Urban Choreography

"Gesto, tatto, azione. Da Merce Cunningham a Virgilio Sieni"
di Monica Bucci - Postmedia Books 2025 - 170 pp. 7 ill. bn
isbn 9788874904273
...
Partendo dal connubio tra Merce Cunningham, John Cage e Robert Rauschenberg, ponendo attenzione non solo sulla commistione tra le arti (in questo caso, danza, musica e arte visiva), ma anche sul carattere effimero delle stesse in quanto performance-happening incentrate sul concetto dell'hic et nunc, si ripercorrono alcune delle tappe fondamentali della danza contemporanea in quanto Arte performativa e totalizzante. Significativi, sono stati gli "appuntamenti" che hanno inteso la danza come accadimento, disposta come un insieme di azioni di tutti e per tutti: l'Event portato da Cunningham in Piazza San Marzo a Venezia (Biennale del 1972), il lavoro della post modern dance di Steve Paxton consolidatosi nella Contact Improvisation, il notevole sviluppo della Performing art... ...

During its historical development, the Western dance tradition has transformed its traditional aesthetic models of reference, reconfiguring, particularly during the 20th century, its relationship with the world and other arts' poetics through experimental models and continuous hybridizations� This contribution analyses the phenomenal relation between the dance in contemporary authorial creations-with reference to Alessandro Sciarroni's poetics-and images, references, traditions that are part of the spectator's cultural heritage: a memorial practice that projects itself towards the future, through archetypes and recurring schemes� The path travels from the production of an artist fully included in the 'third landscape' (Pontremoli, 2018) of the dance to the analysis of a choreic practice, accomplished through recurrent images� The concept of schêmata is the foundation of artistic perception in Western culture: we thus aim to analyze the power of images as a powerful engine of movement between the recovery of collective memories and the re-evaluation of the participatory role of the spectator�

Il presente lavoro ripercorre le tappe del coreografo fiorentino Virgilio Sieni come direttore artistico del settore danza per la Biennale di Venezia dal 2013 al 2016. I suoi concetti di trasmissione e frammentazione del gesto e di una danza fatta di persone e del loro vissuto hanno rifondato la laguna secondo una nuova geografia, creando una polis abitata da pratiche coreografiche nella percezione di una nuova, democratica, prospettiva della citta, spazio performativo per eccellenza.

During restorations held in Nicaea/İznik and Prusa ad Olympum/Bursa four new churches were discovered. Since restoration work did not aim at excavating the accidentally discovered churches this article intends to shed light by making use of the material available. Three of the churches were from Nicaea, two of which by the main gates of the city walls and the third one in the area next to the museum building of İznik. The church discovered in Bursa is located next to the city walls. Despite its unfinished excavation it has revealed immense material including the ambo with an inscription. The aim of this article is to contribute to the database of Byzantine monuments.

In the fragmented panorama of contemporary performing arts, the work of the dancer and choreographer Simona Bertozzi is characterized by the rigorous and visionary interweaving of theoretical intention and scenic praxis. The present conversation aims to highlight acts of thought and operating procedures, in a gesture of extroversion that - without pretending in any way to exhaust its complexity - intends to provide some precise access keys to an untamed and scientific creative universe. Bertozzi analyzes in detail principles and methods of creation put into action in the different training and creative contexts in which she operates, explaining the basic elements of a practice that is constituted by "rigor, amazement, resonance, wonder".

Bizans mimarisi, yapi, ikon ve mozaik sanatlari acisindan cok zengindir. Bizans mimarisi basta Avrupa ve Amerika olmak uzere bircok yapiya esin kaynagi olmustur. Bu yuzden uzerinde daha fazla arastirma yapilmasi gerekmektedir. Bizans mimarisi ve sanati yeni bir akim olan Neo-Bizans akimini ortaya cikarmistir. Bizans mimarisi 15. Ve 19. Yuzyilda Avrupa mimarisini derinden etkilemistir. Bizans mimarisinin Dogu ve Bati kulturlerinin gelismesi ve ilerlemesi uzerinde buyuk katkisi olmustur. Bu calismada gecmis ve bugunun Dogu-Bati mimari etkilesimleri karsilikli olarak irdelenmistir.

How many a city We have destroyed in its evildoing, and now it is fallen down upon its turrets! How many a ruined well, a tall palace! Qur'an 22.45 It is not quite known: Is it the work of humans for jinn to live in or the work of jinn for humans? al-Buḥturī, Īwān Kisrā Ruins that don't take you back to the past, but coexist on the same plane as buildings still living. Nikos Gabriel Pentzikis, 'Thessaloniki and life' Time is made to curl up end to end, so that distance draws near and the past becomes present; depth disappears in a flattening effect that brings up to the surface what once lay buried. Marina Warner, 'Freud's couch: A case history'

Series preface viii eries pre ace and Umayyad Spain (Sam Ottewill-Soulsby), an Arabist and historian of the medieval Middle East (Edward Zychowicz-Coghill), an archaeologist working on late antique and early Islamic Jordan and Egypt (Louise Blanke), an architectural historian exploring the transition from Byzantine to Ottoman (Suna a aptay), a late antique historian who has turned her attention to Ottoman Greece (Elizabeth Key Fowden), a PhD student with a background in Classics studying urban planning in nineteenth-and early twentieth-century Italy (Sofia Greaves) and a principal investigator specializing in Roman social history and urban archaeology in Italy (Andrew Wallace-Hadrill). Other Cambridge colleagues joined our discussions on a regular basis, notably Tom Langley, writing a PhD on ideas of the city in Greek Patristic writers, Professor Amira Bennison, a historian of the medieval Maghrib, especially its cities, Professor Rosamond McKitterick, a leading figure in the study of Carolingian France and papal Rome, and Professor Martin Millett, a Roman archaeologist with a longstanding interest in urbanism. We benefited from the support and advice of the members of our Advisory Committee, both in Cambridge (in addition to the above named, Cyprian Broodbank, Robin Cormack, Garth Fowden, Alessandro Launaro, Robin Osborne and John Patterson) and beyond-Luuk de Ligt (Leiden), i dem Kafescio lu (Istanbul), Ray Laurence (Sydney), Keith Lilley (Belfast) and from Oxford, Josephine Quinn, Bryan Ward-Perkins and Chris Wickham. We also enjoyed the invaluable support of two administrators, Nigel Thompson of the Classics Faculty and Beth Clark, whose calm efficiency facilitated conferences and seminars, enabled foreign travel and smoothed contact with the bureaucracies at both ends. We invited many scholars, from Cambridge or further afield, to share their knowledge with us at our weekly seminars. We also organised one-day workshops, including one on the Roman and Islamic city in North Africa and one on Cities and Citizenship after antiquity (that led to an l as special issue) 1 , as well a panel for the 2018 Leeds International Medieval congress on 'Memory' and two three-day conferences, one in Istanbul and one in Rome. The last three underlie the three volumes in the present series. In each of those conferences, the members of our group contributed, but we knew that to cover the ground we needed to bring in international colleagues. The three volumes that constitute the present series are far from exhausting the output of the project, and each of us has papers and monographs in the pipeline or already out. Each of the three volumes has its own set of questions, but together they build up an overriding collective agenda of exploring how the cities of the Greek and Roman past, and such ideas of the city that were articulated around them, have impacted on the city and the idea of the city in later periods.

Bizans mimarisi, yapi, ikon ve mozaik sanatlari acisindan cok zengindir. Bizans mimarisi basta Avrupa ve Amerika olmak uzere bircok yapiya esin kaynagi olmustur. Bu yuzden uzerinde daha fazla arastirma yapilmasi gerekmektedir. Bizans mimarisi ve sanati yeni bir akim olan Neo-Bizans akimini ortaya cikarmistir. Bizans mimarisi 15. Ve 19. Yuzyilda Avrupa mimarisini derinden etkilemistir. Bizans mimarisinin Dogu ve Bati kulturlerinin gelismesi ve ilerlemesi uzerinde buyuk katkisi olmustur. Bu calismada gecmis ve bugunun Dogu-Bati mimari etkilesimleri karsilikli olarak irdelenmistir.

Although nothing from the Byzantine church of St. Spyridon is preserved in situ today, the primary sources and surviving photographs of the structure indicate that it was built in the simple domed octagon design. In this article, some new architectural fragments which possibly belonged to the church are presented and evaluated, and new interpretations of the earlier restitution hypotheses are suggested. The presence of a domed octagon in Selymbria provides indirect evidence for the existence of the plan scheme in Constantinople in the Middle Byzantine period and implies a reciprocal relationship between regional and Constantinopolitan architectural styles.

The paper intends to give back a photograph in motion of the relationship between city and pandemic. The reflection is divided into two sections. The first, snapshots, offers brief reflections implemented through the use of some significant images like frames, which summarize some of the most relevant aspects that the pandemic has presented with its dramatic impact. The second section consists of in-depth reflections investigating the potential of empty space, starting from two different conditions, one pre-pandemic and the other infra-pandemic. In front of the dominant portrait of a segregated city, which shuns a new ecological pact with the ecosystem to fall back on protocols of prophylaxis, hygiene and biometric systems, is highlighted the active role of the “augmented” space. This space is understood as an “augmented” and dynamic substance, shaped and fed by a computer system accompanying the transformation of spaces, services, behaviors and languages.

L'elaborato si pone l'obiettivo di analizzare l'attività del coreografo toscano Virgilio Sieni, andando a ragionare principalmente sulla ricerca dello stesso intorno alla danza comunitaria. In secondo luogo, essa raffronta tale ricerca con l'evento "Thauma, atlante del gesto" svoltosi presso Matera nel 2019.

Il live shooting è una pratica recente ma non nuovissima nella performance: Jacopo Benassi i cui scatti accompagnano il libro di Paolo Sorrentino Gli aspetti irrilevanti, lo rigenera personalizzandolo con il suo particolare stile, in No title yet ideato e realizzato insieme con Kinkaleri, una delle principali compagnie di teatro-danza italiane nata a Firenze nel 1995. L'ultimo numero della rivista Alphabeta dedica allo spettacolo un dossier fotografico proprio a 16 anni di distanza dallo storico spettacolo del 2002 di KINKALERI OTTO che li ha fatti conoscere internazionalmente e con il quale vincono il premio UBU per la ricerca teatrale.

foto di Thomas Schermer Fondazione I Teatri di Reggio Emilia, 2019 Area comunicazione L'editore si dichiara pienamente disponibile a regolare le eventuali spettanze relative a diritti di riproduzione per le immagini e i testi di cui non sia stato possibile reperire la fonte.

It is a commonplace today to speak of cities with long histories as palimpsests. But the multiple texts of a palimpsest rarely relate to each other in any way, besides having been written on the same material. How can the same be said of the urban layers of a city? The image of the palimpsest is attractive because it evokes the invisible city, its concealed layers, its absent presences. This conference will investigate examples of Greco-Roman cities across the Eastern Mediterranean from the late antique to the contemporary period that will test whether the image of the palimpsest can be made useful to the archaeologist and historian of the city.
In addition to the problem of how historical layers are related, or disconnected, the image of the palimpsest raises another difficulty that this conference aims to tackle, namely the privileging of the ‘original’. In the case of the textual palimpsest, what is found underneath the visible layer is, in most cases, what most excites scholars. The parallel problem with cities is obvious since the pursuit of the ‘original’ underneath medieval, early modern and contemporary cities has long been the focus of antiquarian, archaeological and historical interest. This fixation on the original and the classical is inseparably fused with European conceptions of antiquity in which the subsequent periods are characterized by decline and ignorance.
In contrast to this tendency, our Impact of the Ancient City Project three-day conference considers the evolutions of both the material and the conceptual city. To facilitate discussion across diverse city case studies, we ask participants to keep in mind fundamental questions of urban development that have been more frequently discussed, such as: Do the central open spaces remain the same after the Greco-Roman period? How are they transformed? How does the relationship between public and private space develop? Do the areas of commercial interaction remain the same? How are neighbourhoods organized, and how do they articulate links between individual households and the broader city fabric? What happens to major public buildings such as gymnasia, theatres or baths? How do processional ways reflect changing social and political needs? How are the old centres of cult transformed by religious conflict and change while remaining in the same locations?
We ask participants also to consider: How was the ancient city imagined at different times and how were the physical remains of the past re-formulated to fit this image? Do we, in fact, find examples when the urban past has been scraped away and forgotten in order to start afresh, as in the case of the textual palimpsest? How best to interpret the frequent phenomenon of adjacent developments, especially in the case of the Arabic Islamic city? Is it more useful to think in terms of turning one’s back on the past than transforming it? What features were cultivated in the Ottoman city that linked the pre-Ottoman past with the present, or could best be understood as a conscious un-linking?
The tangible traces of the Greco-Roman city were made meaningful through diverse ways of reflecting on the past, many of which diverge widely from modern modes of identification and signification. For this reason, the sessions of case studies follow initial papers on the urban imagination in four broad cultural spheres that have animated the Eastern Mediterranean over time: Arabic, Byzantine, Frankish and Ottoman.
The Impact of the Ancient City is a five-year, ERC-funded research project based at the University of Cambridge. Our first major conference, Cities as palimpsests? Urban evolutions in the Eastern Mediterranean, to be held in collaboration with Bahçeşehir University in Istanbul in May 2019.
Elizabeth Key Fowden, Suna Çağaptay,  Louise Blanke, Edward Zychowicz-Coghill, and Beth Clark (Co-organisers)

The first Sultan Complexes (kulliyes) of the Ottoman Empire, built in Bursa during the 14th and 15th centuries, played an important role in the formation of residential buildings around and in determining the main transportation axes in the development of the city. These five complexes, including social and religious buildings, left significant traces in cityscape until the 20th century, in addition to their spiritual values in urban history and became an integral part of urban identity. From the 20th century onwards, the developing dynamics of cities threatened the sustainability of monumental buildings and endangered their original identity. Bursa was included in UNESCO World Heritage Site list in 2014 with these complexes that preserved their authenticity and integrity in large despite these changes. However, high-rise buildings in the city began to dominate cityscape and the visibility of the complexes in the city skyline gradually disappeared. In this study, transformation of Sultan Complexes of Early Ottoman Period in Bursa has been analysed in terms of urban and architectural scales from the 19 th century onwards. By comparing 1862 Suphi Bey map – the first city map including the most comprehensive information about the urban fabric of Bursa-and the actual city map, changes in urban fabric around the complexes have been identified. In addition, comparison of the 19th century city photographs and engravings with actual photographs helped to reveal the changes in city skyline and the transformations in architectural scale.

Trisha Brown’s early choreographic work deals intrinsically with the relationship between dance and urban space. Performed on rooftops, park benches or exterior house walls, some of her most famous pieces of Postmodern Dance investigate how choreography can interact with the topography of a city. Dance here does not merely react to the city as a stage, but rather creates and transforms its own surrounding space by leaving ephemeral inscriptions within the network of urban structures.
But how does a dance piece performed outside the walls of a theatre or gymnasium read and even change the social structure of a city? To which ways of urban cartography – such as street maps and traffic signs – can choreography refer by copying systems of city-communication and developing them into an undecipherable form of body calligraphy? And finally: when dancing is far more than an ornamental addition to an urban landscape, to what extent can it be described as a form of architecture in itself?
I will address these questions in regard to Trisha Brown’s „Roof and Fire Piece” originally performed on rooftops in SoHo in 1973 and recreated on the High-Line in Chelsea in 2011. By focusing in particular on the figuration and de-figuration of the bodily shapes of the dancers – who are dressed in scarlet-red costumes – I will argue that their movements, blended with an urban topography, create a synesthetic and kinesthetic vision of dance as an embodied form of fluid architecture and semaphore-like writing in the city.

In occasione del 30º anniversario del festival MilanOltre organizzato dal direttore artistico Rino De Pace presso il Teatro Elfo Puccini di Milano, l'apertura ha visto un fine settimana densissimo di spettacoli, 'storici' e una nuova produzione in prima assoluta. Coreografi giovani dividono la scena insieme ad artisti di grandi storia e gloria in una commistione che si è rivelata nei soli primi tre giorni del festival ricca di spunti. Tre "S" hanno caratterizzato queste prime tre serate: spazio, studio, suono.

This article discusses the origins and characteristics of the Greek Orthodox churches of Asia Minor in
the context of ethnic diversity. It is customary to call Asia Minor or Anatolia the ‘cradle of civilisations’.
Although this may seem exaggerated, the existence of three empires – the Roman, Byzantine and Ottoman
– make it special, at least in the field of architecture. The case study area is the city of Kayseri in Central
Anatolia. In antiquity this was Caesarea, the capital of Cappadocia region, which played an important
role in Christianity during the Roman period. Although it is known that the origins of its underground
settlements are earlier, the volcanic tufa structure of the region assisted the creation of secret holy places
and the dwellings of early Christians. During the Byzantine Empire, Kayseri was a religious centre
and owing to the ethnic composition of the Ottoman Empire this continued until the twentieth century
without interruption. Among the three sample churches examined, the one in Zincidere-Kayseri was
constructed over an earlier underground church. The attitudes of the Ottoman Sultanate and its approach
to church architecture can be seen in the evolution of the construction and decorative details. Within this
context the local ethnic composition of Ottoman society is examined, giving insights into the believers in
two international religions.

Il Belvedere di Villa Rufolo ospita la prima tappa italiana della Ailey II. Il secondo appuntamento dedicato alla danza del Ravello Festival (ricordiamo la serata dei neo-diplomati del Teatro alla Scala di Milano lo scorso luglio e l'attesissimo arrivo dei Ballets Trockadero di Montecarlo il prossimo 22 agosto) si è concluso all'insegna del successo: un foltissimo pubblico ? in gran parte costituito dai turisti stranieri che affollano Ravello e la splendida Costiera amalfitana in questo periodo -ha applaudito con entusiasmo i danzatori della Compagnia, che hanno confermato quanto ci si aspettava dal nome che portano nel mondo, quello del grande coreografo Alvin Ailey e del suo stile senza tempo.

proprio principio fondamentale. Claudio Borgianni e Vincenzo Capezzuto, fondatori del progetto artistico Soqquadro Italiano, operante nel campo dello spettacolo dal vivo con particolare attenzione al Barocco italiano, rispolverato e contaminato in un "caos ordinato" di modernità e tradizione che riesce a interagire straordinariamente con tutte le generazioni di pubblico, portano per la prima volta in scena Stabat Mater -Vivaldi Project al Teatro di Casalmaggiore.

I processi sociali corrono in modo implicito e sotterraneo,
la mediatizzazione rispecchia la società e la influenza, le
azioni politiche creano delle rotture all’interno di questo
flusso a volte interferendo e innescando cambiamenti,
quale il ruolo del performativo? Il performativo crediamo
sia l’unione del fare e mostrare, agire con la consapevolezza
che si sta mostrando l’azione. In questo senso ci
piace pensare di compiere azioni che interferiscono nei
processi sociali, nella consapevolezza di agire per aprire
una discussione, sapendo che l’azione è un atto comunicativo
allo stesso tempo.

The question of the body, and in particular the body under capitalism, is a recurrent and indeed central topic.
My thesis is that the disciplinary society that defines the body in the frame of educational, military, psychiatric and prison system, referring on Foucault analysis, has been overcome by the frame of a communication technologies based society. In this sense, if we consider that there is a secret body training in our society, we have to detect how it’s evolved in the contemporary urban space.

Catalogo della mostra omonima presso la Basilica Palladiana di Vicenza, 20 luglio-25 agosto 2013, a cura di G. Bartorelli, P. Granata, S. Grandi, F. Naldi, S. Portinari, promossa dal Comune di Vicenza e dal Teatro Comunale Città di Vicenza, in collaborazione con l'Università di Bologna e l'Archivio Videoart Yearbook.

This study focuses on the problem of the reconstruction of urban space through discursive representations. Understanding how discourse is spatialised will provide a conceptual ground for the discussion of the problem. The evaluation of knowledge, power, and representation in spatial terms becomes the fundamental premise in the study. Urban space is the space where discursive representations have a social and spatial existence. Here, urban space is approached as an archival space that renders spatial-social-political information visible. The problem is studied in reference to the Sultanahmet district in Istanbul. The Sultanahmet district is an urban palimpset whose archival structure has been made through discursive representations, each constructed on the proceeding one.