PUBLIC TALK
curated by INTERPLAY/ 26
coordinated by Prof. Alessandro Pontremoli
with journalist and dance critic Chiara Castellazzi
with Collettivo Vie: Carola Aimone, Enrica Brizzi, Paola Chiama, Maurizio Consolandi and Patrizia Corte
The opening night of the Interplay festival will feature the performance *Ma l’amor mio non muore | Epilogu* by the Belgian company of Italian origin, Wooshing Machine, followed by a TALK dedicated to LE FORME DELLA DANZA. The company, which has received international accolades such as the Prix Luminux for Theatrical Moment and the Total Theatre Award for the innovation and quality of its choreographic and dramaturgical work, features Carlotta Sagna, Alessandro Bernardeschi and Mauro Paccagnella on stage. Mature, highly expressive bodies that affirm a value of dance that goes beyond mere technical execution. The talk will begin by exploring the value of the bodies on stage as bearers of experience, memory and meaning, prompting a reflection on the artistic and pedagogical legacy of Anna Sagna (mother of Carlotta Sagna), a Turin-born figure who ranks among the most significant in Italian dance of the late 20th century. Her thinking promoted an aesthetic of modern dance founded on the expressiveness of movement, moving beyond the academic approach based on the mere reproduction of forms, to develop a methodology capable of making the performer fully present and aware.
The discussion will be moderated by Professor Alessandro Pontremoli, Full Professor of Performing Arts at the University of Turin and co-author of a biographical and analytical essay on the life, choreographic career and pedagogical philosophy of Anna Sagna – in conversation with journalist and critic Chiara Castellazzi and several representatives of the Collettivo VIE (Carola Aimone, Enrica Brizzi, Paola Chiama, Maurizio Consolandi and Patrizia Corte), a study group established within the University to explore the educational legacy of the Bella Hutter dance school and the courses directed by Anna Sagna.
Alessandro Pontremoli teaches History of Dance at the University of Turin. His research focuses on dance forms and aesthetics, particularly from the 15th to the 18th centuries and in the contemporary period. A member of the Advisory Committee for Dance at the Ministry of Cultural Heritage and Activities, he served as president of the Italian Association for Dance Research from 2004 to 2010. His publications include: *Intermedio spettacolare e danza teatrale a Milano fra Cinque e Seicento* (Milan 1999); Storia della danza dal Medioevo ai giorni nostri (Florence 2002); Danza e Rinascimento (Macerata 2011, winner of the 2013–2014 Pirandello Prize for non-fiction); La danza nelle corti di antico regime (Bari 2012); Elementi di teatro educativo, sociale e di comunità (Turin 2015).
Chiara Castellazzi, a journalist and dance critic, began her professional career in Brussels as a correspondent for the magazine “Tuttodanza”. On her return to Italy, she began writing for “Il Sole 24 Ore”, “Il Sole 24 Ore online”, “Sistema Musica” and later “Il Corriere della Sera”, whilst also collaborating with theatres and cultural institutions on specific projects, meetings with artists, and publications and programme notes. Deputy director of the CRUD (Regional University Centre for Dance) “Bella Hutter” in Turin for the entire duration of the Centre, she conceived and curated the international choreography and visual arts project “Motori di Ricerca” for eight years. Her recently published essays include: “Court Ballet in the Savoy States of the 17th Century” (Edizioni Torino Incontra), “Modern Dance in Belgium: the figure of Akarova” (UTET), “Contemporary Dance in Piedmont” (Editoria & Spettacolo) and “Body, Movement, Interactive Technologies” (Bonanno Editore).
The ultimate aim of the Collettivo VIE’s work is to produce a publication that helps to highlight this important chapter in the history of dance in Turin, including through the first-hand accounts of those who were part of that scene, having been involved for varying lengths of time.
To date, through conversations and interviews, it has been possible to recall the value of those teachings, which could serve as a living and significant resource to pass on to future generations. Alongside theoretical research, the Collective plans to revive the foundations of Espressione Corporea through targeted workshops aimed at adults (beginners and otherwise), children of various age groups, university students and independent communities interested in exploring body-based research further. The aim is to encourage pathways driven by personal need, capable of translating into expressive, communicative and artistic actions.