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 - space she currently co-directs along side Roxane Huilmand.
The themes that underline her current practice are shared heritage(s), memory, immaterial knowledge, site specific and site relevant creations, working class heritage 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. The first creation, “Chapter 1: SUGAR”, was selected by Perform Europe 2024.
Giulia has been active as a teacher and coach in theatre making, dramaturgy, dance theatre, site specific and site relevant work and performance design across various countries, including but not limited to NeosKosmos Social House in Athens, Hub67 and Total Insight theatre in London and the UK, RITCS, MovArt and BRONKS in Belgium, Ciplak Ayaklar Cumpanyasi in Istanbul, SunLand fundation in Bulgaria.
“My work is rooted in the belief that the performing arts can serve as a powerful tool for reclaiming, preserving, and reactivating collective memory - especially the memories that have been ereased or silenced and the stories that remain unheard.
As a theatre maker, choreographer, and performance designer, I don’t aim to create fiction, but rather to offer insight and magnify the parts of the world we often overlook or fail to see.”
