Tuesday, September 1, 2015

Interview with Francesca Foscarini (IT) by Zita Sándor

“Improvisation is the way to be just what I do” 
interview with Francesca Foscarini (IT) by Zita Sándor

Dancer-choreographer Francesca Foscarini uses improvisation as a starting point of her creation, to connect to the present and to improve her body’s sensibility and awareness of space, time and emotions. On L1danceFest 2015, she will perform her compelling solo – which won the prize for best solo on the 17th MASDANZA International Contemporary Dance Festival – titled Cantando Sulle Ossa on the 17th of September in MU Theater. In this party improvisational piece, she will be exploring the relation with the space inside the body, between the bones and skin, between skin and space; until the bones, clinking like glass, are the only things that remain.


photo: Paolo Porto
 In you biography, you highlight the role of improvisation in your career. Why did it become important to you? Is it important only in your artistic work or also in your life?
For me improvisation is a suspension of identity. The way to be just what I do. The right distance between in and out. A strong connection to the present. A way to feel myself in real time, no past, no future, only present.

You bring to L1danceFest 2015 a dance piece titled Cantando Sulle Ossa. Are there parts based on improvisation in this work?
I use improvisation as a starting point of my creation. It is a practice to improve the sensibility of my body, the body's perceptions, its awareness in space, time and emotions. To go where there is less control of rationality.
In the solo Cantando Sulle Ossa, there are many moments based on improvisation, but with clear intentions and freedom at the same time, to allow myself to find new ways to be in connection to the body and space.

What is the main characteristic of this solo?
It is the relation with the space inside the body, between the bones and skin, between skin and space. How does the body hold the space? How can it be moved by the space? How can I have a control on it and when is it not possible anymore? How can these different relations with the space transform the body and the presence on the stage? These are for me the questions that lead my work.

Have you been to Budapest or in Hungary with your pieces and artistic works earlier?
No, this will be my first time.

In 2013, you made a solo titled Grandmother and in 2014 another one with the title Once Upon a Time, involving sixteen grandmothers of different socio-cultural background. Are you interested in aging?
Not anymore. It was a project that started in 2013, actually the process started even before, when my grandmother died, the creation was connected to this personal moment.

Do you have any idols in theatre/dance life?
I’m very fascinated by Yasmeen Godder (Tel Aviv based Israeli dancer-choreographer) and Romeo Castellucci (Italian theatre director, playwright, artist and designer).

Do you have your artistic statement you could share with us?
It is not a statement, rather a reflection that is still in my mind. Romeo Castellucci said in an interview: “the mind of the audience is the last stage. The goal of the artist is not to work for the audience, the audience is the horizon.”

Do you have any hobbies besides working as a performer and creator?
In my free time what I love to do, after meeting friends, is to reach out to nature. I like to walk or ride a bike in the nature, it really recharges me.

How did your summer time go? Did you get any new inspirations? What kind of projects are you working on now?
I had a residency in Tel Aviv at Yasmeen Godder's studio, working on my new creation Vocazione all'asimmetria with the dancer Andrea Costanzo Martini. It will be a duet.
In this new project I'm researching around new elements, a new way to be on stage, more informal, using voice ad involving the audience as active part of the performance.
I was also involved in Dyptique, a research project made by CSC Casa della Danza Bassano del Grappa (IT) and Circuit Est Montreal (Quebec) with another choreographer and a dramaturge from Montreal. It was very interesting to just have time to research without thinking about creating something, just having time to explore and experiment. And actually I found something very interesting, maybe a seed for a new solo. 

KÖM by L1 Association

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