Silvia Gribaudi

Italy

Portrait of Silvia Gribaudi

Big Pulse Scaling Up Artist

Silvia Gribaudi
ABOUT THE ARTIST

Silvia Gribaudi is an Italian choreographer who also specialises in performing arts in general. Since 2004, she has focused her research on the social impact of bodies, having set at the centre of her choreographic language the comic element and the relationship between audience and performers.


Gribaudi is an award winner of the Premio Giovane Danza D’Autore with her piece A CORPO LIBERO (2009), finalist at the Premio UBU for best dance show and finalist at the Premio Rete Critica award with R.OSA (2017), winner of the Premio CollaborAction#4 2018-2019, finalist at the Premio Rete Critica 2019, and winner of the Premio DANZA&DANZA 2019 for best Italian production with the piece GRACES.


She has taken part in several artistic research projects, including: CHOREOROAM (2011), TRIPTYCH (2013), ACT YOUR AGE (2014) – an EU project about active ageing through the art of dance, which inspired the performance WHAT AGE ARE YOU ACTING?, as well as the community project OVER 60; PERFORMING GENDER (2015); CORPO LINKS CLUSTER (2019/2020), where the connection of dance, the mountains, and the mountain community gave life to the site-specific project TREKKING COREOGRAFICO (choreographic trekking) and to the piece MONJOUR (2021), produced by Torinodanza Festival in collaboration with Teatro Stabile del Veneto and Brussels’s Les Halles de Schaerbeek.


In 2021 she has been a guest choreographer at “Danser Encore, 30 solos pour 30 danseurs”, a project for the Opéra de Lyon.


Her shows have been featured in a number of national and international festivals and are the result of a creative process that focuses on dialogue and on the poetic encounter with other artists, dance companies, and communities.

ABOUT THE PROJECT

Where Does The Ballet End? (Working Title)

 

Scaling Up Co-Production

 

“What does it mean to be at the end of something or in front of a new beginning?”

The Italian choreographer Silvia Gribaudi has focused her research on the social impact of bodies, having set the comic element and the relationship between audience and performers at the centre of her choreographic language.

Where Does The Ballet End? Is her new choreographic project, built on the study of classical ballet endings. The starting point of the project is the desire to work on the classic ballet pieces and their heritage, especially putting the attention on their endings:

“I want to research the final parts of the Ballet operas repertoire, but at the same time wondering about what remains of the ballet? What space does ballet have today? And above all, what potential is contained in revisiting traditions? How can diversity and humour open up glimpses of freedom?”

CO-PRODUCTION & CREDITS

Produced by ZEBRA Cultural Association (Italy)

 

Where Does The Ballet End? (working title) is a Big Pulse Dance Alliance co-production, co-produced by International Dance Festival TANEC PRAHA (The Czech Republic), Torinodanza Festival (Italy), Zodiak – Side Step Festival (Finland) and presented by Dance Umbrella (UK), CODA Oslo International Dance Festival (Norway), Dublin Dance Festival (Ireland), New Baltic Dance (Lithuania), co-funded by the Creative Europe programme of the European Union; co-produce by MM Contemporary Dance Company (Italy); La Biennale de la danse de Lyon (France); Théâtre de la Ville (France)

PRESS

"Silvia is the Italian prophet of free body. Not a tumbling, gymnastic body, which is so connected to strength and muscles, but a truly free body, that has set itself free from the obligations and duties to which so many cultures have forced it. And so, in order to investigate how the idea of something Beautiful, as well as culturally relative, is a vital and healthy principle. Splendour, joy, prosperity radiate from the Three Graces, three cardinal points set by Canova into marble, which Gribaudi manages to set free from time and gender stereotypes, and reveals through the balm of irony.”

– Quantescene! (on GRACES)

 

“A mocking trip to the automatisms o our imagination. […] The choreography appropriates with freedom the most trite female and male stereotypes to debunk them with a queer spirit."

– Stratagemmi (on GRACES)

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