ABOUT
Giulia Vitiello is an Italian born theatre maker, choreographer researcher currently based in between London and Brussels.
Her new research project “L’incarnation de l’heritage industriel” received a research bursary from Charleroi Danse for the season 23/24.
Giulia Vitiello is an Italian born theatre maker, choreographer researcher currently based in between London and Brussels.
In 2021 she completed her BA in Performance Design and Practice at Central Saint Martins - London with a First Class Honours.
She previously trained in acting and physical theatre with Laboratorio Teatrale Terzo Millenio and in Commedia Dell’Arte with Eugenio Allergi, a direct Lecoq pupil.
In 2015 she was selected to represent her region taking part to the National Italian Theatre Academy in Salerno (Italy), directed by Sergio Urbani.
After completing a one year trajectory in theatre directing at RITCS in Brussels, she is currently undertaking a choreography and contemporary dance training at Danscentrum Jette - where she supports artistic director Roxane Huilmand in the managment of the space.
Her technique is practice based and multidisciplinaty.
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.
Her new research project “L’incarnation de l’heritage industriel” received a research bursary from Charleroi Danse for the season 23/24.
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 and
hope beyond the harsh face of the world we live in, without denying any
aspect of it.
As a theatre maker - 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.”
