POSTURE ARCHIVES

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Crediti

concept Paola Bianchi
video editing Paola Bianchi
produzione PinDoc
with the contribution of Mibact and Regione Sicilia

thanks to the participation of Chiara Andreoni, Isadora Angelini, Sara Armentano, Rosa Avella, Francesca Badiali, Roberta Bagni, Viola Bagnolini, Cristiano Bartolini, Filippo Basetti, Gabriella Bellorio, Simonetta Benozzo, Mara Berlingeri, Nicoletta Bernardini, Francesca Bertolini, Antonella Bianchi, Benito Bianchi, Francesca Bianchi, Marta Bichisao, Luana Bigioni, Simona Binci, Danila Blasi, Luana Bucchieri, Valeria Caboi, Silvia Caccavale, Monica Caffarra, Roberta Campi, Carolina Cangini, Andrea Canu, Sara Capanna, Monica Carraresi, Barbara Carulli, Marco Casagrande, Laura Ceron, Silvia Ciancimino, Manuela Cirfera, Francesca Cola, Laura Colini, Petra Comaschi, Lorenzo Conti, Elena Corbo, Elisa De Luca, Chloris Delalande, Laura Delfini, Luca Della Corte, Martina Delprete, Francesca D’este, Chiara Di Fabbio, Francesca Divano, Luca Donatiello, Elisa Drago, Alessandro Fattorini, Sabrina Felli, Giulia Ferrato, Paola Fontana, Roberta Franchi, Bettina Frenzel, Chiara Frigo, David Fuerstenau, Angela Fumarola, Federica Galeazzi, Marzia Ganassali, Ilaria Gandolfi, Laura Gemini, Cristiana Geremia, Sebastiano Geronimo, Stefano Giaccone, Alessandra Giambartolomei, Anais Giannakopoulus, Monica Giannoni, Elia Giari, Margherita Giari, Olivia Giovannini, Silvia Giorgi, Chiara Girolomini, Federica Gulini, Irene Gulminelli, Marcella Isola, Barbara Klein, Silvia La Ferrara, Antonella Lazzaretti, Beatrice Lezzi, Francesca Lodeserto, Giorgia Lolli, Carolina Maldonado Leiva, Eleonora Manicardi, Mila Marchesini, Elisabetta Marconi, Veronica Marsili, Annalisa Martini, Margherita Masè, Eleonora Massa, Daria Menichetti, Roberta Messa, Laura Milani, Fabrizio Modonese Palumbo, Mariella Modonese, Francesco Montanari, Angela Montorfano, Beatrice Montorfano, Elena Morando, Francesco Murgia, Valentina Pagliarani, Milka Panayotova, Michela Paoloni, Silvia Parlagreco, Serena Pedrotti, Francesca Pedullà, Enrico Piergiacomi, Stefano Pierotti, Elisa Pol, Michela Priuli, Jessica Ramon, Giovanna Rinaldi, Paola Riva, Eleonora Rossi, Hilda Salcedo, Maria Cecilia Sampaolo, Dalila Sansone, Andrea Sato Carrillo, Vincenzo Schino, Krista Schweiggl, Sara Simeoni, Francesca Siracusa, Emiliana Sirigu, Camilla Soave, Laura Socci, Anna Solinas, Elisabetta Spadaccini, Elena Tenti, Barbara Toma, Roberta Tricarico, Licia Trolli, Maria Tucci, Arturo Turchetta, Elisa Turco Liveri, Giovanna Velardi, Rosaria Vendittelli, Barbara Venere, Flavia Zaganelli, Franca Zagatti, Maria Paola Zedda, Giovanni Zuffi

 

POSTURES ARCHIVE is part of ELP project (Ethos, Logos, Pathos) winner of the 2019 Choreographic Residences Call of Lavanderia a Vapore, produced by PinDoc in co-production with Teatri di Vetro, Santarcangelo Festival 2020, Armunia / Festival Inequilibrio, Akropolis Theater, supported by Arboreto and ResiDance XL, followed by Roberta Nicolai and Raimondo Guarino as tutors, and by a scientific staff composed by Alessandro Pontremoli (scholar and historian of dance), Annapaola Lovisolo (psychologist), Laura Gemini and Giovanni Boccia Artieri (sociologists of communication). ELP project involves the creation of several devices. So far the following have been created: ENERGHEIA (by Paola Bianchi only), ESTI (performance with blind and visually impaired people), ESTI (performance with adolescents and non-professional adults), EKPHRASIS | first movement (first study of a show with 10 young dancers), The Undanced Dance (first experimentation of audio transmission of a choreography), ARCHIVI DI POSTURE (remote action launched on social networks during the lockdown).

POSTURES ARCHIVE won the 2020 Rete critica 9 ¾ prize.

ELP project

POSTURE ARCHIVES is a digital device born in emergency on March 7, 2020, when the "red zones" were still limited to a few parts of Italy but the theatres and places of culture already closed. That day I launched a public call on social media asking to support my research on the transmission of archives of postures through the descriptive word, a research I have been carrying out for over a year. The support consisted of active participation in the project, and participation was very numerous. In a few days I received more than 150 adhesions from Italy and abroad, from dance professionals and not, aged between 5 and 90 years. I sent 10 audio tracks (1 every 3 days), each of which contains a verbal description of a posture, by email. Those who participated embodied those postures, photographed themselves and sent me the photos by email. Each posture corresponds to the video editing of the photos received.
No matter how precise and meticulous, the verbal description of a posture always generates a personal and singular interpretation of it and it is precisely this personal variation that is interesting to research. At the same time, however, the extreme similarities of the various postures denote an interesting continuity between the transmission of the individual experiences of the bodies at play; a scheme that by removing the "choreographer body" as a template to be replicated paradoxically reinforce its influence and disclose the inherent meaning of the movement.