Emiliano Pellisari’s style comes from the studies on Hellenistic theatre
to those on the fantastic theatre of the Renaissance
and the mechanical inventions of the XVII century.
It revives the great Italian baroque tradition of the theatre of marvels:
when the art boutiques
born in Italian cities like Florence, Rome, Milan,
hand-built extraordinary machineries which the great Italian artists-engineers
masterly employed in their mises en scène
which enchanted the courts of all Europe.
RENAISSANCE HARMONY AND BEAUTY, PERFECTION AND ABSOLUTE FORMS
ITALY EVERYTHING THAT DISTINGUISHES IN GUSTO AND ART
CULTURE ORIGIN FROM WICH WE START TO INNOVATE
Renaissance art represents a paradigmatic world
made of beauty and harmony by which we are inspired.
The choice of returning to the origins brings the state of the art
back to a creative dimension lived with calm,
along a meditative, not a compulsive pattern,
far apart from the provocative world of contemporary art.
The trilogy was born after 7 years of work,
where every show was created after one and a half year of studies and work,
and is constantly perfected.
The ideal of perfection
is the engine moving the work of all members of the Company.
The culture of Italian humanism
is the keystone on which we build the awareness of our distinction from all others,
and of having something truly unique to offer on stage
GYM CHOREOGRAPHIC CREATIONS AND DAILY TRAINING
LABORATORY DESIGN OF COSTUMES AND STAGE TOOL
STAGECRAFT INVENTION OF THEATRICAL MACHINES
The choreographies rise from studies on ancient and renaissance stage machineries
and on technological from the XIX century to this day.
The man-machine relationship transforms the sensory space
imposing new choreographic techniques that the Company developed through the years,
and that today represent its hallmark.
The art boutique is a studio/atelier where the stage machines are developed
joint with the choreographic techniques.
Alongside with the well-equipped gym
where the dancers train, there are a technical lab where stage machines are built,
and a studio/office where ideas are developed, drawing projects and realising sketches.
TO MOVE IN ORDER TO REACH THE MIND
TO IMAGINE POSSIBLE WORLDS WITHIN THEATRE SPACE
TO THINK SYMBOLS, SIGNS, IDEAS
Classical and contemporary.
From the assumption that art must first of all move
and that the intellectual play can only take a second place,
the imaginative world of the classical contemporary is born.
Beauty, dream, marvel take centre stage in the creative process.
Only after opening the heart one can flood the audience with a network of signs
that can take it to grasp the ideas on which the scene is based.
The observer is offered a sort of pilot’s book made of symbol,
analogical plays, suggestions,
describing the jagged coasts of the imaginative world.