tuesday 12 april 10 pm Teatro Duse

Claudia Triozzi (F/I)
Ni vu ni connu

italian première

concept and performer Claudia Triozzi
text/voice Claudia Triozzi
musical creation Claudia Triozzi and Fernando Villanueva
sheet metal vocal instrument, an acoustic sculpture by the Baschet brothers
glass harp Roberto Tiso
organ Ann Dominique Merlet
execution of marionnette Thierry Evrard
costume execution Jutta Klingel
light design Yannick Fouassier
set design Claudia Triozzi
sound Félix Perdreau
stage management Sylvain Labrosse
dialogue on danced movement Rémy Héritier

production Association DAM-CESPI
coproduction Centre Pompidou Paris, Culturgest Lisbon, Le Phénix scène nationale Valenciennes, Kunstenfestivaldesarts Bruxelles, Centre National de Danse Contemporaine d'Angers, Objectif danse Marseille
thanks to Centre Chorégraphique National de Franche Comté Belfort, Théâtre de la Cité Internationale Paris
with the support of DRAC Ile de France, ARCADI, Conseil Général de Seine Saint Denis


“I am a Harlequin and a Don Quixote, I like to hear what isn’t there and play with my own impotence.”

With the new caleidoscopic project, Ni vu ni connu, Claudia Triozzi continues her research on the voice, that she considers in its physical and choreographic dimension. In this solo she's never alone on stage, as well in her internal world. An acoustic sculpture by the Baschet brothers conceived in the 60’s, a glass harp, an organ, a computer give the music a performative a vision. Instruments which she feels are somehow deprived of power and knowledge, but conceived nonetheless to allow freedom of expression to subjectivity.The voice declines in a succession of unwise monologues, of incomprehensible psalmodies, pretext for a labial choreography. The face as a continuously changing mask and a crude bodily logorrhea constitute this unclassifiable spectacle. Ni vu ni connu is "an homage to desire which plays tricks and invites us into living. The final rhythm of my mental worries."

Claudia Triozzi dancer choreographer, performer, visual artist. After pursuing her dance studies in Italy, she moved to Paris in 1985. In addition to her work as a performer with Odile Duboc, Georges Appaix, François Verret, Alain Buffard, Xavier Leroy and Xavier Boussiron, she creates iconoclastic pieces from which dance never comes out unscathed. Claudia Triozzi always sets herself the task of putting preconceived ideas one might have regarding choreographic pieces into question. From piece to piece, from exhibition space to theatre stage, she pushes back the limits of the body and the spaces of visibility reserved for the dancer. Since 2002 she has been exploring voice work by passing through experiences of writing texts and songs. She develops sound qualities consisting of a vocabulary of noises albeit lyrical, in which the voice draws inspiration from the cinema, the theatre and radio. Her work has been developing on stage, on video or through installations, exhibited in museums or in galleries: Museum Kunst Palast Düsseldorf, Biennale d’art Contemporain de Lyon, Studio National des arts contemporains Le Fresnoy, Galerie Maisonneuve Paris, Le Printemps de Toulouse, Biennale d’art Contemporain de Rennes. She presents her pieces on stages in Europe, United States and Japan where she benefited from an AFAA, Villa Kujoyama, hors les murs grant. She participated in the project Night Shade, a command by Victoria, composed La baronne et son tourments for Gabin Nuissier (a hip hop dancer) as part of Le Vif du Sujet-Montpellier Danse 06. Her works: Ni vu ni connu (2010), La Prime (2008), Up to date (2007), Fais une halte chez Antonella (2006), Strip-tease (2006), La baronne et son tourment (2006), Opera’s Shadows (2005), Stand (2004), The Family Tree (2002), Dolled Up (2000), Bal Tango (1999), Park (1998), Gallina Dark (1996), Les Citrons (1992), La Vague (1991). She also develops a pedagogy related to her own work and teaches in different art schools.

http://francois.baschet.free.fr