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GIOVANNI INSAUDO
ASSOCIATED ARTIST
Founder of I VESPRI, he is a Sicilian choreographer, dancer and art maker. After studying at the Victor Ullate Dance Academy, he started his career in the Junior company Dantzaz Konpainia. From 2012 to 2017 he was a dancer at the Gaertnerplatz Theater in Munich and from 2017 to 2020 in the Swiss company TLT Tanz Luzerner Theater. He received prizes at the 12th Copenhagen International Choreography Competition and the 18th Certamen Internacional de Choreografia Burgos-New York.
In addition to his many successes with I VESPRI, Giovanni has also created for various international companies, such as Konzert und Theater St.gallen, Fondazione Nazionale della Danza/ ATERBALLETTO, Tanz Labor, Roxy Theater Ulm, Eko dance Project Turin, Contemporary Bachelor ZHDK Zurich, Theater Trier, D.a.f Rome, Balletto di Toscana, Tanz Luzerner Theater, Gärtnerplatz Theater, Balletto dell'Esperia, Dantzaz (formerly Ballet BiarrItz Junior) and Hung Dance Theater
NOSTALGIA
ph Salvatore Lazzaro
Choreography: Giovanni Insaudo
Choreography assistant: Sandra Salietti Aguilera
Dancers: Sandra Salietti Aguilera, Hélias Dorvault
Second cast: Sandra Salietti Aguilera, Thomas Martino
Video: Alfonso Fernández Sánchez
Production: DANCEHAUSpiù
With the support of I VESPRI, TanzLabor ROXY Ulm
With the support of Twain_Direzioni Altre, Palcoscenico Danza
Duration: 50 min
NOSTALGIA is a profound reflection on the longing for the past, the desire, and the need to relive unique and unrepeatable moments. In a world where everything is constantly changing, Insaudo takes us on a journey born from his melancholic yet optimistic nostalgia for the fragments of life experienced on stage. The performance focuses on the time frame between the final moments of a show and the first applause from the audience, challenging the traditional chronology of a performance and
chaotically retracing the dancer’s emotional spectrum. Insaudo questions what would change if we viewed the final bow of a performance as an iconic image, asking whether the artist has ever truly stopped performing or if they remain trapped in a
different dimension.
The work incorporates a narrative device—a documentary-style video—which, much like memories that emerge in a non-linear way, constructs the scene through an unconventional sequence. The performance becomes a perceptual shift for the audience, immersing them in the creative process and the emotions it evokes in the dancers.
DIVA
ph Alice Colombo
A perfromance by Giovanni Insaudo
Choreography assistant Sandra Salietti Aguilera
Performers Sandra Salietti Aguilera e Gianmarco Martini Zani
Production DANCEHAUSpiù 2024
Co-production Festival Danza in Rete Vicenza/Schio
'Diva' is the new performance by Giovanni Insaudo, which explores the timeless figure of the Diva and her idealisation in popular culture. The work is mainly inspired by the diva par excellence, Marylin Monroe, and offers a glimpse into the private and often lonely lives of these icons of fame from the 1950s.
The performance attempts to unveil the introverted reality behind the glamour, media attention and public idealisation by highlighting the contrast between what the public sees and what the divas actually experienced, and by highlighting the often negative influence of male figures in their lives.
In the era of the 1950s, divas were often subject to the control and influence of powerful men who could shape their careers and personal destinies. These men, whether producers, directors, managers or even husbands and lovers, played a significant role in deciding the path of the divas. Many times, the divas were forced to conform to male expectations, limiting their autonomy and stifling their creative potential.
I'VE SEEN THAT FACE BEFORE
DIRECTION, COREOGRAPHY AND COSTUMES | Giovanni Insaudo
DANCERS | Sandra Salietti, Hélias Dorvault
VIDEO | Alfonso Fernández Sánchez
MUSICS | Haussman Bvd, Minus Sixty One / WOODKID
ITALIAN PRODUCTION 2024 | DANCEHAUSpiù
Synopsis:
I’ve Seen That Face Before” describes the thoughts, feelings and sensations that arise for the performer in the moment between the last seconds of the performance and the first bow. The extreme contrast between the physical exertion offered in the show and the humble acceptance of applause and admiration that follows. An attempt to process an entire spectrum of emotion in the blink of an eye. Is there actually space for this, or are the bows a performance in themselves? Does the performer have the opportunity to disconnect from the performance, or is the very act of being observed prolongation of the act?
Concept:
“I Have Seen That Face Before” is my exploration of the inner space of a performer. Of the continuous and elusive tension of an act that is ceasing, or that perhaps within it, contains a new beginning. It is my desire to analyse, deepen and stage, together with the dancers, the sensations that agitate their bodies in those few moments. A whole spectrum of emotions, a moment of pure and maximum sharing as well as of the most extreme intimacy. The contrast between the physical effort offered in the performance and the humble acceptance of the applause and admiration that comes with it. How can it be elaborated? What is triggered in a dancing body? And what repercussions does this have on the spectator?