conversations in ten questions 39: Mauro Astolfi (Spellbound Contemporary Ballet)

As part of the 2021-22 Season Dance Program of Cemal Reşit Rey Concert Hall, the Spellbound Contemporary Ballet was on the stage with their piece called "Vivaldiana" on the evening of 18th April. "Vivaldiana" was also a part of the International Baroque Music Festival organized by the CRRCH.

After an extensive career in America, Mauro Astolfi returned to his home city of Rome and founded Spellbound Contemporary Ballet with Valentina Marini in 1994. In addition to a prolific choreographic career, he also plays an intense educator role. In addition to the works of Astolfi, the Spellbound Contemporary Ballet performs works created specifically for this ensemble by choreographers who have become famous on the world stage in recent years, such as Marco Goecke and Marcos Morau, and also organizes workshops and events in collaboration with many international institutions. 

We interviewed the choreographer Mauro Astolfi.

© Marco Bravi

What is the spirit of performance in your opinion? How do you define contemporary performance? 

The spirit is to try to find a powerful affinity with the musical path and the energetic impact of Vivaldi's music ... Is like Vivaldi imagining that his drive, his willingness to compose music I can find an harmonic meaning that can combine these worlds together. For me, contemporary performance is a real expedient to restore dignity and truth to the human being.

Do you believe in the transformative power of art? How?

I am convinced that artistic expression acts and touches points in man that few other things can do, and few other experiences can evoke. The power of latent transformation in each man, an artistic manifestation can certainly help to awaken the awareness of being and being able to do other than everyday life.   

Are there any artist whom you can describe as "my master", or any person whom you think influenced your art most? And if there is such an artist or person, who? 

Many artists have influenced me, many continue to do so... There are some who made me understand that I had to start, others who made me understand that I had to change, others who helped me find the courage to be myself in what I did not to try to look like anyone else… So many artists have been influential.   

When you are working on a piece, what sources inspire you? Do dreams play a role in your works?Dreams helped me a lot, in dreams I saw the drawing, the perception I wanted to achieve, the atmosphere I wanted to evoke... For the rest, every aspect of life can resonate with me and stimulate a creative process.

When do you decide to give a title to a work you are working on if it already does not have one? 

Titles of my works has a relative importance for me, especially in the phase of realization, of conception, when the work is complete, mature that would be the best time for me to give a title. The title for me is something that it can change, that it can add something or subtract some other meanings ... I have a very problematic relationship with titles, I find that in most cases, they are only an aesthetic requirement.     

When you consider the current state of the world in every sense, what is the most important and urgent issue for you as an artist?

Helping people to no longer be afraid of entering into a relationship with themselves, of digging deeply, of not covering up with ideologies, "culture" and many beautiful speeches the inability, the impossibility of establishing a relationship with one's own center.    

How do you think that this pandemic which humanity is facing at a global scale today will transform performing arts in the future? 

Art has always been a reaction to the times, or at least an attempt to interpret times... The pandemic has certainly changed things, but it is very difficult for me to imagine how this can have a concrete repercussion in the will and freedom to be able to express oneself through art… The history of humanity is pervaded by tragedies, traumas, dramas. Art can go in all directions, the future is often a re-presentation of the past disguised as a "new era" but this is often not the case.  

How is the performing arts scene in your country handling/dealing with the challenging conditions posed by the pandemic?

At the moment the most evident aspect is the further depression that the artistic system has suffered ... But we are certainly not the only ones, for the rest I honestly do not see, I do not perceive substantial differences at the moment... Everyone shouts from their window, that the world has changed for ever, that nothing will ever be the same again, and that therefore we need to imagine, think and conceive a new way of making art... Perhaps the way to enjoy the artistic performance will change, from a technical point of view... But I absolutely do not believe that the pandemic, whether it is an enhancement for the awakening of the consciences of humanity... Art will continue its path, regardless 

Vivaldi's compositions are frequently used in modern dance and neoclassical ballet performances. However, we think what you did in "Vivaldiana" is more than simply using Vivaldi's music. Can you tell us a little about your approach to Vivaldi in this work?

Vivaldi uses musical composition in a way that activates something in me in my desire to create choreography... Not all musicians, not all composers stimulate this drive in me... When a composer creates a vibration within me, I allow this vibration to expand, and this is what Vivaldi's music has provoked in me.

Is there anything particular you would like to tell the Istanbul audience before they experience your piece “Vivaldiana”?

Do not look for a meaning by looking at our work, at least not just one, look for many...

[The Turkish version of this interview was published in unlimited]