Mazzilli Dance Theatre observes human interactions and relationships with a view to expressing them through dance and theatre. Aims are: to develop awareness and challenge audiences’ perceptions of society and of contemporary dance, with work which references reality in both its themes and movement vocabulary. The work regularly explores ideas relating to cultural and personal identity, social integration and the challenges that people face within their own but also new cultures. It also finds inspiration from visual art. This is closely related to Annarita's own experience as the daughter of a sculptor and having studied art back home in Italy (To see Annarita's art work CLICK HERE).
Human interrelations, a sense of community and social issues are all important themes in Mazzilli Dance Theatre.
Costumes and objects are often used to create a connection between the ordinary, everyday world and the more abstract world of dance. In 'Casa' it was with thick, winter coats, in 'I Thought I Loved You but it was Just How You Looked in the Light', a man’s shirt represents the breakdown of a relationship and in 'For How Much?', coins symbolise greed.
The choreographic Process:
Human interrelations, a sense of community and social issues are all important themes in Mazzilli Dance Theatre.
Costumes and objects are often used to create a connection between the ordinary, everyday world and the more abstract world of dance. In 'Casa' it was with thick, winter coats, in 'I Thought I Loved You but it was Just How You Looked in the Light', a man’s shirt represents the breakdown of a relationship and in 'For How Much?', coins symbolise greed.
The choreographic Process:
I like to start with an image, a story a fact. The work uses structured improvisation not only in the making process but also on stage, which enhances the collaboration between me and the performers. I like the idea that a piece of dance is organic and can adopt many personas, depending on the venue, the interpretation of the performers, the audience's reaction and so on. I therefore particularly enjoy creating site-specific work to exploit this ever-changing relationship between the venue, the dancer and the choreography. A. Mazzilli
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