Interview: Matroos Company
Luca Curci talks with Matroos Company during THE BODY LANGUAGE 2020 at Palazzo Ca’ Zanardi.
Matroos is ‘dancetheatre’ Company founded by Lisa Rosamilia in 2005 aiming to explore the possibility of expression deriving from the relationship between choreography, scenography and sound. The studies in the pictorial field combined with those on the role of the body in contemporary dance lead to a work through image, matter and gesture. The body, as primary communication tool, acts on the matter and creates contaminations and attractions. The interaction between the dancers’ body and the scenography originates a unique and continuous synergy of natural and artificial forces. Materials, textiles, stage structures, daily objects, costumes, sculptures become protagonists of the scene and cancel the limits between dance, stage and scenic space. The Company collaborates with musicians and composers who write original experimental music for their shows. LISA ROSAMILIA – Coreographer, performer and dance teacher, scenographer, painter, costumer . She is graduated in Painting at the Accademy of Fine Arts in Rome. She studied classical, modern, contemporary and aerial dance. She attended classes, stages and workshops on the Limon and Modern Dance Graham technique, the Cunningham method, with K.Armah, A.Bonfiglioli, P.Cerroni, F.Ciccalè, A.De Zuanni. The merging of her studies on matter in painting with the ones on body in the contemporary dance, takes to a research work among picture, matter and gesture. In 2005 founds the DanceTheatre Company MATROOS, as choreographer and dancer, aiming for deepen the survey about the relationship between choreographic language, scenographic installation and sound environment. With the performance “Cute (skin)”, in 2019 Matroos Company – promoted by the Italian Culture Institute of Istanbul – was invited to participate to the Istanbul Fringe Festival 2019; in 2018 is invited to participate in the third International Contemporary Dance Festival of Mexico City FIDCDMX 2018; in 2017 at the Coffi Festival Berlin – Interdisciplinary Italian Art, as representative of italian dancetheatre scene; with “Cute (skin)” the Company received the Nomination as Best Director, won the Special Off Prize at Rome Fringe Festival 2015, and it was special guest at the second edition of Doit Festival in Rome. The Company works with musicians and composers of experimental music made for the shows and to date she put on stage more than twenty shows including: “Anamoni” (guest show at Doit Festival, third edition, in Rome); “Chorisia” (Season 2015/16, Theatre Studio Uno in Rome); “Core” (AdArte Calcata Teatro Cine Festival 2015); “Sculture” (European Conference, Fonte Nuova 2009); “Informe” (Attraversamenti Multipli, Rome 2008); “Corpo” (exhibition “Età Nomade” by Giovanna Dalla Chiesa, Ex-Mattatoio Testaccio Rome 2006). In 2016 she founds the Performing and Therapeutic Arts Center ‘Sala14’ of Monterotondo (RM), where she organizes theatrical events, exhibitions, conferences and workshops. In 2017, on the occasion of the Matroos Company’s ten years of activity, she founds the DanceTheatre Festival “Gesti”, winter exposition of contemporary dance and performance. She teaches and directs classes for children and adult of Propedeutic to Dance, Modern-Contemporary, Contemporary Dance, Dance-Theatre and Creative Movement. Since 2007 she directs the Contemporary Dance School of Fonte Nuova Tersicore. She works as director, dancer and choreographer at various shows of different companies, including: “A Tempo di Scimmia” by Dodeskaden Teatro; “Umarła Kasta” by Adriano Marenco, tribute to the author of “Umarła Klasa” Tadeusz Kantor, with a performance inspired to the myth of Penelope. She is costumer of the shows “Bestiario” by Simone Fraschetti and “Il Pasto degli Schiavi” by Patas Arriba Teatro. As painter, in 2004 presents the personal exhibit “Lacerazioni” (library Angelani, Monterotondo); and exhibits on the collective “Età Nomade” staged by Giovanna Dalla Chiesa (Ex-Mattatoio at Testaccio, Rome).
Luca Curci – What’s your background? What is the experience that has influenced your work the most?
Lisa Rosamilia – There was a period in my life in which I was splitted between my studies in painting at the Fine Art Academy of Rome and my works with dance. Due to this ‘bipolar’ training, of course my artistic vision was deeply influenced both by visual art and dancetheatre. I had the inspiration when I discovered the art of Arte Povera, artists as Burri, Kounellis, Fontana, and all the art made with concrete matter, plastic, iron, fabric, wood; I felt their operas truly live and I was inspired to create alive paintings, breathing canvases, reactive sculptures, taking advantage of my dance background and my body awareness.
LC – What are you currently working on?
LR – My next work is about shipwreck (“Shipwreck 3 4 ° 31′ 22.0″ N 1 2 ° 55′ 49.9″ E” is its name) and it talks about our contemporary world, a sinking world, a collective social and political shipwreck of souls and bodies. Recycling eight old french-doors I set them together creating a movable structure able to redraw the space and its own shape, becoming a relict on the sea waves, a cage of breathes, a border zone, a wall, a dock, an open port, a closed port. The door represents a border line, marking, dividing, isolating, cutting the space, but in the same time it defines, preserves, connects two realities, a gap between inside and outside. It is a necessary work I really care about. I’ll be accompanied by some very extraordinary artists, as four marvelous performers and my inseparable assistants, Daniele Casolino, who composed the music and created a videomapping installation, and Marco Bilanzone who wrote the suggestive script of the piece. This is also to say that it will be an absolutely multidisciplinary work where dance, art, visual and drama will melt together to create a performance not easy to label. We will be on stage in Rome from 16th to 19th of April, at Studio Uno Theatre, and then who knows? Venice again? Let’s hope, we are never tired of Venice!
LC – What is the most challenging part about creating your performance?
LR – The space between the creation of the scenographic structure and the moment in which I put the body interacting with it. It is when I pass from a more meditative and introspective research period, to the action time, where everything lives and my vision takes a shape. Recontextualizing the object, creating scenographies as they were extension of my body, establishing a relationship with the materials vitality; it is a dialogue, a communication with the matter, following it and being followed.
LC – Are your performances focused on a specific theme?
LR – All my works talks about an evolution, a metamorphosis, and to do this they inset into a passage moment, a kind of a no-man’s land where it happens a mutation from a condition to a new state, the space of transfiguration between two bodies, a border zone, a real customhouse between two worlds in evolution.
LC – Which is the role the artist plays in the society? And the contemporary art?
LR – The society is lazy and sleepy. It tents to conformation. Artist is the allarm awaking the society and contemporary art should yell its existence, going outside its confort zone, its lounges, and shaking the society. It must continuosly innovate itself, getting off the stage, breaking walls, backdrops, dressing rooms, curtains, audiences, lighting trusses, breaking through ceilings, overturning everything, redesign its own spaces, changing the language, quitting genres and styles, establishing a new relationship with the audience, more confidencial, intimate, empathetic. Contemporary art must show off its live and pulsating nature.
LC – What is the message linked to the artwork you have shown in this exhibition? How is it connected to the theme of the entire festival?
LR – “Cute (skin)” is a live painting, a story of pictures and metaphors connected with the feelings and the experiences of a skin surface, border between the inner world and the outer reality. It tells of the invisible signs left on our skin by encounters, by words or by sensations. The performative action aims to keep the vision of the track upon the skin to resew, evolve and reborn. This is pretty connected with the theme of the festival. “Cute (skin)” gives a voice to the life of a body and its necessary evolution.
LC – What do you think about the concept of this festival? In which way did it inspire you?
LR – All my artworks is an attempt to exalt the role of the body in contemporary art. This meets perfectly the concept of the festival.
LC – Do you think ITSLIQUID GROUP can represent an opportunity for artists?
LR – ITSLIQUID GROUP it’s a big chance for artists because it’s a wide net where there are stimulating connections and exchanges with young and talented artists from all around the world.
LC – What do you think about the organization of our event?
LR – We met marvelous persons during the festival, all young, all brilliant, all willing and helpfull with us with any of our needs.
LC – Would you suggest a collaboration with us? What do you think about our services?
LR – Of course we would! ITSLIQUID GROUP it’s the place of innovation and research for art goers.