ꜱᴀƦᴀꜱɢᴜᴏᴛᴛꞮ

𝖉𝖆𝖓𝖈𝖊𝖗.𝖈𝖍𝖔𝖗𝖊𝖔𝖌𝖗𝖆𝖕𝖍𝖊𝖗.𝖕𝖊𝖗𝖋𝖔𝖗𝖒𝖊𝖗

Sono Sara Sguotti.
Sono un’artista italiana nata a Padova nel 1990.

Sono interessata al corpo singolo e collettivo e mi attraggono le forme di coreografia che articolano, sfociano o considerano le dinamiche sociali, gerarchiche e interspaziali come parte di esse. Il mio percorso come coreografa è iniziato in parallelo all’attività di danzatrice e collaboratrice in altri progetti.

La mescolanza è sempre stata e rimane un valore primario nelle mie interazioni.
Creo i miei lavori dialogando con Giovanni Sabelli Fioretti e Giuseppe Esposito, Perypezye Urbane. Sono sempre in dialogo artistico con Elena Giannotti, Spartaco Cortesi, Mattia Bagnoli e collaboro con diversi artisti tra cui Arianna Ulian, Manuel Cascone, Julie Bergez, Jari Boldrini.

Ho lavorato come danzatrice e collaboratrice per Compagnia Virgilio Sieni, Compagnia Anton Lachky, Damien Jalet, Roberto Magro, Simona Bertozzi, Cristina Kristal Rizzo, Nicola Simone Cisternino, Tommaso Serratore, Company Blu, Attivisti della danza, Jacopo Jenna, Atelier delle Arti; e come attrice nel film SUSPIRIA diretto da Luca Guadagnino.

La mia ricerca personale inizia con S.solo (vincitore di DNAppunti coreografici 2017 e selezionato per la Vetrina Anticorpi 2017). Altri miei lavori sono S.rituale, Tuttuno, Space Oddity, Dedica Lontana. Dal 2020 collaboro con il gruppo Dance Well di Bassano del Grappa e nel 2021 ho creato per loro HOP, un’opera per la comunità. Nel 2021 ho curato la produzione per la giovane compagnia OpusBallet, VENTIVENTI con la collaborazione del POLIMODA di Firenze. Nel 2022 dopo essere stata selezionata alla N.I.D. Platform 2021 nella sezione Open Studios, ho debuttato al Brighton Fringe Festival con S.O.P. Nel 2021 ho vinto il premio R.A.T. per la creazione It’sHardToBeHuman con la quale sono stata in residenza al K3_Kampnaghel in collaborazione con IIC di Amburgo. Insieme alla scrittrice performer Arianna Ulian abbiamo creato CrePa, che è stata in residenza alla Tanzhaus di Zurigo in collaborazione con IIC di Zurigo e che è stata selezionata per la sezione Open Studios della N.I.D. Platform 2023 in collaborazione e coproduzione con Nexus e Perypezye Urbane.

I’m Sara Sguotti.
I am an Italian artist born in Padua in 1990.

I am interested in the single and collective body and I am attracted to the forms of choreography that articulate, result in or could involve the social, hierarchical and interspatial dynamics as part of them.

My journey as a choreographer began in parallel with my activity as a dancer and collaborator in other projects. Mixture has always been and remains a primary value in my interactions. I create my works in dialogue with Giovanni Sabelli Fioretti and Giuseppe Esposito, Perypezye Urbane. I am always in artistic dialogue with Elena Giannotti, Spartaco Cortesi, Mattia Bagnoli and collaborate with various artists including Arianna Ulian, Manuel Cascone, Julie Bergez, Jari Boldrini. I worked as a dancer and collaborator for Virgilio Sieni Company, Anton Lachky Company, Damien Jalet, Roberto Magro, Simona Bertozzi, Cristina Kristal Rizzo, Nicola Simone Cisternino, Tommaso Serratore, Company Blu, Attivisti della Danza, Jacopo Jenna, Atelier delle Arti; and as an actress in the film SUSPIRIA directed by Luca Guadagnino.

My personal research begins with S.solo (winner of DNAppunti coreografici 2017 and selected for the Antibody Showcase 2017). My other works are S.rituale, Tuttuno, Space Oddity, Dedica Lontana. Since 2020 he has been collaborating with the Dance Well group of Bassano del Grappa and in 2021 I created HOP for them, a work for the community. In 2021 I curated the production for the young OpusBallet company, VENTIVENTI with the collaboration of the POLIMODA of Florence. In 2022, after being selected at the N.I.D. Platform 2021 in the Open Studios section, I debuted at the Brighton Fringe Festival with S.O.P. In 2021 I won the R.A.T. for the creation It’sHardToBeHuman with which I was in residence at K3_Kampnaghel in collaboration with IIC of Hamburg. Together with the writer-performer Arianna Ulian we created CrePa, which was in residence at the Tanzhaus in Zurich in collaboration with the IIC in Zurich and which was selected for the Open Studios section.

It'sHardToBeHuman

PROJECT
It’sHardToBeHuman is the new choreographic project by Sara Sguotti which will take a complete shape in the three-year period 2021- 23. The piece will be developed in its complete form through a careful and expanded research process that will take different shapes over time, from the solitary research, to the dialogical way up to the final form that will involve 5 interpreters / performers, including two musicians and 3 dancers, a light designer, one external artistic and choreographic support and a costume designer.
The work examines the state in transition of the human being and is based on the concept of transformation, metamorphosis and instability that the contemporary bodies go through in the succession of the biological seasons of their life, together with the unfolding of circumstances and historical facts, with references both to the natural world and to the evolutionary dimension (such as the course of life, birth or the passage from human being / beast to contemporary man) and to the future world of the plural and hybrid body.

The main concepts that have guided the research are instability, body modification, preparation of rituals, camp /fictional, community\family, aging and illness, adaptability, non adaptability, human condition, human behaviors in the collectivity, post-human ( not related to the body enhancement but as a pretext to reflect about the new concept of tribe not as a result of the individual but as a result of the community), diversity of languages, spectacularity, monstrosity, alienation, appearance, disappearance, rite of abandon, transitionally, density, skin, wearing skins, mutation, transparency, audience as voyeur, shaping a non shape, “living needs duration”.

Visual references which inspired the work are Patricia Piccinini, Gucci, Leonora Carrington, Nika Sandler, Hans Bellmer, Ernst Max as well as references to the symbolist movement and slab lettering of some texts by Donna Haraway, Byung-Chul Han “The disappearance of rituals”, ARCA , Susan Sontang” Notes on Camp”, “Il corpo lesbico” Wittig Monique. The construction takes place through the creation of animated tableaus with different characters and stories where human, non-human alternate in a continuous movement of preparation. In “The Disappearance of the rituals” they state “Rituals are a process of the incarnation, body preparations”.

The choreographic practices that I consider in the research are linked to the act of preparation and not to the act of action.
Preparation is a beautiful and unexpected temporality between cause and effect, between the beginning and the end, between the intention and the action, it resides in a temporality that doesn’t want to be forced, un-linear, it’s one-dimensional but still contains many possibilities. To give the possibility of the dilation of time. Time that will be scanned by a collective music creation and by a dense ambience, apparently disorderly.
In this unclear timing the performers use familiar and alien gestures in a ritualistic choreographic score.

I’m trying to imagine It’sHardToBeHuman as a concert in a room that changes shape, where different ambiences are included and where you can find yourself in a circus, in a suspended environment or outside a wolf's nest.
Diverse bodies are shown, put on display, become product, monsters (from Italian “mostrarsi, mettersi in mostra”), they expose themselves.
The research underlines the necessity to create an intimate space where the spectacularity is a secret, where the disappearing and appearing are necessary, where the space is circular and the audience can have access only as a voyeur in an intimate and secret family dialogue.
The themes are real, urgent in the contemporary world and transposed onto the scene through a work of the body that uses elements taken from diverse disciplines ranging from circus, dance, performance art and spoken word, in order to broaden up the physical spectrum of these possibilities. It’sHardToBeHuman stages a meeting of different souls/spirits, family portraits, a skin to wear, a ritual of abandonment and we can observe the colors, the organization, the incommunicability, the adaptation, the camouflage, the affections, the succession of events.
The aesthetic research is also part of the choreographic score, as a collective skin that adorn all the performers.
The theme of fiction or as S. Sontang describes it “... camp is esoteric - something of a private code, a badge of identity even, among small urban cliques” as well as the “natural” and “synthetic” are present in the aesthetic I am researching. In this sense the concept of post-human is far from the idea of a cyborg and technological body but linked to the return of a community conception, a tribe which restores, even if in an urban or fictional way, the rituals of birth, resonance, dissociation, abandonment and death.

The questions that are guiding the process are linked to the presence of the human being in a world of solitude and of community. It is about the necessity to declare something that is hidden, about the necessity of creating, accepting and recognizing the new values of our personal reality, about the the body in all its’ shapes creating a cohabitation and collaboration of new forms and environments.
We would like to bring the scenography in order to experiment all the possibilities that light research brings to the ambience and landscape, to disappearance and appearance.
The sound and the music are made live on stage and are part of the choreographic design. The voice, the music, the presence, the setting, the movements, the fabrics, the scenography, the props and the symbols have the same value in the choreographic writing.
It is the first time I collaborate in such a hybrid piece, where I consider the research as a mutant space where the process brings everything together in a magma, shaping things through the necessities of the research and of the humans that take part in it. This subject is very important to me and is often put aside. The necessity of being in a continuous horizontal dialogue and mediation with a clear direction but always with respect for diverse opinion.

𝗖𝗿𝗲𝗣𝗮

di e con concept and performance Sara Sguotti e Arianna Ulian
testi text Arianna Ulian
ambiente sonoro sound environment Spartaco Cortesi
accompagnamento drammaturgico dramaturgical support Giovanni Sabelli Fioretti
PR e media relations Giuseppe Esposito
coproduzione coproduction Perypezye Urbane and Nexus
in collaborazione con with the support of CSC centro per la scena contemporanea di Bassano del Grappa
con il supporto residences and support IIC Zurigo, Tanzhaus Zurich, Boarding Pass Plus Dance, Passages Transfestival, IIC Strasburgo, Santarcangelo Festival

Un montaggio di parole, suoni e gesti attorno all’immagine di una crepa: smottamento ma anche apertura, ferita eppure feritoia per corpi che si accostano, diversi ma appartenenti allo stesso lembo: scivolano, glissano, attraversano un tempo di conservazione tra ciò che è definito vivo e ciò che è definito morto: lo mutano, lo invertono.
La crepa si apre con il suono: schiocco, bruito o schianto. É un evento irreversibile, divide lo spazio e segna il tempo. Bisogna progettare movimenti e trovare parole per comprendere la sua ambivalenza: la crepa apre la possibilità che filtri la luce, che l’acqua fluisca, che i lembi si assestino in una nuova configurazione.
Il lavoro di Sara Sguotti e Arianna Ulian celebra e allo stesso tempo maledice il mutamento dei corpi, segnati da crepe dentro e fuori, disassati, soggetti a degenerazione, orientati a crepare; ma in questa celebrazione/ maledizione isola un ritmo pulsante, tenace e consapevole che testimonia l’irriducibile meraviglia dell’essere corpi.
Ideato in relazione costante con gli spazi che lo ospiteranno, Crepa allude alla condizione effimera di ogni vivente.
La ricerca ha varie forme dal duetto alla durational. In ogni sua forma viene considerato il tema del “crepare” come oggetto principale.
L’opera nasce da una commissione del Festival OperaEstate in occasione dell’ottocentenario di UniPd, inda- gando in quella particolare circostanza il ruolo e la responsabilità dell’uomo nella progettazione dei giardini e degli orti botanici. Prende anche la forma di istallazione negli spazi di PIA-Palazzina Arte Indiano come durational performance accompagnata da un’opera video.

匚ㄖ几ㄒ卂匚ㄒ

sara_nsss@yahoo.it