{"id":2081,"date":"2024-10-07T17:44:41","date_gmt":"2024-10-07T15:44:41","guid":{"rendered":"https:\/\/lospazio.es\/?page_id=2081"},"modified":"2024-10-07T17:44:41","modified_gmt":"2024-10-07T15:44:41","slug":"retrospective","status":"publish","type":"page","link":"https:\/\/lospazio.es\/en\/moreno-bernardi\/retrospective\/","title":{"rendered":"Retrospective"},"content":{"rendered":"

Moreno Bernardi is a choreographer and dancer: after training with Carolyn Carlson, Herns Duplan, Dieter Heitkemp, Antonella Bertoni and Michele Abbondanza, he develops an original dance in technique and composition, which combines knowledge of dance techniques, biomechanics, \u201cexpresion primitive\u201d<\/em> and studies in rhythmic and musical theory. He is a director and actor: after graduating from La Scuola di Teatro Alessandra Galante Garrone (Bologna, I) and specializing in theater biomechanics and mask techniques with maestro Nikolaj Karpov from GITIS in Moscow, in addition to intense training experiences with Judith Malina (the Living Theater), Bernardi develops an idea and a theater practice in which acting techniques are the main vehicle of scenic expression. He studies music and classical guitar at the Centro Chitarristico Pretelli-Corradi (Verona, I) and specializes with the Polish maestro Lucyan Wesolowski.<\/p>\n

Since 1992<\/strong> he has been a free-lance artist (choreographer, director, interpreter, pedagogue) signing since then 80 scenic pieces, including dance, theater and dramaturgies, with an uninterrupted involvement in training, dissemination and artistic research since 1997<\/strong>.<\/p>\n

Bernardi collaborated with different Italian theaters, in which stand out the choreographies and training for a company in Iphigenia<\/em> (Euripides) directed by Massimo Castri, and Sillabe di seta<\/em> (E.Dickinson) by Stefanica Felicioli at Teatro Metastasio in Prato (1998- 99<\/strong>). After professional experiences with the Piccolo Treatro di Milano – Teatro d’Europa Giorgio Strehler in La Gabbianella e il gatto che le insegn\u00f3 a volare<\/em>, directed by Walter Pagliaro and choreographed by Georghe Iancu, and Arlecchino servitore di due padroni<\/em> directed by Giorgio Strehler (1997-1999<\/strong>), Bernardi moved to Venice where he began his independent activity and became a guest teacher, experimenting and disseminating what is now recognized as Moreno Bernardi’s original technique and research, and which is the object of study in university frameworks. During the Venetian years (1999-2001<\/strong>), with clear expressionist and German dance-theatre influences, he created his first solo works: I fiori di sempre<\/em>, the ‘Pray about’ trilogy (Ingenuo Incanto<\/em>, Grace \u2013 la pioggia di riso<\/em>, Su\u00e9ltame<\/em>), El sonido del \u00e1ngel<\/em> and La l\u00e1grima y el mar. <\/em>In addition to the theatrical pieces from Romeo and Juliet<\/em> by W. Shakespeare, Giulia e le altre and Il bacio<\/em>, and the piece sono qui \u2013 omaggio a una passione <\/em>dedicated to Jean Vigo.<\/p>\n

In 2001<\/strong> he moved to Barcelona presenting El sonido del \u00e1ngel<\/em> and Su\u00e9ltame<\/em>. He was hired as a teacher for a postgraduate course at Institut del Teatre\u2019s center in Osona (Vic), a nine-month laboratory in which he creates The first time<\/em> from ‘Romeo and Juliet’ by W. Shakespeare; Mira, yo vivo <\/em>with poems by R.M. Rilke; Quina hora \u00e9s?<\/em> from the ‘Three Sisters’ by A. Cechov; and Cotidianas<\/em> with poems by Mario Benedetti.<\/p>\n

In 2003<\/strong>, after the production of Shi ho – el mando de bula, <\/em>he created the Moreno Ensemble project (MEp) and the ensemble pieces: Rosa de Mayo<\/em>, Las l\u00e1grimas ignorantes<\/em>, Hay un d\u00eda en que se nace<\/em>, the study Las horas de Ophelia<\/em>; y All\u00ed donde el mar vuelve a romperse con las olas<\/em>, among others. After the 2005<\/strong> solos Reiner Widerspruch<\/em> and Blue Solo<\/em><\/strong> (a tribute to Carolyn Carlson and Fran\u00e7oise Dupuy), Moreno Bernardi focuses on the development of a new language, approaching abstract movement and gestural composition, abandoning at the moment his early expressionist influences, creating the solo Capriccio<\/em>; works for the company Xiuxiueig<\/em>, thanks to the collaboration of the musician Jordi Savall and the singer Montserrat Figueras; and About wish whisper’<\/em> (2008-2009<\/strong>).<\/p>\n

In 2011<\/strong> La Dama de Corinto<\/em> was inaugurated, a film installation by the filmmaker Jos\u00e9 Lu\u00eds Guer\u00edn for the Esteban Vicente Museum of Contemporary Art in Segovia and the Pompidou Center in Paris, a project where Bernardi signs choreography and interpretation. In the same year he created, together with the musician Agust\u00ed Fern\u00e1ndez, Momentos An\u00f3nimos<\/em>, a dance-concert where the two artists develop a stage encounter based on the harmonic rules of instantaneous composition through the improvisation system typical of jazz.<\/p>\n

For the evolution of his new work phase, he focuses on study and composition thanks to two research projects that, from 2009 to 2012<\/strong>, receive the support of the Academic Coordination of Institut del Teatre of Barcelona:<\/p>\n

WW (Within Without<\/em>) | a project that he carried out until 2013<\/strong> with the dancer Garazi Lopez de Armentia, from which the dance series EXPO, <\/em>the dances Expolife<\/em>, Toxotria<\/em>, Danza n.15<\/em>, the solos S&7DBM<\/em> and Ekforiko <\/em>were born. As well as the theatrical research project CA<\/em> (acting composition), with a group of actors at the very beginning (making El caso Apodaca<\/em> \u2013 documenta 1<\/em>) and then continuing with Monica Almirall until 2012<\/strong>, actress with whom Bernardi made and directed the trilogy “La Voix<\/em>“, making in the last phase La voix humaine<\/em> by J.Cocteau, and Atzar<\/em>, with the poems that Raimon \u00c1vila wrote in the same framework of the investigation, inspired by ‘Toxotria’<\/em> and ‘La voix’<\/em> and which are now part of the publication La Nansa.<\/p>\n

In 2013, the ‘WW’ project leaves some space for the EDM research (writing and describing movement) in which Bernardi ends the formalization of an original movement technique and a composition system, performing the solo Shasei<\/strong>: work that culminates his abstract and compositional phase. Since 2012<\/strong> the ‘CA’ project leaves some room for a second part of acting research, focusing on the voice, the sound scores and the musical-body composition of the actor, making Radiohamlet<\/em> (composition for 4 voices in 3 movements), and formalizing an original technique in movement biomechanics with the collaboration of the Escuela Superior de Danza y Multimedia of Barcelona.<\/p>\n

The meeting with the composer and musicologist Benet Casablancas is decisive for the latest dances, among which 7 dances for Hamlet<\/em>., a solo for the Shakespeare Festival in Barcelona, presented in the program “[H]Works” together with Radiohamlet<\/em> (2013<\/strong>), and that concretizes a new phase of Bernardi’s work in which he recovers the theater-dance of his origins fed by the abstract of recent years: the expressionism of that time leaves space for the evocation of movement, and theatricality for the scenic perception of the gesture. Just as in theater, after Radiohamlet<\/em>, his interest in the voice, with an active investigation of a vocal system, leads him to a theatricality of the performer where word is sound and gesture is form. It is on this threshold that he creates Before Romeo and Juliet<\/em> (contemporary libretto based on W.Shakespeare). In 2015<\/strong>, in collaboration with Sala Hiroshima, he created the Moreno Bernardi Atelier <\/strong>(MBA): a laboratory for stage research and creation focused on composition and open to the arts and disciplines of the participants; for the MBA he signs the pieces The White Loop<\/em>, Kindness of the soul<\/em>, Don’t Weep Dont Sleep<\/em>, Stabat Mater (It\u2019s Ok, Ma!)<\/em> and Everything seems without limits<\/em>. In the same year, he was invited by the center L’Excentrica, to carry out ‘Moving to Motion’ (MtM), his first project to disseminate dance and music among young people, an edition that ended with the choreographic pieces of Moving to Mozart<\/em> and Moving to Vivaldi<\/em> in collaboration with the Camerata Gramenet Orchestra (dir. Bernat Bofarull Oliv\u00e9s) and Alfabeto – Letter to the world -, <\/em>in 2018, which ends the MtM project.<\/em><\/p>\n

In 2016<\/strong> he premiered the solo Il gesto sospeso<\/em> for ‘Il canto sospeso’ by Luigi Nono’ (Sala Hiroshima) with the support of Nuria Schoenberg and the Fondazione Archivio Luigi Nono of Venice after two years of research, and finished the audiovisual project Correspond\u00e8ncies<\/em>, a poetic documentary directed by Eric de Gispert and Miquel Ard\u00e8vol that describes the meeting between Bernardi and the architect Pere Riera. In 2017<\/strong>, he created The Blue Room<\/em> (a tribute to Blue<\/em> by Derek Jarman), a project of choreographic and musical creation with Anna Mastrolitto\/LiveSoundTracks and the musician Gigi Piscitelli, creating for the occasion a platform for the professionalization of artists with the collaboration of MEATS ELISAVA, SAE Institut, ESDi and Sala Hiroshima. In the same year, commissioned by Teatre Akad\u00e8mia in Barcelona, he created L’Altra Voce – composition for 5 voices in 4 movements and piano<\/em>-, with poems by Alda Merini and the collaboration of the pianist Sira Hern\u00e1ndez.<\/p>\n

In 2018<\/strong> he created the solo M\u00e9d\u00e9e-Kali<\/em>, music by Lionel Ginoux and libretto by Laurent Gaud\u00e9, with the BME musicians for the Barcelona Modern – Festival of contemporary music and new creation -. In the same year, he is choreographer and coach for Sophocles’ Philoctetes, directed by Antonio Sim\u00f3n, a production of the International Classical Theater Festival of M\u00e9rida and Bit\u00f2; and commissioned by the Nando and Elsa Peretti Foundation, for whom he created Los Derechos Humanos, a composition for 6 voices, a song and a reader<\/em> on the occasion of the 70th anniversary of the Declaration of Human Rights, an event organized by the Association for the United Nations in Spain. Together with the designer Elsa Peretti and with the support of the Nando and Elsa Peretti Foundation, in 2019 he creates Lo Spazio -center for artistic research and contemporary practices-, a research and creation studio, and headquarters of the MEp and the MBA, with which Bernardi, that very same year, signed La Diversa<\/em> (a monodrama in 2 movements with words by Alda Merini). With Lo Spazio, Bernardi created in 2020<\/strong> the diptych La Nit<\/em> y Radionit<\/em> after eight years of research (starting from The Night Before the Forests<\/em> by B.M.Kolt\u00e9s); and in 2021 L’olor eixordadora del blanc<\/em> (by S.Massini) and Diverse Childhood<\/em> (inspired by ‘Hold your own’<\/em> by K.Tempest) for the IF Barcelona Visual and Figure Theater Biennale; in 2022 Eduard II<\/em> (by C.Marlowe) and, after four years of research, the solo Una Cosa Rotta<\/em> (with music by Demian Luna and the Barcelona Modern Ensemble) with the collaboration of Phonos (electronic and electroacoustic music research center) and the musician \u00c1ngel Faraldo; and presents the audiovisual documentaries Las Cartas de La Nit<\/em>, Las Voces de Radionit<\/em> and Moreno Bernardi<\/em> on the occasion of Bernardi’s 20 years of cultural activity in Barcelona, with the collaboration of the Filmoteca de Catalunya; in 2023<\/strong> he directs Macbeth (by W. Shakespeare), also creating music and scenery for it. Macbeth<\/em> and Una Cosa Rotta<\/em> determine the current phase of Bernardi\u2019s poetic work, which started in theater with the opening of Lo Spazio in 2019 and in dance with Il gesto sospeso<\/em> in 2016: a theater that dialogues with voice, music, fashion and multimedia with a close relationship with the art of the spoken-word, and a dance with a close instrumental and bodily relationship with music, sound and score. Over the last few years, different artists from various disciplines have collaborated with Bernardi, such as the filmmaker Jos\u00e9 Lu\u00eds Guer\u00edn (La Dama de Corinto<\/em>), the musician Agust\u00ed Fernandez (MB<\/em>\u2502<\/em>AF:<\/em> momentos an\u00f3nimos<\/em>), the composer Lionel Ginoux (M\u00e9d\u00e9e- Kali<\/em>), the architect Pere Riera (Correspond\u00e8ncies<\/em>), the soprano Montserrat Figueras (Xiuxiueig<\/em>), the composer Benet Casablancas (7 dances for Hamlet<\/em>), the director Pep Tosar (Esquena de Ganivet<\/em>), the composer Demian Luna (Una cosa rotta<\/em>), the sculptor Manel Rovira, the designers Josep Abril, Txell Miras, Alexis Ferrer, and the maestro Masato Matsuura (Paris) with whom he started a pedagogical and scenic activity (hitostu<\/em>) of theatrical biomechanics and Noh theater, a project presented at the “Forum of pedagogy of the Arts and Techniques of the performance\u201d \u2013 Barcelona 2014. Bernardi, with an uninterrupted rhythm accompanies artistic and research activities with training, offering courses and laboratories in Italy, France and Spain. Since 2001<\/strong> Moreno Bernardi has been a professor in the Department of Movement of Institut del Teatre of Diputaci\u00f3 de Barcelona; and guest professor at different European higher education centers (‘Universitat de Barcelona’, ‘Ecole nationale sup\u00e9rieure des arts d\u00e9coratifis de Paris’, ‘Escola de t\u00e8cniques de les arts de l\u2019espectacle’ in Barcelona, ‘Laboratoire Architecture\/Anthropologie’ in Paris, ‘Ecole Nationale Sup\u00e9rieure d’Architecture de Paris-La Villette’, Escuela de danza y multimedia’ in Barcelona\u2026). He is a specialist in dance for the M.I.U.R (Ministry of Education, University and Research) in Italy and is invited to give lectures [\u201cFormation professionnelle du danseur Enseignement sup\u00e9rieur de la danse en Europe\u201d, Arles European Meetings, paper presented by Dominique and Fran\u00e7oise Dupuy – \u201cIl corpo della danza e la comunicazione dei saperi\u201d, MIUR Roma – \u201cEcrire et d\u00e9crire l’espace \u00e0 travers le corps\u201d, LAA\/ ENSAPLV, Paris).<\/p>\n

European universities and training centers have studied the work and thought of Moreno Bernardi for doctorates and final projects: Universit\u00e1 Ca’Foscari in Venezia: Loda all\u2019angelo il mondo, Prova di studio sul m\u00e9todo di Moreno Bernardi<\/em> (Giacinta Maria Dalla Piet\u00e1), Conservatori Superior de Dansa de Barcelona: Entre el sue\u00f1o y la vigila, mi encuentro con Moreno Bernardi<\/em> (Elena Bernal), Rottherdam Dance Academy: Moreno Bernardi: an italian choreographer in Barcelona<\/em> (Laura Guglielmetto), La Sorbonne Nouvelle Paris: L\u2019\u00e9v\u00e9nement naturel du spectacle de danse dans \u201cWritings on water\u201d by Carolyn Carlson et \u201cReiner Widerspruch\u201d by Moreno Bernardi<\/em> (Giacinta Maria Dalla Piet\u00e1), Escola Superior d\u2019Art Dram\u00e0tic de Barcelona: Materia y Forma del Di\u00e1logo Desplazado<\/em>, La Biomec\u00e1nica de Moreno Bernardi, V.Kandinsky y Esgrima Angulista, umbrales para la elaboraci\u00f3n de una T\u00e9cnica de Manipulaci\u00f3n del Actor Occidental<\/em> (Andreu Mart\u00ednez), Escola Superior d\u2019Art Dram\u00e0tic de Barcelona: Diario de una actriz \u2013 al lado de Moreno Bernardi<\/em> (Monica Almirall).<\/p>\n

Bernardi has received international awards and recognition in dance and theater (‘Premis Mediterrania-dance category’, d come arte- Balletto di Toscana segnala la nuova coreografia\u2019’, ‘Dancin’Florence’ awarded in two editions, ‘Montegrotto Europa Award alla Vocazione’ where he received a scholarship by the will of the English actress Vanessa Redgrave, ‘Danza Teatro e Altro’, ‘Quando il teatro \u00e8 arte’, ‘Gal\u00e1 del Teatro’, ‘Targa Malvezzi’…<\/p>\n<\/div>

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