ABOUT
Giulia Vitiello is an Italian born theatre maker, choreographer, performance designer and researcher currently based in between London and Brussels.
Giulia Vitiello is an Italian born theatre maker, choreographer, performance designer and researcher currently based in between London and Brussels.
She trained between different institutions and countries, among all she hold a First Class Honours BA in Performance Design and Practice at Central Saint Martins - London, she trained in acting and physical theatre with Laboratorio Teatrale Terzo Millenio and in Commedia Dell’Arte with Eugenio Allegri, a direct Lecoq pupil, the National Italian Theatre Academy in Salerno (Italy), directed by Sergio Urbani, Zürcher Hochschule der Künste and RITCS School of Arts in Brussels. From 2022 to 2024 she undertook a choreography and contemporary dance training at danscentrumjette - where she is currently artist in residence and supports artistic director Roxane Huilmand in the management and coordination of the space and projects.
Her technique is practice based and multidisciplinary.
The craft of her visual language and aesthetic is influenced by working in set design, scenography and costume design as well as carpentry, metal work and fabrication.
She exhibited, performed and designed work for different venues across the UK, as Tate Modern, Espacio Gallery, Deptford Lounge, Platform Theatre, Stour Space, Grow Hackney, The Project, Blasé House and Poplar Union.
The themes that underline her current practice are shared heritage(s), site specific and site relevant creations, working class heritage, dynamics of oppression, and post-industrial narratives.
Her research project “The embodiment of industrial heritage” received a research bursary from Charleroi Danse and La Fonderie Brussels for the season 23/24.
In 2023 she created “dancing from archives”, a dance development and research platform which focuses on industrial architecture, site-specific creation, and the inclusion of working-class heritage in the performing arts.
Giulia has been active as a teacher, coach and guide in theatre making, site specific work, creating from archives and performance design in various countries and companies, as NeosKosmos Social House in Athens, Hub67 and Total Insight theatre in London and the UK, RITCS, MovArt and BRONKS in Belgium.
ARTISTIC STATEMENT
“I have always been interested in post industrialism, modern philosophy and having a deeper understanding of how our environments - both in terms of what physically surrounds us and social and political environment - influences our psychology and, as a consequence, our narratives and aesthetics.
“I have always been interested in post industrialism, modern philosophy and having a deeper understanding of how our environments - both in terms of what physically surrounds us and social and political environment - influences our psychology and, as a consequence, our narratives and aesthetics.
I believe in the importance producing work that shows
an interaction and relevance to the social, economic and political context we inhabit and that challenges audience perception and prospective.
A violin playing in an abandoned metal factory, a poem written on the wall of a bombed down city, a
choreography improvised on the humming of an homeless man in the off skirts of a capital town.
Dialogues of voices, materials and spaces that invite the audiences to actively seek and see the power of ideology, beauty, community, memory, heritage and
hope beyond the harsh face of the world we live in, without denying any aspect of it.
As a theatre maker, choreographer and performance designer - I don’t aim to create words of fiction but rather to give an insight and magnify parts of the world we don’t observe or see, as shining a torch in an abandoned power plant at night and find how the the light that shines on old machines and cables makes them look like they are alive or moving, how the dust and cracks on the concrete almost make us empathise with the sense of loneliness of abandoned spaces, how the traces of time appear from the stains on the wall.
How minorities and outsiders would tell a story – perhaps their story - if they had a chance to.”
