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MASTER’S DEGREE

HISTÓRIA DA ARTE, PATRIMÓNIO E CULTURA VISUAL

Internship at Festival Fabbrica Europa 2019. The organisation of a performative art festival Martina Petrocelli

M 2019

VOLUME II

Martina Petrocelli – Internship at Festival Fabbrica Europa 2019. The organisation of a performative art festival, Volume II

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TABLE OF CONTENTS

Introduction 3

Appendix I - Iconography 4

1. PARC – Performing Arts Research Center 5

2. Stazione Leopolda 7

3. Teatro della Pergola 9

4. Focus Cina 10

5. Shamel Pitts 13

6. Workshops, residencies and other projects 14

Picture credits 19

Appendix II - Documents 20

1. Map of the venues of Festival Fabbrica Europa 2019 21

2. Drawing of Parco delle Cascine 21

3. PARC, multidisciplinarity of the space 22

4. Actual plan of Stazione Leopolda 22

5. Teatro della Pergola: the program 23

6. Teatro della Pergola: plan of the theatre 23

7. Teatro Cantiere Florida: the program 24

8. Secret Florence: the program 25

9. Festival Fabbrica Europa 2019, Calendar on Google Sheets 26

10. Festival’s calendar on Fabbrica Europa’s website 28

11. Circolare n. 10. Oggetto: Agibilità per i lavoratori autonomi dello spettacolo 31

12. Example of invitation letter to artists and companies 33

13. Model of registry form 34

14. Table used for keeping track of the materials needed 35

15. Mum&Gypsy, portfolio of the theatre company 36


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16. Focus Cina 37

16.1 Description and program of Focus Cina, written by the curator Fabrizio Massini 37

16.2 Wu Hui, artistic dossier for The Great Wave 41

16.3 Wu Hui, Grandma’s Monologue 44

16.4 Wu Hui, Grandma’s Poem 46

16.5 Wu Hui - projects involving the city 46

17. Interviews 49

17.1 Interview with Wu Hui 49

17.2 Interview with Shamel Pitts 51

17.3 Interview with Olimpia Fortuni and Raquel Buil (Sedimenti) 54


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Introduction

This appendix contains the documents and pictures collected during my internship at

Fondazione Fabbrica Europa. The first part is dedicated to pictures, the second to documents,

and both are an important support to my report, since it’s almost impossible to describe a

performative art festival without visual supports.

The pictures are for the majority taken by me. In some cases, I had to rely on somebody

else’s pictures, as taking pictures wasn’t allowed or my camera was making too much noise,

as the click could bother during a performance with a lot of silent moments. When taking

pictures, I was been told to take them only when there was music or sounds. In these situations,

I also relied on my phone, for this reason the quality of some pictures is not very high.

One of my objectives, apart from documenting my experience with a big number of

pictures, was to take a short video of every performance that I saw and to create a video that

could sum up my 6 months of internship. Unfortunately, as we always say, things go in

unexpected ways. My camera decided to crash and corrupted all the videos I took, so I only

have the videos I took with my phone as “moving” memory of my experience. Apart from this

unforeseen event, I fortunately was able to keep all the pictures.

The second part of this appendix is dedicated to documents: scans of documents,

supports that we used for performances, flyers, maps, plans, interviews, all these supports were

useful to guide me in drafting my report, most of all the organisational part pre-festival.

For what concerns official documents as invitation letters, institutional documents and

forms, I decided to share the ones I wrote or created, which don’t contain any sensible

information. For what concerns artistic dossiers, they were all published online or distributed

to the public, as explained below the documents.


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Appendix I - Iconography


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1. PARC – Performing Arts Research Center

2. Marco Caselli Nirmal – Fabbrica Europa’s PARC at Parco delle Cascine, Piazzale delle Cascine n.

4-5-7. The former church on the left hosts Sala Lab at the ground floor and Sala Poli at the upper floor.

In the middle of the arcade, there’s the main entrance of PARC, with the bar at the ground floor and the

offices at the upper floor.

4. Marco Caselli Nirmal – Sala Poli (polivalent) at the ground floor of PARC. This room is normally

used for performances and it has direct access to the square and the park.


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5. Marco Caselli Nirmal – Sala Lab (laboratory) at the last floor of PARC. This room is normally used

for workshops and classes. It’s rarely used for performances with a large public, as there’s not enough

space to host big crowds.


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2. Stazione Leopolda

7. Martina Petrocelli – Area 1 of Stazione Leopolda. Picture taken during the opening of FFE19, just

before the public came in. At the bottom of the nave, the caravan from the project Little Fun Palace.


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8. Andrea Pellegrini – This is the view of Alcatraz, one of the most interesting spaces of Leopolda.


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3. Teatro della Pergola

14. Martina Petrocelli – Teatro della Pergola: the stage during the setup of TrapTown by Wim

Vandekeybus.


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4. Focus Cina

13. Martina Petrocelli – Polli d’Allevamento at Istituto di Agraria’s garden. The performance started

with the dancers all dressed up and walking around the audience and ended up with dancers almost

completely naked running around the parc, slowly becoming a chicken.

14. Martina Petrocelli – Tian Tian performing Yong 2, one of the 3 short pieces that took place at

Fabbrica Europa.


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15. Martina Petrocelli – I Didn’t Say Anything, the performance created by Lian Guodong and Lei Yan

and performed by Lei Yan.

16. Martina Petrocelli – Wui Hui performing The Great Wave, here in one of the most intense parts of

the performance.


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17. Martina Petrocelli – Wui Hui dancing on white background, after the “red part”, when suddenly the

atmosphere becomes purer.

18. Martina Petrocelli – Wu Hui lays inside of a bucket full of water, with a video representing

abandoned areas, with superpositions of lights, water and fishes. Places become alive with the use of

colourful lights.


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5. Shamel Pitts

19. Martina Petrocelli – Shamel Pitts, Mirelle Martins and Tushrik Fredericks performing Black Hole

at PARC. Here the resemblance with athletes.

20. Martina Petrocelli – Shamel Pitts, Mirelle Martins and Tushrik Fredericks performing Black Hole

at PARC, final scene.


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6. Workshops, residencies and other projects

21. Martina Petrocelli – WRECK performed in Sala Polivalente during PARC’s inauguration.

22. Martina Petrocelli – Arathy A.R., Niharl Pash e Veer Nishad rehearsing for the performance A

Peaceful, Peaceful Place in Sala Lab


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23. Martina Petrocelli – Hemabharathy Palani performing at Museo Marino Marini. The public is on

the stairs and all around the statues are lightened by colorful lights.

24. Martina Petrocelli – Gianni Maroccolo, Mariano De Tassis and Vladimir Jagodic during the

performance.


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25. Martina Petrocelli – Er Gao’s workshop, Polli d’Allevamento, in Sala Lab. The dancers are studying

different hand poses, looking at pictures provided by the choreographer

26. Martina Petrocelli – Luisa Zuffo, Mum & Gypsy’s manager in Italy, and Miwa Monden, M&G

manager, discussing about the production in the rehearsing room (Sala Polivalente).


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27. Marco Caselli Nirmal – Picture of the performance Il Lunedì, which took place on the 3rd of May

at Alcatraz, Stazione Leopolda.


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28. Martina Petrocelli – The 8 choreographers chosen for Sedimenti, improvising a choreography on

the 27/03.

29. Martina Petrocelli – P.A.R.T.S., rehearsals of ballet class.


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Picture credits

2/4/5. © Marco Caselli Nirmal, available on http://fabbricaeuropa.net/il-nuovo-spazio/

7. Martina Petrocelli

8. © Andrea Pellegrini, available on https://www.stazione-leopolda.com/it/spazio

12/13/14/15/16/17/18/19/20/21/22/23/24/25/26. © Martina Petrocelli

27. © Marco Caselli Nirmal, sent via Wetransfer to [email protected]

28/29. Martina Petrocelli

http://fabbricaeuropa.net/il-nuovo-spazio/

https://www.stazione-leopolda.com/it/spazio

mailto:[email protected]


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Appendix II - Documents


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1. Map of the venues of Festival Fabbrica Europa 2019

Map created thanks to Google Maps, https://www.google.pt/maps/ (document 1)

2. Drawing of Parco delle Cascine

A drawing of the ancient Parco delle Cascine at page 18 of the book La caccia, il frutto, la delizia. Il

Parco delle Cascine a Firenze. It shows the disposition of the buildings in the park during the XVIII

century (document 3)

https://www.google.pt/maps/


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3. PARC, multidisciplinarity of the space

Brochure of the project PARC. Fabbrica Europa (2018). PARC. Progetto Illustrativo. Attività

culturali p.4

4. Actual plan of Stazione Leopolda

Available on Stazione Leopolda’s official website, https://www.stazione-leopolda.com/it/spazio in “Lo

Spazio” (document 6)

https://www.stazione-leopolda.com/it/spazio


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5. Teatro della Pergola: the program

Flyer for the promotion of Teatro della Pergola’s dance program: Wim Vandekeybus, MK and

Compagnia Virgilio Sieni. © Studio Melarancia, April 2019. (document 7)

6. Teatro della Pergola: plan of the theatre

Plan of Teatro della Pergola from the architect Gaetano Baccani, 1855, showing the new atrium of

Teatro della Pergola. ARCHIDIS - Fondo disegni tecnici del Comune di Firenze. (document 8)


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7. Teatro Cantiere Florida: the program

Flyer and poster of Teatro Cantiere Florida’s program: Goblin Party, Olimpia Fortuni, Francesco

Sgrò, Alexandre Fandard and Marco Chenevier. © Studio Melarancia, April 2019. (document 9)


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8. Secret Florence: the program

Secret Florence flyer/website, available on http://www.secretflorence.it (document 10)

http://www.secretflorence.it/


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9. Festival Fabbrica Europa 2019, Calendar on Google Sheets


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The calendar we used as reference and modified along the organisation of the festival, on Google Sheets

10. Festival’s calendar on Fabbrica Europa’s website


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11. Circolare n. 10. Oggetto: Agibilità per i lavoratori autonomi dello spettacolo


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12. Example of invitation letter to artists and companies


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13. Model of registry form


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14. Table used for keeping track of the materials needed


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15. Mum&Gypsy, portfolio of the theatre company


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16. Focus Cina

16.1 Description and program of Focus Cina, written by the curator Fabrizio Massini


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16.2 Wu Hui, artistic dossier for The Great Wave


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16.3 Wu Hui, Grandma’s Monologue


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© Wu Hui – Grandma’s Monologue. The monologue was printed and handed to the public, in order to

understand the introduction of the performance, entirely in Chinese.


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16.4 Wu Hui, Grandma’s Poem

© Wu Hui – Grandma’s Poem. The poem was printed and handed to the public, in order for them to

understand the parts in Chinese.

16.5 Wu Hui - projects involving the city

Sent from Wu Hui via email on 30/05/19

Description of KARAOKE

The path in the urban village is like a labyrinth. Where is the exit? Where is the

entrance? The night here is brighter than the daytime, and all kinds of neon lights light up the

narrow road. It is a vortex of circling. The conflicts of different identities, backgrounds and

cultures have been reconciled in the vortex.

The artist chose Karaoke, the most popular entertainment in the urban village, as the art

media to form the work. It contains three nursery rhymes in the MTV that are widely spread

over in Chinese community worldwide.

The work is a dream but also the reality.

Carrying

As a poor community next to a big computer city, Shi Pai village is resided by carriers

and couriers. We extracted Carrying and Moving, the two most common movements happening


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in the village into our creation, and as one performer carries the other in order to progress, we

travelled through the two different sides of the city - the urban village and the Center BusIness

District of the city. The actual route of travel in the city became a performative landscape and

exchanged the meanings of the action within the different circumstances.

Dance aerobics

Dance aerobics is a social dance which attempts to expand the meaning of

movement/dance as a social activity. First we choreographed a dance aerobics sequence of

movements derived from different dance poses. These dance poses were extracted from the

stage photos of different ages and works, and then mixed them with some photos from real life

that had the same poses. The real life photos were found on internet with a big range of content

including political, economic, cultural news and practical issues. With the photos from the

dance world and online searching, it’s been woven into a set dance movements according to

the dance photos in chronological order.

We documented the process of composing the movement sequence in a video that

shows the visual references (all the images from the web and from documentation of dances)

and how they were incorporated into the movement.

After the completion of the video we started the second phase of the project, by

approaching diverse groups who already maintain a daily aerobics practice, a popular

traditional practice in china, and teaching them our aerobics sequence. Once they mastered it,

we presented the video of the documentation, and so they could practice again the sequence

with an understanding of the references they make with their own bodies. We have approached

and plan to further approach diverse groups including workers, white-collar workers, square

dancing “Damas”(middle age Chinese ladies), artists, and so on. The process of teaching and

practicing by the different groups will also be documented and edited into a video that will

again enter into the presentations, and so audiences will be able to see how their action is related

to others.

The meaning of the work is revealed by the making, the broadcasting and the teaching

of the aerobics.

Inhabiting

Public and private spaces have clear definitions in modern society, but the situation in

China is a little bit different. People hang their laundry in public space, and wear their pajamas

on the streets.


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With this inspiration, we interrupted the certain utilization of the public space by

introducing personal objects and dislocated actions which were completely out of the suggested

context of the public space. By doing so, an illusion has been aroused which empowered the

individuals and the collectivity of the local residents to transform and break the set and

constrained structure and regulations.


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17. Interviews

17.1 Interview with Wu Hui

Interview made via email, received on 15/07/19

Martina Petrocelli: Tell us a bit about yourself. How did your passion for dance come

about?

Wu Hui: There are different phases in my passion for dance. First, I liked dance

because I liked moving and enjoy dancing without any question when I was young, as a little

girl. Dance is beautiful, so I like it. Second, when I studied dance in a dance school in my

hometown, the training was focused on techniques, to be a skilful dancer with a flexible and

strong body abilities. In this period, I learned different dance techniques, from ballet, Chinese

classical dance to Martial art, modern dance, contemporary dance. I enjoyed dancing with

different aims, to become professional means to be able to become anything I want with my

body. Dance was understood as forms of multiple styles and movements. Third, dance and

dance training became a kind of constrain. I felt that I was not free anymore with those dance

training. I felt that I was shaped by the others, something not from the inside of me, but it had

become a part of me. I was so confused in the end of the second phase. I had lots of questions

and doubts about dance. Then, those questions and doubts drove me to pursue the new

meanings of dance. Later, I started to use the constraints from my dance training to make new

dance works, which is something I like or I think it's important to me.

In summary, my passion for dance comes from the intuition, the pursuit for technical and

skillful body, and the questions and doubts based on my body training and dance experiences.

MP: In The Great Wave you use your body, lights, video art, music and recordings, which

result in a complex and original production. What inspired you in creating this work?

WH: In The Great Wave off Kanagawa, Japanese artist Katsushika Hokusai focuses on

the encounter between people and the great wave. The Great Wave is inspired by his work.

From the memories of my grandmother, the work explores the disruptions unleashed on people

by the great waves of life.

The work documented the changes of my dancing body and the state of living in China. The

whole work focus on what I called "the conflicts as the great waves" surround us in our(my

and my grandma's) lives and our times.


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MP: The great changes of expression and the way you challenge the limits of your own

body seem to be a characteristic of your choreographic work, The Great Wave. What

brought you to these choices?

WH: The constraints of my body training and dance experiences. The reflection of the

durational persistence, to blur the boundary rather to adapt the limitation. The change happens

in duration not from change itself.

MP: During the performance you project a video with many superpositions: water, fish,

lights, destroyed buildings at first in the darkness and then lighted up by colorful lights.

This short video is part of Karaoke, a project you made in the suburbs of Chengzhongcun

in Canton. It is really interesting how you interacted with the area, with lights creating a

strong contrast with the general feeling of desertion. What was the purpose of this project

and how did it start?

WH: Well, it is an abandoned area in the sense of old, dirty, poor, and dilapidated

community, but it's full of lives and activities with many poor and new coming citizens. There's

a say in Chinese, there's light, there's people, so there's hope. That may be the purpose of why

I interacted the buildings with lights.

MP: Did it have any result (as rehabilitating the neighborhood or acknowledging people

about the situation)?

WH: Are you talking about Karaoke? OK, I assumed you meant that video. It's a feeling

towards the concept of HOME, something you think you belong to. I created a virtual

imagination based on the reality of the urban village. It was a place bustling with people, noise

and excitement, then I extracted people and left only one person, which is me, in the place with

the noise, lights and excitement. The state of natural habitat of the individual in the urban

village, you live as water to adapt any situations you encounters. In Karaoke, I would like to

light up the individual by leaving only one person in this circumstances of the urban village.

MP: You created other projects involving the city and its inhabitants: could you explain

the connection you're building between art and the city?

WH: I gave attention back to people by using the form of ART. That would be the

simple but deeply coming-out answer from me.


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17.2 Interview with Shamel Pitts

Interview made on 20/06/19 at PARC

Martina Petrocelli: After watching Black Hole, it was interesting to hear the public’s

opinion: in fact, each one found a different interpretation to your choreography. Is it

something you had in mind during the creation of this work?

Shamel Pitts: Definitely, I think that in each of our work, and especially in this one, I

try to create something with intention, but also something that allows space for the audience.

Especially in this work I had clear intentions about what I would like to share and what I am

researching in terms of content, but I also wanted to create space for the audience to activate

their imagination. I really feel I’m giving huge responsibility for the audiences in my work: if

audiences decide to come, I would like to feel them activated. I try to create an opening of the

space, not to say something that’s too specific but to create this sense of a tasting of the palate,

you know, to open their palate to then dream, discover and feel, arising their senses, in much

more larger ways than they felt before coming to the performance.

MP: And that happened! So, it’s something that you looked for in your other works too,

right?

SP: (laughs) Yes, I am interested in creating work because I love to dance, but I know

that also this live art doesn’t exist without audience, so I really value audience and I value them

in a way that it’s not that they just come and see entertainment: it’s about you coming and how

even by sitting, how active you can be, how activated you can be inside of your body, how

much of an experience, a journey, a rollercoaster, a ride you can go through, just showing up.

How much you can learn, how much you can question. The audience is a large spectrum to

whom I allow space to experience.

MP: During the first part of the performance, you all are always very close to each other,

creating an individual entity that moves around the space. In the second part instead,

you’re far away from each other. Mirelle gets detached from you and stands

hierarchically on the top of you and Tushrik.

SP: A huge interest I had in going towards the trilogy was this interest in three parts. I

sort of became obsessive with the power of three. It’s true what you said: it starts with one,

one, one equals three, like the sum of our parts is larger together. We started to play a lot with


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this idea of the Holy Trinity: the Father, Son and Holy Spirit. They’re different things but

they’re this one, huge collective force.

I listen a lot to the work, it tells me what it needs to be, so I have to give it space, and

at some point in the creation of Black Hole this happened: things shifted because the work

started to teach me that Mirelle is the Ancestral Spirit. She became a larger force than the Father

and Son’s, so I think I wanted to give that space and give it its weight, its value and to share

that it shifted. If you consider what happened to us during the second part, when we go back

underneath this material and we come up anew with three heads and traveling into this new

space, something shifted there. It’s true that I wanted to give her more place in space for her

development and journey.

MP: Could you explain what Gaga is and how it is reflected in your work? Where can we

find Gaga in Back Hole?

SP: Gaga is a movement language created by Ohad Naharin, who has been the artistic

director of Batsheva Dance Company for many years. I danced in Batsheva for over 7 years

under Ohad’s direction and we trained Gaga every day. Gaga as a training has a lot to do with

listening to your body before you tell it what to do. With that listening there’s a huge sense of

discovery: we play with textures, we become delicate and soft and we can become explosive

at the same time. We listen to our bodies, connected to our passion to move and to our ability

to be groovy. We listen to other forces inside and outside of us, like gravity. We accept gravity

as something we have to deal with: we don’t allow it to shape us down, but we listen to it and

to other things that help us to spread far. Gaga is a language that gives and offers a lot of tools,

that lets us discover both our strengths and weaknesses, our limitations and our expansiveness,

and also our ability to don’t take ourselves too seriously, but at the same time to work seriously.

There’s something very childlike about it.

When I first experienced Gaga I realized “wow, it unlocks so many things inside of me

that I didn’t even know were locked”. Like my passion to dance and how important it is, as a

training, to own your passion of dance. There are a lot of dancing techniques in institutions that

actually don’t make “training your passion” part of the training. I think that this is something

that Gaga offers in a large way. It offers not only skill or the importance of power of

imagination but also your passion to move, and this makes me feel like I can dance forever,

because as long as I keep feeding and fuelling my passion, I’ll always have something to listen,

to learn from my body and to share as an endless discovery.


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With my work as well, since Gaga also trains and opens up my power of imagination,

it led me towards creation of things: Ohad with Gaga gave me a language to help me find my

own voice. With my work is not Gaga, it’s not Ohad’s work, but I’m finding my own voice

through this foundation of a language. What I’m really interested in, especially in Black Hole,

is the architecture of the body. The body is like nature, where all these elements come together,

clash, collide and crash to create this beautiful mountain. It’s the same with bodies: we have so

many elements and things inside of us, so how can we listen to them, make them joining forces

in order to create this beautiful landscape which is the body?

The work is called Black Hole and the title is linked to the cosmic phenomenon of the

black hole. I’m not talking about science with this piece, but I chose this title because there’s

so much mystery about the black hole, it made me interested in my imagination to search for

what the possibilities are with this black hole, and that has a lot to do with space and time. Also,

something about this dimension of time interests me because we live in a time where things

move so fast, in this technological era where everyone’s running and there’s so much fast

information and nothing’s really staying. We are losing sense of patience, myself included.

There is such a fast raise towards things, to run. With this piece, if you remember, we start by

crawling for a long time, for almost 10 minutes. Before we start to run and try to fly, let’s get

back to the ground, let’s slow things down and learn from the beginning. I think with this work

too, in this sense of time is that we kind of started to question and discover our rebirth and what

that potential could be for the future.

MP: This also explains the look you have during all the performance. It looks you’re

scared but also curious to know what’s beyond.

SP: Beautiful. That’s it, we always look at the horizon.


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17.3 Interview with Olimpia Fortuni and Raquel Buil (Sedimenti)

Martina Petrocelli: Taking up the question that was asked by Massimo Carosi during one

of the afternoon sessions, I would like to know what your answer was: what will you bring

with you about this project in your future experiences and in everyday life?

Olimpia Fortuni: The way to find a common answer to Carosi’s question was part of

the process: comunidade es la máquina de engranaje, conectando las redes por un bien común

/ community is the gear machine, connecting networks for a common good.

What I will bring with me about this project it’s a hard question, I’m in the process yet. A co-

working process needs a strong listening and respect of people, without losing each one’s

individuality. It’s a constant balance between ourselves and others, like in dance so is life.

Raquel Buil: From this project I bring with me the generosity in the work for dealing

with different approaches, the openness to every new idea or technique or suggestion. This was

the ideal mood to create or investigate in a cooperative way, and I hope I can keep on working

with different people in the same positive and humble mood. And more personally I bring some

extra self-confidence as a choreographer -although I haven't been selected to develop the

project- because I felt a lot of respect and consideration to my proposals and to the

interpretation, I did of the others from the amazing artists with whom I was sharing the process.

MP: Which are the difficulties of participating in any artistic residency, and which

difficulties did you encounter in this particular residency? Were you able to overcome

them and how?

OF: The difficult part of participating to any artistic residency is that it’s always

something very connected to life. Basically, you have to live with people that you don’t know,

you have to share time, thoughts, nights, life and work with each other, and you are completely

absorbed, both in the job and in life. This is beautiful and rare but it’s important to stay focused

on your idea, it’s important to be really honest in this, in order to build a group that have faith

in you and vice versa.

RB: The two main difficulties were the shadow of the selection at the end of the week

and the lack of structure in the evening labs. Regarding to the first one, the threat of being out

made us nervous at some point and put the focus out of the authentic research. And the lack of

structure and methodology in order to propose ideas or develope co-creational proposals made


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the labs confusing. In my opinion we would have been more productive if the method and order

had been clarified from the beginning. Co-creation is a very delicate process and all the voices

should have a place to be expressed, otherwise we are losing some essence. These problems

were overcome because of the predisposition of all the artists to hand over and to come into an

agreement in terms of body language, esthetic and roles. Of course Marco played an important

role putting some order and bringing some questions to keep it going.

MP: What surprised you the most about the creative process and its final result?

OF: My work is constantly interested in the presence and quality of the performers on

the stage, and it always surprises me the emotional changes of the dancers when an external

look or audience arrives. The group balance built in one week changed because the emotions

were different and stronger, and the final result showed, in my opinion, how we were able to

readapt in a very instinctive way this change, protecting the work we have made.

RB: It was really surprising the way we understood most of the different proposals, and how

well we fitted in each one, although we barely know the others creative universe. Especially

joyful for me was the improvisation we performed on Saturday morning, after only a week of

sharing tools and meeting each other and without any fixed structure or concrete guide

beyond the common experience of that week. I felt it really connected and complex and

properly developed, I felt it worthy.