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new creation 2019

HIVEOUR HYDROLOGICAL NEED OF COSMIC LINES

PIETRO MARULLO

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HIVE - our hydrological need of cosmic lines

Ideazione, coreografia e regia / Concept, choreography and direction Pietro Marullo

Suono / Sound Jean Noel Boissé Disegno luci / Light design Julie Petit Etienne Scenografia / Scenic design Pietro Marullo and Diana Ciufo Danzatori / Dancers in progress

Prodotto da / Produced by INSIEME IRREALI asbl Coprodotto da / Coproduced by Festival Oriente Occidente, « Vetrina delle idee », Théâtre Varia de Bruxelles, La Coop asbl, Federation Wallonie- Bruxelles, WpZimmer, IF Barcelona Festival, Tax Schelter,

Supportato da / Supported by IntercettAzioni - Centro di Residenza Artistica della Lombardia (un progetto di Circuito CLAPS e Industria Scenica, Milano Musica, Teatro delle Moire, Zona K), Sala Hiroshima of Barcellona, Wallonie-Bruxelles International, Service Public Francophone Bruxellois, Scenario Pubblico of Catania, Derida Center of Sofia, Art Printing House of Vilnius

Durata / Length : 50 min

CONTACT Pietro Marullo production@pietromarullo.com +32 (0) 477 665 645 https://pietromarullo.com/ vimeo.com/pietromarullo http://instagram.com/pietro.marullo https://twitter.com/nuitverte

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Presentation

What would be our common future if we start to consider ourselves as a specie?

What would be our new philosophy, our new institutions and laws?

How we will change our habits related to everyday life, food, energy, animals?

Which kind of emotions this new dance should express?

HIVE - our hydrological need of cosmic lines is an interdisciplinary performance mixing

dance, sound and visual art. A huge colored cubic structure appear on the stage. It’s an

abstract object that suggest a meditation dimension and offer to the public the

possibility to project different meanings. We could consider it as a totem, or as a house,

or as the variety of possibilities, or as our habits, our laws, or our confused inner world.

First, a community of people move through the space and try to combine themselves to

find the best-way to be together. They are captured into dynamic of movement and

relationships, into this flow of emotions. Looking at their attitude and action, we can

notice that the human family is not going well. Each one is looking for a cosmic line.

Suddenly, it’s time to calme the situation and one member of this human family has to be

scarified. The other decide to disappear. Then, a mass of colored fabrics appear on the

stage, mixing each others and creating different volumes and shapes. Pieces of humans

bodies appears in the middle of those colored matters, as fragments of past battles.

Finally, humans open the totem as to break some mysterious law and to find a new way

to share space and time together.

This performance is made to be presented in different spaces: normal stage or site specifics. It also appreciate the presence and participation of local communities that integrate the show after a short process of rehearsal.

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ORIGINS

At beginning there is a meditation on the majestic Michelangelo’s Sacra Famglia. This

round painting represents the holy family in an everyday life moment. Holy Mary’s body

takes the most of the space of the painting, and she is captured in a strong position,

making a huge torsion with the chest. She is giving the baby to the father.

I was, first of all, completed under the charme of the colors, lines and vectors presented

into the painting. Michelangelo was putting all his genius to express deep emotions with

a very formal language: colore, shapes, volumes.

Thanks to this tableau, I started to reflect on the topic of holy family in the history of art

and I decided to visit the Uffizi Museum in Florence. When you enter, the first image is a

huge Madonna sitting on a beautiful throne, on a gold backboard. This is the archetype

of the topic of holy family, in a matriarchal way. Room after room, this topic is present

under the form of repetition or emulation till to arrive to master such as Leonardo,

Raffaello and Michelangelo. For them, the holy family became the reflect of a patriarchal

vision of the society. I was shocked to realize that we could consider all the Uffizi

collection under the kaleidoscope of holy family.

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VISION

The topic of Holy Family represent for me an anthropologic issue rather than a religious

aspect. And I immediately started to reflect about the relationship between families and

our planet. Where does the idea of family come from? From really far. And it is always

related to survival of a human group. According to last paleoantropologic studies, the

gender Homo had the possibility to organize himself into small groups, families and

tribes, as consequences of some different aspects: this is the story of a small monkey

that is starting to explore savana’s fields and to use the bipedy. Under the pressusur of

climate changes like glaciations, he has to move above and cross those spaces in small

groups. Something incredible is going to do the difference between his species and the

others: the time parents share with babies. This push fast the evolution of the culture:

learning, imitation, play, relationships, sharing food, etc. Family has been the strongest

invention to survive during very difficult times.

Should we enlarge today our vision of family? And what would be the consequences?

Those questions are in my mind since the beginning of this project. For my generation it

is easy to represent itself out of the context of the family. Even out the context of the

society and the nation, as citizen of the world. But, the point is that the nations are not

able to imagine them out of their paradigma. Today we are facing such global issues

(climate change, migrations, etc..) we should reflect on the real power of the Nations to

pass through that issues and to bring humanity at the end of the XXIst century. Probably

we should imagine other political form of living together if we won’t create big

inequalities on this planet and if we want to reestablish a good level of responsibility

with Nature.

As for this project HUNGRY PLATES: what people need (2005), food seems to be the

link between families, financial issues, health and human conditions.

Holy families, antropolocigal studies, social issues related to food: those are the frame of

reflection for this new project.

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HIVE creates a dialogue between dance and those fundamental issues. Dance is the

moment when humans take a pause and find the joy to be together. This is possible

thanks to the need of kinesthetic empathy we have. And when we dance in a circle we

break the unrestrainable flow of life. This is ,of course, an illusion. Ephemera illusion. But

we need to generate that energy able to move our person out of our confort zone.

One of the stage issues related to bodies and movement is how to produce a new and

original language able to express this new need. The dramaturgical strategy adopted is

to create a link between will and power. In this case, the experience of the relationship

between puppet and master’s puppet suggests us an in interesting challenge: to

transform the dancer’s body into an “object" and to ask to an other dancer to

manipulate it.

The second strategy we adopted was to hide the bodies under colored fabric and to let

dance them. We use the fabrics not as costumes or normal fabrics but in a more complex

way. We animate them to create shapes and volumes that have a huge evocative power.

I never work to represent on stage references. But, since the topic of fabric is one of the

most emulated in painting, watching the show you will be immersed into a kind of a

gallery of all Renaissance paintings.

There is a formal link between paintings and food: colors.

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HARD SCULPTURE

An iron cubic structure reveal his presence on the stage, under all the mass of fabrics.

Abstract shapes has the power to become symbolic or allegoric object on stage. In this

case we also manipulate it to create an evolution of forms into the space. We let dance

this material that has a weight, a skin, a temperature. A history too for our species, as

iron material and as cubic shape.

When we manipulate the cubic sculpture, because it is empty, the brain can read a lot of

other shapes (triangle, rombo, trapezio, etc.). Spectators assist to a real metamorphosis.

Where we are when we dance in the middle of abstract forms?

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PIETRO MARULLO (ITA) Artistic Director of the INSIEMI IRREALI Company (BE)

AEROWAVES ARTIST 2018 Associated artist at Festival Oriente Occidente (Italy) Associated artist at IF Barcelona (Spain)

His interdisciplinary work lies at the intersection of visual arts and theatre, installation and movement. He was born in 1985 in Napoli (Italy) where he attended the Faculty of Modern Letter Federico II and the International Center for the Research on Actor (ICRA Project).

In 2008, he moved to Brussels to study directing at the Higher National Institute of Performing Arts (INSAS). Here, he wrote and directed a project on the relationship between drama and documentary, Blackboard for a colourless city (2010); a project of dance theatre rewriting the myth of Ycare, To the dreams of our children (2011). He graduated with the creation of Prenditi cura di me (2012), a theater, dance and video project with his father. Artistically, he multiplies his experiences between France, Italy and Germany playing in Death in Venice by Thomas Mann directed by Thomas Ostermeier at the Venice Biennale 2011. He participated in FINDPlus Festival 2011 at the Berlin Schaubühne. He was selected for the international project Europe will art you in Paris in 2012. In 2013, he met the director and filmmaker Federico Leon and the director Kristian Lupa. In Brussels, he attended some workshops Wim Vandekeybus and David Zambrano. He was sponsored by Valérie Dreville as a young artist for Kadoms Travel project at the Festival Avignon 2013. He participated in the 1991 – a science fiction about Central Asia led by the choreograph Costanza Macras as part of the Nouvelle Ecole des Maitres 2013. He met the accomplices that lead in the experiences of NOMAD ROMANCE.

ARANCE – avoid shooting blacks is about the issue of modern slavery in Europe. A hybrid show that blends the codes of theatre and the visual art. The project was created during the The Festival Emulation 2015 of the Théâtre de Liege and presented at the Théâtre Varia in Brussels in February 2016. In June 2016, he was invited to the International Meetings at the FestivalTransAmeriques 2016 in Montreal. In 2017, he presented the performance WRECK-List of extinct species, for the opening of the International Dance Festival OrienteOccidente. A soft moving sculpture move into the space among several dancers. It’s a project between installation and dance on the theme of shipwreck. It is coproduced by the Théâtre Varia de Bruxelles, the Wallonia-Brusels Federation, by the Centro Internazionale della Danza of Rovereto (Italy), the TanzHaus of Zurich and the CDC La Briqueterie of Paris.

MIMESIS, a dance and video show about the concept of imitation that he will present for the opening of the Festival Scripta Manent at the Théâtre de la Balsamine in Brussels, on December 2017.

Today he is working on two new projects: The second project is ARIANE [eu]phonie, a reflection on the concept of border starting from the Greek Mythe of Labyrinth. The show is coproduced by the Théâtre Varia de Bruxelles and the Wallonie-Bruxelles Federation. The premiere will be next January 2019 in Théâtre Varia de Bruxelles. The second show is HIVE - our hydrological need of cosmic lines an international coproduction that will premiere in Festival Oriente Occidente in Italy, in September 2018.

Since 2017, he works at the Academy of Music and Theatre of Vilnius (Lithuania) where he proposes workshops and lectures about the « metaphorical body method » and « documentary theatre ». He is also associated artist in Festival Oriente Occidente de Rovereto (Italy) and IF Barcelona Festival (Spain).

http://pietromarullo.com

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