Shelter 209, the SVT and HaZira present:
24.10 — 1.11
Schedule and registration

The Gathering is proud to host the artist Claudia Castellucci (Italy)

The various parties are not collaborating to relieve a burden of some kind. Quite the opposite: through collaboration, we wish to achieve something we could not have done alone or separately. Through the profound relationship between the School of Visual Theater, Hazira, and Miklat 209, we wish to classify these cultural institutions as vital organs of the artistic body that operates around us: a community of artists, teachers, students, professional staffs, and loyal, deep, and curious audiences. Claudia Castellucci’s Focus is a central example of how collaboration allows us to create a series of ongoing actions that accumulate into a full, rich encounter with Castellucci’s extensive work.

In 1981, Claudia Castellucci established the Socìetas Raffaello Sanzio theater group (named after the Renaissance painter, Raphael, along with her brother, director Romeo Castellucci, Chiara Guidi, and her brother, Paulo Guidi. The group became internationally renowned thanks to Oresteia, a performance that combined the actors’ physical presence and contemporary technology. 

Today, Claudia devotes most of her time to writing and teaching. She establishes various educational experiences, including balancing philosophy and practice or addressing the rhythm of the steady movement. Since 2015, she has been developing the idea of School as an Artistic Creation in Cònia, the school she has founded.

Claudia will facilitate an in-depth workshop for artists and creatives, lead a seminar that will be open to the public, and perform her work.

About the workshop:

Cònia is a school where teaching is connected to the human relations between teachers and students; together they forge a pattern and rhythm of life, working on the formative conditions of time and feeling. This research and the associated practice are particularly suited to the needs of young artists who are seeking to research representation of the world, using various techniques. It is an educational method that emphasizes listening, discussion, and subjectively centred exercises. The research itself touches on the strangeness of human representation, and to this end the school operates on the particular and unique ingredients that shape the grammar of concrete representation: purpose, material, technique, form, surface. The practical exercises, mainly dramatic in nature, promote experience of the quality of time’s duration and the formal frames by which it is organized. The main subjects of study are grammar, the history of figurative art, the making of myth, chronology, the psychology of duration, community, gymnastics, poetry, measured ambulation, theory of representation.

The School Fragment in Jerusalem is constructed according to the Cònia model. The research and the exercises are aimed at experiencing the objective weight of time, and becoming deeply acquainted with spatial perspective, inasmuch as these are part of the vehicle of drama. In the workshop, two guest teachers from the school will work alongside Claudia: Stefano Bertolini, philologist, and Simone Menegoi, contemporary art critic and curator. The School Fragment will be taught in Italian with simultaneous translation into Hebrew.

The School Fragment is aimed at artists and creators; advance registration is required.

For further information and registration

more about Claudia Castellucci

 

About the Seminar:

The objective weight of time in figurative art works Final seminar of a School Fragment of Dramatic Technique proposal to the Visual Theater School of Jerusalem by Claudia Castellucci, founder of the Cònia School of Cesena.The seminar is led by Claudia Castellucci, who, together with Stefano Bartolini and Simone Menegoi, illustrates the main topics of the study and collects any questions from the audience. The expected duration is around three hours, including an interval.

 

about Verso La Specie

The difference between the way of creating within a school and with a company is a question of procedure. A school creates a study rhythm, long before it causes the production of a dance. The dance that arises out of a school represents the conclusion of a knowledge first gathered and then manifested in a theatrical space, not the final goal towards which every day of rehearsal is oriented. A school does not repeat actions with a view to a final result, but practices in the fullness of every day. 

Rhythm, for Claudia Castellucci, has been the cornerstone of every school she has created –whether the long-standing one in her own city, Cesena, or the shorter ones, in other cities– e and has always distinguished her work as an artist who invests rhythmic models that can be referred to both physical movement and theoretical reflection.

T o w a r d s  t h e s p e c i e s  is a dance whose models lie in the metrics of archaic Greek poetry, and, from a figurative point of view, in the rhythm of the movements made by horses. If one thinks about all the intervals that separate one position from the next, by passing through a transition, one comes to understand that the rest is an essential element of the rhythmic structure of movement. One can thus attempt to inhabit this time of passage, between one gesture and the next, to live the duration of movement fully, not with an intermittent presence.

Schedule of Focus Claudia Castellucci

24.10
Thu

Claudia Castellucci / School Fragment

Hansen House
Hansen House

Cònia is a school where teaching is connected to the human relations between teachers and students; together they forge a pattern and rhythm of life, working on the formative conditions of time and feeling. This research and the associated practice are particularly suited to the needs of young artists who are seeking to research representation of the world, using various techniques. It is an educational method that emphasizes listening, discussion, and subjectively centred exercises. The research itself touches on the strangeness of human representation, and to this end the school operates on the particular and unique ingredients that shape the grammar of concrete representation: purpose, material, technique, form, surface. The practical exercises, mainly dramatic in nature, promote experience of the quality of time's duration and the formal frames by which it is organized. The main subjects of study are grammar, the history of figurative art, the making of myth, chronology, the psychology of duration, community, gymnastics, poetry, measured ambulation, theory of representation.

The School Fragment in Jerusalem is constructed according to the Cònia model. The research and the exercises are aimed at experiencing the objective weight of time, and becoming deeply acquainted with spatial perspective, inasmuch as these are part of the vehicle of drama. In the workshop, two guest teachers from the school will work alongside Claudia: Stefano Bertolini, philologist, and Simone Menegoi, contemporary art critic and curator. The School Fragment will be taught in Italian with simultaneous translation into Hebrew.

The School Fragment is aimed at artists and creators; advance registration is required.

For further information: leah@visualtheater.co.il

 

With the support of the ICC – Italian Cultural Institute of Tel Aviv

29.10
Tue
14:30

Claudia Castellucci / Seminar

Hansen House | 14:30
Hansen House

The objective weight of time in figurative art works - Final seminar of a School Fragment of Dramatic Technique by Claudia Castellucci, founder of the Cònia School of Cesena.

The seminar is led by Claudia Castellucci, who, together with Stefano Bartolini and Simone Menegoi, illustrates the main topics of the study and collects any questions from the audience.

1.11
Fri
11:00

VERSO LA SPECIE / Claudia Castellucci

The Moon Woods, Hansen House | 11:00
The Moon Woods, Hansen House

dance

The difference between the way of creating within a school and with a company is a question of procedure. A school creates a study rhythm, long before it causes the production of a dance. The dance that arises out of a school represents the conclusion of a knowledge first gathered and then manifested in a theatrical space, not the final goal towards which every day of rehearsal is oriented. A school does not repeat actions with a view to a final result, but practices in the fullness of every day. 

Rhythm, for Claudia Castellucci, has been the cornerstone of every school she has created –whether the long-standing one in her own city, Cesena, or the shorter ones, in other cities– e and has always distinguished her work as an artist who invests rhythmic models that can be referred to both physical movement and theoretical reflection.

 

T o w a r d s  t h e s p e c i e s  is a dance whose models lie in the metrics of archaic Greek poetry, and, from a figurative point of view, in the rhythm of the movements made by horses. If one thinks about all the intervals that separate one position from the next, by passing through a transition, one comes to understand that the rest is an essential element of the rhythmic structure of movement. One can thus attempt to inhabit this time of passage, between one gesture and the next, to live the duration of movement fully, not with an intermittent presence.

1.11
Fri
13:00

VERSO LA SPECIE / Claudia Castellucci

The Moon Woods, Hansen House | 13:00
The Moon Woods, Hansen House

dance

The difference between the way of creating within a school and with a company is a question of procedure. A school creates a study rhythm, long before it causes the production of a dance. The dance that arises out of a school represents the conclusion of a knowledge first gathered and then manifested in a theatrical space, not the final goal towards which every day of rehearsal is oriented. A school does not repeat actions with a view to a final result, but practices in the fullness of every day. 

Rhythm, for Claudia Castellucci, has been the cornerstone of every school she has created –whether the long-standing one in her own city, Cesena, or the shorter ones, in other cities– e and has always distinguished her work as an artist who invests rhythmic models that can be referred to both physical movement and theoretical reflection.

 

T o w a r d s  t h e s p e c i e s  is a dance whose models lie in the metrics of archaic Greek poetry, and, from a figurative point of view, in the rhythm of the movements made by horses. If one thinks about all the intervals that separate one position from the next, by passing through a transition, one comes to understand that the rest is an essential element of the rhythmic structure of movement. One can thus attempt to inhabit this time of passage, between one gesture and the next, to live the duration of movement fully, not with an intermittent presence.