Vittoria De Ferrari
Vittoria De Ferrari Sapetto was born in Rio De Janeiro and moved to Brussels in 2002 since then she has been dancing and touring the world for several choreographers such as Jan Fabre, Sidi Larbi Cherkaoui, Damien Jalet, Romeo Castellucci, Akram Khan and Quan Bui Ngnoc (Les Ballets C de la B). Since 2013 she has created several works which have been performed around the world in prestigious dance festivals. She choreographed and danced in the film “Beautiful Things” directed by Giorgio Ferrero. The film was selected for the Biennale cinema of Venice 2017 and won the first place.
She has been teaching classes and workshops with her research ‘Artylogica’ across Europe and abroad. She is a regular teacher at SEAD in Salzburg, Artesis in Antwerp, HJS in Amsterdam, B12 in Berlin, Attakalari in Bangalore and Circuit-Est in Montreal to name a few amongst several dance academies and festivals around the world.
Vittoria’s classes will focus on searching new pathways in order to enrich one’s movement vocabulary. Her movement research is dedicated to using physicality inspired by martial arts, small group and partner work and exploration of logic in the art of dance. The journey that each person will have is related to the place where each of us is at that moment, so we will work on opening the door and “let the things happen” instead of desperately searching for answers. A part of her research is also aimed at exploring theatrical states through guided improvisations and also to acknowledge our habits and or limits and find a way to break them. ‘Artylogica’ is about finding one solution among a million logical solutions available that can function specifically for you.
“Desire aims for satisfaction. If it dominates us and we want more and more, this goal is never reached and instead of finding happiness we find suffering.“ Dalai Lama
I am interested in creating a piece about our modern day society. A reflection on how the use and abuse of social networks have had an effect on humans today. I will use three elements (a coat, wooden sticks and a telephone) to trigger and guide the choreographic aspect of this creative process.
We will question different aspects of the use of cell phones starting from a common image which progressively transforms to a more twisted situation, where we will engage more on a physical and an emotional level.
The domino effect will be the red line that unifies the three elements I will work with.
We will use composition, structured improvisation in small groups and choreographic tasks to create material. This will be a collaborative process between the dancers and myself.
The use of the wooden sticks stem from my research in aikido where this practice originates.