A curtain. The magic instrument used in theatre like in domestic life. The curtain that can hide what is in front or behind, that can fall or close a space or anything you don’t want to Show.
Do you as a spectator have a choice?
In this study for Romeo Heart I confront the character looking for the best way to start his show. Looking for perfection. The perfect start. Restart. Appearing and disappearing within repetition and rhythm.
The crowd is calling.
Is Romeo Heart in front or behind the curtain?
What is the difference of being in front or behind, when the space is separated by a curtain?
What is the crowd looking for?
-Concept, filmed and edited by Dario Tortorelli
-Performed by Romeo Heart and his Curtain
-Music by diveinD | DarioTortorelli
Short Bio of the artist:
Dario Tortorelli (°Italy, 1977) is an independent choreographer and visual artist based in The Netherlands.
He graduated as a ballet and contemporary dancer (Florence, 1995), and started his dance career in France working for companies like the ‘Junior Ballet Rosella Hightower’ (Cannes) and the ‘Ballet de l’Opera de Nice’. In 2001, he moved to The Netherlands where he danced for Introdans, Conny Jansen Danst and performed in projects of Jaakko Toivonen, Sara Lorenço, Bruno Listopad, Lucinda Childs. Since 2006, he has been collaborating with the Belgian choreographer Ann Van den Broek (WArd/waRD) not only as a dancer, but also as a teacher, and assistant choreograph.
Alongside the dance career, he develops his own work as an independent artist under the name of ‘diveinD’. In 2009, he created ‘Romeo Heart‘, a solo performance after a research period in Dansateliers (Rotterdam).
‘Romeo Heart’ is a character invented and used by the artist as a main subject of his work, like in the movie ‘I have lost nature (short studies for Romeo Heart)’ presented during the Motel Mozaique Festival (Rotterdam, 2011) and the performance of ‘Romeo Heart' presented in Dutch, Italian, Belgium and Polish theatres since 2009, evolving from Short Studies to Post Studies.
His visual work develops from still images, flat as postcards, that unnaturally move within the frame of a background completely disconnected from the subject. In opposition his stage work is made to hypnotise the spectator with the timeless movement of the body, exploiting all the magic of a black box by defining the space with a refined use of stage lightning.