are not artists (non-painter, sculptor ...)
it craftsman (not a carpenter, potter ... not),
theatrical it (not an actor, dancer ... not),
rather artist, manipulator of form and movement, symbols if you prefer.
Just play!
The framework is my freedom, my fee is possible.
I have no teacher or students, although they exist.
not pursue the technique but the effect is immediate and obvious.
- Friday, July 2, at 19 - With Paul Miano and his ukulele, he will use to music Puppet ... a bit 'absurd.
- Saturday, July 3, at 19 - With Sveva Castrogiovanni and his piano, will dancing female figures.
- Sunday, July 4, at 19 - By David Rosolini will use the puppet theater and the Kingdom of Anthropic ... including a puppet representing his conscience.
All shows are based on dance figures.
THE DANCING PUPPET
The Dancing Puppets were born to play, starting with the first construction of a puppet with simple recycled materials (wood splint, wire, fishing line, clothing fabrics used, etc..), which with its flowing movement was able to dance to the rhythm of music. Given the rise among friends fun that, watching and manipulating the puppet seemed to return to childhood, began building a series of animated characters, with the consequent possibility of making them dance together and create stories to make them understand.
animated sculptures
present since the origins of humanity, the ancient Greeks called them agalma neurospasta (images moved by wires), cited by writers and philosophers, are now commonly called puppets, confused with puppets and puppet of the Sicilian tradition, relegated for too long in an improbable childhood and folk world, exchanged for toys or the most popular as decorative items, prisoners of theatrical stereotypes that would simply be a metaphor for man, in fact, much more transitional object from the possible effects apotropaic, favored means of communication ...
The construction technique is mainly based on the use of paper with different modes (paper-mache, paper-press, paper-armed), that allows you to produce works in any form.
Biographical information:
Ezio Scandurra born on the slopes of Etna exhalation of the seventies of the last millennium.
He graduated in February 2005 Faculty of Education of Catania with a thesis in Aesthetics and Philosophy of Language entitled "Altering aesthetic perception: phenomenology of the interrelation-anthropic environment in the techno-cultural society" and the title of professional education.
Since 2003, manufactures and puts on shows of animation figures with puppets designed by him at various public and private organizations and has conducted numerous workshops manipulation in associations and educational institutions, groups of different age groups and different types.
In 2005 he collaborated with the laboratory of artistic papier Cartura of Catania The second edition of "U'Bbeddu. In 2006 he joined the group of medieval Sciarivarì Maestro Giuseppe Severini.
In June 2007 he took part with the company MotoMimetico of Catania, Peter Rampazzo Lichtpiraten of Berlin and to the XI International Festival of Shadows Staggia.
In 2008 he props for theatrical performance "Metamorphosis", directed by Elena Sgarlata.
From 2008 he worked with "Invisible Cities" by Mario Giuffrida-art laboratories in the conduct of manuals for the project BambinaRte.
In September 2009 he exhibited his creations at the show-room of the XXXIV festival of puppetry in Cervia.
In 2009, making masks and props for the play "Gilgamesh, the one who saw everything ..." John and Alessandra Calcagno Pescetta, performs a manipulation of shadows for the play "Cassandra" directed by Simon Scuderi and together with Tiziana Musmeci builds scenic masks for the play "Rumor dell'untore" based on the novel by Gesualdo Bufalino, with Luigi Lo Cascio and directed by Vincenzo Pirrotta, produced by Teatro Stabile di Catania.
April 2010 leads to construction of a laboratory at the Puppet Theatre of San Lorenzo in Rome and at the same stages his show "In the Kingdom of anthropic.
The first symptoms of puppets are presented from an early age with acute attacks that were translated into attempts to wire to dolls and puppets, and to dismantle and reassemble everything.
The experiments continued to move, around 12 years, towards the living plant material, with the shaping of miniature trees. But the attraction for the animation of the figures had not disappeared.
parallel studies of Education (man!) pollution and aesthetic theory, continued the construction of forms and mechanisms ... Until one day he built the first wood and cloth puppets, incredibly simple, she could dance to the beat Music. Given the fun aroused among friends, watching and manipulating the puppet, seemed to return to childhood, began building a series of animated characters, with the consequent possibility of making them dance together, creating stories to make them understand. Then with the use of paper-mache the puppeteers became chronic!
Before the children's shows, festivals, schools, associations, centers, then the realization of creative workshops for children and adults ...
Then the trip to France to attend the XIV International Festival of Puppetry in Charleville Mezieres.
Since then, almost, his life revolves around the animation of figures in all its possible applications.
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