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Presentazione

DANCE THE ABILITY

"all men are created equal".
This simple phrase is or should be present in the minds of all human beings, not only at the conceptual level but also at the practical and concrete. To begin an article on
Dance Ability with this sentence is not a slogan, but it seems the simplest description that can be given to this technique: a dance, a discovery, an encounter. Addressed to all people, does not require special physical preparation, but only the desire to discover themselves, their bodies, their mental and physical potential and another. Often, the other becomes a person with whom you can find new channels of communication than quelli usati nel vivere quotidiano. A questo proposito sembra che la Dance Ability divenga spesso un mondo separato da quello esterno, una parentesi che si apre col cerchio iniziale e si chiude con quello finale, però… non è sempre così: vengono dati stimoli che possono essere portati anche fuori, suggerimenti che possono essere applicati anche al mondo esterno con le dovute modifiche, esperienze che fanno crescere o, perlomeno, che fanno provare qualcosa di nuovo e di diverso ma che può essere proiettato nel mondo vissuto.
Tutte le persone possono praticare la Dance Ability, perché tutte le persone hanno un proprio corpo, hanno dei movimenti personali, hanno qualcosa da dare e hanno bisogno di ricevere in cambio qualcos’altro: la Dance Ability è anche questo, uno scambio di emozioni, uno scambio di opinioni, uno scambio di movimenti. Ogni persona, qualsiasi sia il suo grado di abilità o di disabilità, può dare e ricevere, può muoversi, può danzare, può… perché è unica e speciale per la sua unicità.
La Dance Ability si propone proprio questo: cerca di far danzare ogni persona, cerca di metterla in relazione col proprio corpo, cerca di farla comunicare con gli altri attraverso danze improvvisate che assumono spesso l’aspetto di dialoghi comprensibili per tutti. L’improvvisazione: l’improvvisazione è una delle basi della Dance Ability, è la sua origine e la sua creatività. Ci possono essere even short pieces prepared, but improvisation will always remain the pillar of Dance Ability: At the end, however, do not ever fall in random, but always manages to stay in the dance.
Dances personal, couple dances, dancing with wheelchairs, small dance groups, dance groups: this is Dance Ability, but also emotions, new ways of looking at oneself, others and the world, new ways of behaving with others. Dance With Ability will also refine all of their senses through specific work that will strengthen and enhance them.
And ... Last, but certainly one of the most important: respect! Respect for yourself, for your body, his mind and for others. The courage to say "For me this is too much," "plan, you're hurting me!", "Hey, stop, I'm here too." The discovery that you can stop that or you can stop the other, when we realize that we are exceeding their limits. This is not an exaltation of weakness, rather it is synonymous with strength and maturity, if someone can not take it, means it must find other ways to do the same path, it means having the maturity to say "I have some limitations, but I can do it too. " It is here that ability and disability come together and mingle: all siamo abili, tutti siamo disabili, perché tutti siamo uomini!

21 gennaio 2001
Juri Roverato

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Un po' del mio lavoro

Parto dalla Danceability, tecnica di danza che consente a persone con differenti abilità d’incontrarsi e danzare insieme, e dalla Contact Improvisation, tecnica che consente a tutti di danzare insieme attraverso il peso e la fluidità dei movimenti dei corpi, ma integro queste due tecniche con le proprie diverse e personali competenze e sensibilità, attingendo anche a risorse provenienti dalla sfera del teatro e della psicomotricità.
Cardine del lavoro è l’idea che “tutti siamo uomini, tutti siamo abili, tutti siamo disabili”, ma soprattutto che ogni person is special for what it is and how it is. The idea is to share with each other specialties, with the desire to communicate their emotions through the body, without the filters of the mind that if one part may be essential to our existence, and sometimes are real and limits.
Both in life and in work designed especially man and disability: I do not see it as the difference that makes poverty, but the difference that brings wealth and compare it with something "different" from the "normal", but , for this is something, or rather, someone who makes us grow. Only the difference and diversity, there can be no dialogue, debate, and then mutual growth. The key point that stimulates my job is to seek the resources of each of us, whatever they are.

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Curriculum

CURRICULUM

Juri Roverato was born in Padua, May 21, 1977, dancer and teacher Danceability, due to complications during childbirth, suffers from severe spastic quadriplegia (dystonia).
In 2002 he graduated with honors in philosophy with 110 with a thesis entitled "Philosophy as a game in Ortega y Gasset" in Padua.
has practiced martial (QWI Qwan do) and studied Danceability with Alito Alessi and Emery Blackwell (Joint Forces Dance Company, U.S.), Laura Banfi (Art Association. Cult. The Courtyard, I), Marina Giacometti and Antoine Tomasutti (Art Association. Cult. Eighth Day, I), he attended seminars and courses Contact Improvvisation updating and enriching the Danceability Scudella and allied with Laura, Laura Banfield, and Vasco Mirandola Urs Stauffer, attended dance classes taught by Elena Borgatti, he attended a seminar with Claude Coldy Sensitive Dance, took part in shows and Danceability creative paths.
In 2001 he attended the first seminar of European education teachers Danceability led by Alito Alessi with the assistance of Laura Banfi ne è diventato insegnante. Da allora prende parte a progetti di Danceability e conduce stage e corsi per bambini ed adulti ed insegna tale tecnica in Italia e all’estero, anche all’interno dell’università di Padova sia da solo, sia in collaborazione con varie associazioni.
Nel 2003 partecipa ad un seminario teatrale sull’approccio artistico tra persone valide e persone invalide presso Metz (Francia) con Patrice Guillaumet del petit Théatre d’Ernest di Metz .
In 2005 he participated in a workshop at the Association of Theatre Integrated Eighth Day and led by Patrice Guillaumet with the final staging of "The Flowers of Evil" by Boudelaire.
Danza "... sull'Ammmore ..." with the court. Danza "Emergency Exit" and "A Perfect Day", the Eighth Day.
From 2005 to 2009 Scudella artistic collaboration with Laura with whom he teaches and dance "The meeting", a show that has circuited in Italy and abroad.
He participated in the Opening Ceremony of the Paralympic Winter Games in Turin 2006.
In 2007 he made the show "Water Lilies" at the Verona Philharmonic with Luciana Savignano and choreography by Susanna Beltrami.
Since 2007 Danceability holds seminars for the University of Padua. And correlation of the thesis of the undergraduate program in science education AA 2007/2008 "voices and thoughts on Danceability, the student Federica D'Ambrosio, rapporteur Rinalda Montani.
Since 2007 he teaches at the Centre of Padua Neuromotulesi for serious people.
From May 2008 to December 2009 working in the company Raffaello Sanzio Socìetas for the Divine Comedy in Purgatory, the work of Romeo Castellucci and choreographed by Cindy Van Acker debut with the 62nd Festival d'Avignon and subsequent world tour.
is choreographer and dancer of "Creative Dreaming", production of 2010.
On 3 December 2010 has made a piece inspired by a sketch of Frank Magro, at Spazio Tadini Federica Paola Capecchi for the second edition of Dance Choreography in 2010.

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Sogno Creativo

DREAM SHOW THE NEW CREATIVE
JURI ROVER

The "Creation" is one of the great and eternal mysteries, present in every human culture, at any time, in any place.

"Where we come from? Who are we? Where are we going? "Are questions that humans have always done, since he probably had some awareness to exist, and that it will become.

often responded to their questions with mild, with risposte religiose, con la scienza, ma ciò che lo ha contraddistinto è sempre stato il fatto che non ha mai smesso di cercare, d’interrogarsi, né tanto meno di darsi delle spiegazioni che di volta in volta lo rassicuravano.

Ogni risposta, probabilmente, ha una parte di verità; se si uniscono più risposte, si può avere la speranza di aprirsi a nuovi orizzonti e trovare nuove strade. Prendere spunto da tradizioni completamente diverse tra loro permette di dare a tutti molteplici chiavi di lettura, senza escludere nessuno.

Juri Roverato

Per vedere un promo:
http://www.arsgieffe.com/cms/component/content/article/3-promo-danzateatro/27-sogno-creativo.html

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VAMPIRES 2

cover for Vampires 2, the anthology's
2nd issue published by AbsoluteBlack .

cover for Vampires 2, second edition anthology edited by AbsoluteBlack .
output at Lucca Comics 2010.



inside, my 6 pages story Strife / Dissension within , my story of 6 plates.

__________ low-res final cover