographer I feel the dutyto push their borders, whether they are experiencedprofessionals or beginning. I scratch for talent. I lookfor the sparkle in the eyes of my collaborators. It isbeautiful when we meet again and realise how we grew

    together through a creative process. I carry with mevery important ethical values from masters I have met.I feel responsible for passing on such heritage.

    What I want is not so interesting. When I direct,I set a direction. I give the ship a certain route. I dontknow in advance what to expect. I carry my performersinto territories with no map. I stay very much incontact with a creation, as if it had its own will. Every

    time is very different. Some people might think I aminconsequent in the form of my outputs - but there is avery strong logic behind my body of work. Its the logicof the body: non-linear, multilayered, and unforeseen.This path will become more visible in a few years. Eachcreation calls the next one.

    (I must confess I cant wait to know whats coming next.)

    Matteo Marziano Graziano

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    One Explosion, sil vous plat

    ANALOG VOIDSANALOG VOIDS: reloaded

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    Barbarian Skin

    ORBIS TERTIUS

    The Triadic Castle (BAUHAUS)

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    where do we go

    #TRANSFORMATIONdirection

    how do we stand #STATEpresence

    #Short term: create music video clips. Perform and dance for and with likeminded artists.Experiment unconventional methods of lm direction. Teach weeklong creative labs.

    #Mid term: further explore lighting design. Co-direct a long feature lm. Stage a site-speciccontemporary opera, already written or in becoming.

    #Long term: found and establish CASA * MARZIANO, an inter-dependent nomadic production house,uid in its structure and constellation, ranging from dance to lm productions and in between.

    Wishes for the future

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    #PERCEPTIONavailability

    how to get there

    #SOURCEurgency

    where does it begin

    #RESONANCEempathy

    how do we communicate

    Essere Creatori di SensoDare Vita ad un Luogo Progenitore

    di Possibilit: il S, il Forse,il No, il Pressappoco, lAncra

    Dare uno Scopo al Tempoed allo Spazio

    Dare Senso al Corpo quiCreare un Legame Alchemico

    Spostare la Matrice eReindirizzare il Piano Collettivo

    Dare Tregua allInteroRinforzare la Battaglia allEsterno

    Rendere VisibileMostrare

    CostruireDare luogo a delle VisioniContattare lInvisibile

    Portare un SemeFar Nascere

    PartorirePartorire ogni giorno

    Dare Vita qui e adessoRidare Vita alla Vita

    Recuperare il DimenticatoRestaurareRidare un Volto alla Bellezza

    Prendere in mano lEreditEvolvere lEredit

    Aprire il Tempo FuturoSondare il Caos

    Dare luogo ad una LuceAprire gli Occhi

    photo credits: Anni Tracy, Andrea Keiz, cosmopolita.

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    MATTEO MARZIANO GRAZIANO, 1984 geboren Turin, Italien. 2007 BA in Tanz und Choreographie,Mailand. 2008 BA in Anthropologie, Turin. 2009Ausbildung an der Filmschule PFS, Prag. Seit 2012Studium im MA Choreographie am HZT Berlin.

    #Zeitgenssischer Choreograph und Filmregisseur#Somatische Praktiken bis physikalische Trans-formation #Archaische Matrix des Krpers undursprngliche energetische Strmungen #TanzendeZustnde #BMC und Somatics in der Natur #Tanzund Performance #Akademische Inputs zusammenmit instinktiver und poetischer Vorstellungskraft#Oper und experimentelles Musiktheater #Krper

    und Musik #Zeitgenssische Musik #Bewegung desKrpers und Bewegung des Bildes #Film: Fiktion,Videoinstallationen, Videotanz.

    2012 ___TIERKREIS von K. Stockhausen.Choreograph bei Dansmakers Amsterdam.2013 ___GUILLAUME TELL von G. Rossini.Choreograph beim Rossini in Wildbad Opernfestival.2014 ___MEAT. 240-Stunden-Performance von T. B.

    Nilsson. Choreograph an der Schaubhne Berlin. www.matteograziano.nlFB: Matteo Marziano Graziano

    MASTERSTUDIENGANG CHOREOGRAHOCHSCHULBERGREIFENDES ZENTRUM TANZ BE

    2014___maC

    Portraitphoto Seite 1: Anne-Mareike Hess Matteo Marziano Graziano 2014Das Hochschulbergreifende Zentrum Tanz Berlin (HZT) wird getragen von der Uni-versitt der Knste Berlin und der Hochschule fr Schauspielkunst Ernst Busch