GIRL INSIDE THE MIRROR By Peruvian-Italian Director Nicoletta Mandriotti continues its exciting journey.
Director/Creator: Nicoletta Mandriotti
Choreographer: Lindsey Dietz Merchant (Current Faculty Staff at Movement Research, Performer in “Then She Fell”, Third Rail Projects).
Lighting Designer: Gilberto “Lucky” Pearto (3 times nominated for Outstanding Lighting Designer at Planet Connections Festival). 
Stage Manager: Nicole Amaral
Performers: 
Girl: Rachel Berman (appeared in Then She Fell)
Little Girl: Carrie Keating
Woman in Black 1: Anna Stark
Woman in Black 2: Kaylin Johnson
Ensemble: Sara Galassini (appeared at La Mama), Kelly Bartnik (appeared in Sleep no More), Kim Saravino (appeared in Then She Fell), Tara Sheena. 
In a dark, disorienting immersive movement theater piece, “Girl Inside the Mirror” by Peruvian-Italian director Nicoletta Mandriotti, psychological and physical forces bear down on a Latina girl who travels to a parallel world through a mirror. In this place, her past trauma and current mentality are reflected through the tormenting voices and shadows of her own subconscious, leading her nearer and nearer to her doom. Theater for the New City’s Dream Up Festival will present the work’s New York premiere September 6 to 15.  “Girl Inside the Mirror” played to sold-out houses at Planet Connections Theatre Festivity this past July and is now nominated for 8 Planet Awards.   
Dance Theater Piece WITH an All Female Cast 
Dream Up Festival, Theater for The New City, 155 1st Avenue, New York City
 

Performances dates: 9/6 9pm; 9/9 5pm;  9/10 9pm9/13 9pm9/15 8pm @Johnson Theater for Dream Up Festival

Tickets an further info: Dream Up Festival (http://www.dreamupfestival.org

We are thrilled to chat with visionary artist, Nicoletta Mandriotti.
Ms. Mandriotti received extensive training in movement and dance through SITI Compay’s Ann Bogart and Akkiko Aizawa. She has also studied movement with UME Group, Yuyachkani (Peru) and CELCIT (Argentina). Her work is mostly known for its highly physical and psychological intensity as well as its surrealistic and sensorial approach.
We got her to sit still for this interview.

36785165_2093793500844716_8739248021943877632_n.jpgTell us About Yourself as an artist

I was born in La Punta, a small town outside the city of Lima, Perú. I started playing piano at the age of 4 until 14, and ballet until 12. I started writing poems after, but always in secret, until I realized that it was okay for them to be exposed. I started getting active in Theater at the age of 16, when I act in a play. I haven’t stopped since then. I guess as an artist I look for art forms that rise me instead of making me feel grounded on the Earth. I am a big fan of Surrealism and artistic works that extend my sensorial world. I admire artists that have developed a unique way of expressing and portraying their art, which goes beyond any dimension, any language and form.

40512516_2145362322354500_6445781390490337280_o (1).jpg

What was the inspiration behind this piece. Why make it a dance piece as opposed to a play? 

My main inspiration was a mythological story I was reading at that moment. It came to me with a very strong, visual image. After that it was just about writing what I was hearing. I made it a movement piece because of its nature, the way it came to me. It came to me as a libretto with lots of music on it. I can’t exactly describe how, but after hearing the voices I was able to see the characters clearly. I haven’t edited it since then, and I think I won’t, since it is what the piece is asking for. It came as an Automatic writing, and that’s the way it should remain, at least for now. More than dance, I would say that the piece is very connected with the inner movement, the one that each of the performers bring, through their experiences, to the table. Of course we perceive their training too, but for me the most important part is the way they connect with the piece, with the text and with their characters. Since it is all about one woman facing with her other shadows, I always want to make me sure to give them the specificity of the changes they have, and from there I let them go further. This has been an experiment to me because each time is different. It all depends on who is behind that movement and not about the movement per se. As a Writer, I have always hesitate to write Full length Theater plays, but instead, I’ve always felt more comfortable to go more towards poetry and other unconventional writing forms. Even though I had an extensive background in Theater, my soul as a Writer has always gone towards poetry or expressionism. 

37915954_2113709402186459_8332216578347106304_oDo you feel personally connected to this piece – like it being semi-autobiographical? 

Yes…I feel strongly connected to it. And I have to admit that as a Director it has been one of the most challenging experiences. I am always in the position of trying to balance the connection I have to the piece with my role as a Director, since in order to do it, it is important to see the piece and your performers as an observer.  A a Director you definitely want to have a clear vision, but at the same time, you want to be able to listen what your collaborators are bringing to the table. This is the second time I present Girl Inside the Mirror in a Festival, and I decided to let the piece go more towards movement and physicality. I was glad to have Lindsey Dietz during this process, since I really like the way she approaches and thinks about movement. She also brought the language we needed for our movers.

36904542_2094181690805897_8000953949899194368_nWhat do your performers bring to the table in a piece like this AND how has it changed or is changing from your previous run at PCTF? 

I guess it is more what you perceived than what you talk. I usually start talking, sharing, creating this intimate space. But then, there are no words anymore but rather what you see, what you perceive. Sometimes you don’t have to get into words to understand what is happening. For me, the most important part is to work with performers that feel strongly connected to the text, to the piece and to the metaphorical concept of it. There are great movers in NY, but I guess that at the end of the day it is about who connects and who doesn’t, who is up to work from their own experiences. This time I challenged myself to work with more movers and dancers, rather than actors. This decision has been translated into a more sensitive and sensorial concept, which it is what the piece was asking for. I am grateful for the Team I have. 

What’s the next steps? 

I have a piece, a new baby. It is more towards poetry than performance or any other art form. I’m in the process of staging it. It might start as a Stage Reading and then it will become a Full Production.

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