Company

Historical
Mauro Paccagnella
Wooshing Machine

WOOSHING MACHINE is a brussel's dance theatre collective created in 1998 by choreographer Mauro Paccagnella. The group's activity is driven by a desire to achieve an act of shared creation, whether inside or outside the theatre arena.
His success is down to that intimate melting of languages as they collide and print over one another, gloriously disturbing our perceptions. With no concessions, yet open. Dark yet funny. Strange yet near. A look, a vision. (Patrick Bonté)
Company LOGOHISTORICAL

1998-2000 - THE EARLY TRILOGY
Mauro, dancer choreographer, Joz Deconinck, graphic & video artist, Didier Casamitjana, musician and performer and Florence Richard, lighting designer (Dame de Pic company), opened the doors to the new collective. At the crossroads of these four varied paths...
At the crossroads of these four unique paths, three episodes of musical dance theatre were born: CyberBeans (SACD Prize 1998), Wit and Formol.

2001-2004 - DOG-TRICKS
Following Mauro Paccagnella's latest meetings with visual artist Martin Pakvis, at Subsistances in Lyon, and with Alessandro Bernardeschi, (a dancer with Catherine Sagna), Woosh'ing Mach'ine renews its creative dynamic.
Thus the research project entitled Dog-tricks was born (2001-2004), a crossroads where plastic art, electronic music, video-art and dance met. In the context of a residency at La Raffinerie in Brussels, Mauro Paccagnella invited some fifteen artists from various disciplines to take part in a series of four stages of creation – laboratory: LabPilote with 12 guest artists, Zwaarden with Martine Lunshof, Le bal with Alessandro Bernardeschi, Crossover, a video installation by Deconinck and Wittevrongel. The project ended with the creation of the performance Babylonia Kiss, a duo created with Alessandro Bernardeschi in 2003.

2006-2011 - THE SIEGFRIED'S SWAN SONG PROJECT
The Siegfried's Swan song was born of Mauro's meeting with French video artist Stéphane Broc, French tuba-player and artist Christophe Morisset, and Belgian-Moroccan hip-hop artist Ben Fury.
The first two episodes, Siegfried forever and Bayreuth FM, have been nominated at the Belgian Press Prize as Best Choreography in 2006 and 2008.
The Golden Gala and Ziggy, the Dragon, the bold Nurse & the Swan Song have been presented in February 2010 and in November 2011 at the Tanneurs Theatre in Brussels.

2012-2015 - CONTI SPARSI
CONTI SPARSI is a series of solo and duet danced tableaux choreographed and set for the stage by Mauro Paccagnella in partnership with performers from diverse artistic horizons, such as Lisa Gunstone, Tijen Lawton, Gaëtan Bulourde, Eric Valette, Alessandro Bernardeschi, Ina Geerts, Ayelen Parolin, Christophe Morisset and Mauro himself.
For CONTI SPARSI, Mauro Paccagnella set himself a new challenge: to discover the accuracy of gestures and danced movements in a sober, sparse theatrical setting, and to return the primary role played by dance as regards form and substance.
More Less

Conti Sparsi
2013 - 2015
Creation cycle #4

#1. BLOOM Studio #1 + Studio #2 - 2013
#2. MOONWALK - Functions in Forme - 2014
#3. HARSH SONGS - 2014
#4. HAPPY HOUR - 2015
#5. OVERTHETOP - 2015
CONTI SPARSI is the new creation cycle from Mauro Paccagnella and Woosh'ing Machine, a series of short-medium length solos and duos.
The first show, BLOOM with Lisa Gunstone and Mauro Paccagnella, premiered on August 23, 2013 at Tallinn August Dance Festival.
The second show MOONWALK - Function in forms by Eric Valette and Mauro Paccagnella with Simon Stenmans was premiered at Les Halles in Brussels the 4 & 5 April 2014.
The third, HARSH SONGS, created by Mauro Paccagnella, Gaëtan Bulourde and TijenLawton, was presented at Théâtre Marni in Brussels D Festival in June 2014.
HAPPY HOUR, Alessandro Bernardeschi and Mauro Paccagnella duet, was premiered at the Hong Kong Art Center in Hong Kong in June 2015.
OVERTHETOP by Mauro Paccagnella, created and played by Ina Geerts and Ayelen Parolin, was presented in Brussels at the Brigittines in September 2015.

CONTI SPARSI was born of an artistic emergency for balance and sobriety and the desire for a space of choreographic research and creation free from the shackles of reference, created in small teams and on small scales, simple both in terms of creative process and its opportunities to connect with the audience.
CONTI SPARSI: A SERIES OF GEOMETRIC FORMS FOR A SERIES OF ADJACENT CHAMBERS.
Each CONTI SPARSI creation is defined within a geometric form (space for performance, air and light) put forward at the start of each project.
The form of a 4x4m square drawn on the ground will be the starting point.
Changes to this form as the project progresses will be the main thrust.

Simultaneously, the intersection of these geometric spaces and the dynamics of the protagonists' action will provide a narrative framework and a choreographic encasement.
Thus CONTI SPARSI will be a series of imaginary borders between the inner space of the performer and the world outside (geometrical, physical or imagined) that envelops and surrounds them.

Within this formal visual framework, the protagonists will be pushed towards an honest encounter with the audience, bearing witness to the personal unveiling of a sensitivity in movement and jostling against the boundaries of a given framework.
Read more See less Team
Lisa Gunstone (GB), Mauro Paccagnella (I), Tijen Lawton (GB), Gaëtan Bulourde (F), Eric Valette (F), Alessandro Bernardeschi (I), Ina Geerts (B), Ayelen Parolin (Ar), Christophe Morisset (F), Stéphane Broc (F), Simon Stenmans (B)

Siegfried's Swan Song
2006 - 2011
Creation cycle #3

Inaugurated in June 2006 at la Raffinerie in Brussels with Siegfried Forever and continuing through November 2007 and February 2010 with Bayreuth FM and The Golden Gala, the Siegfried's Swan Song project came to a close in November 2011 with its fourth and final part, Ziggy, the Dragon, the Bold Nurse & the Swan Song.

With a lifespan of 6 years, a creation in 4 parts, and comprising 7 performers, 4 composers, 3 engineers, a dresser, ad hoc co-workers and innumerable insolent nods to the work of the Grand Master Wagner, this atypical choreographic series offers a sideways look at the theatre, providing a glimpse of the distance that separates us from a controversial reference model and calling into question the balance of our tastes, our passions and our ideological leanings.

The radical nature of the Wagnerian universe seduced us with the daring of its populist observations regarding Heroism, Theatre and Society, and led us to question the direct links between tradition and contemporaneity, between theatre and politics.

However, it became evident that, rather than simply talking about Wagner, his music and his vision of the World, our focus was settling increasingly on his opera icons to question a model of romantic humanity that continues to arouse the desire of emulation and belonging.

SSS« The greatest event of my life took the form of a recovery. Wagner belongs only to my diseases. »
THE CASE OF WAGNER: A MUSICIAN'S PROBLEM Friedrich Nietzsche

The Siegfried's Swan Song is also an artistic project that defies the constraints of time, subverting the challenges of contemporary theatrical creation, which itself seems to be moving towards virilised and media-based event installations.

The tetralogy thus stands as an act of artistic resistance when facing the virtual fibrillation of a society that is falling victim to its speed of consumption and communication, held hostage by the insatiable nature of its own desire to succeed, distorted by the collapse of coherent and equitable reference trajectories.

The Siegfried's Swan Song is presented as a work of fiction that opens unobtrusively onto the world via a series of intimate, off-kilter confessions from a group of characters caught off-guard in their role play as actors / heroes for a day, slaves to a heroic destiny concocted by a useless divine plan, victims of a profound, intrinsic mediocrity, though not indignant in their desire for glory when faced with the inescapable fate of death and oblivion.

Although the Wagnerian tetralogy used as a reference, the 'Ring of the Nibelung', remains pinned down by a typically Germanic sense of heaviness, The Siegfried's Swan Song for its part opens onto the 21st century with all the fragility and insolence of its time.

It is a pot-pourri of uncool operatic arias, proletarian dances, clumsily populist comment, rustic humour, reckless loves and inappropriate prowess.

It is a festival of banality disguised as a choreographed series inside which we glimpse the sensitive breaches of a humanity that may be foolish, but is also profoundly touching.

It is a game where contemporary and classical choreographic art meet, where noble writings and popular refrains mingle, where video art and music television cross, and where Wagnerian opera and peripheral operetta touch: a clash of genres resulting in an act of playful, off-kilter and pop performance.

The Siegfried's Swan Song is performed and proposed in a mongrel-like theatre space, one that is degenerate and impure, at the frontier between the paths of its protagonists and their genre, a universe that is at once possible, sensitive and open.

The Siegfried's Swan Song takes its cue from Wagner to subsequently revel in its profound anti-Wagnerism.

For this reason, the Woosh'ing Mach'ine collective is pleased to announce its intention to bring to a successful conclusion this most atypical of artistic projects which defies categorisation, with the desire and pleasure of taking one last unobtrusive, chivalrous and wholly acute look.

Mauro Paccagnella
Read more See less Team
Lisa Gunstone (GB), Mauro Paccagnella (I), Benfury (Mar),
Ina Geerts (B), Christophe Morisset (F), Stéphane Broc (F),
Ayelen Parolin (Arg), Fabienne Damiean (B), Jef Philips (B),
Benjamin van Thiel (B), Simon Stenmans (B), Gwen Laroche (F),
Joz Deconinck (B)

Dog-tricks
2001-2004
Creation cycle #2

#0. Dog-Tricks#0, Lab pilote (2001)
#1. Zwaarden (2001)
#2. Le Bal & Crossover (2002)
#3. Babylonia Kiss (2003)
DOG-TRICKS is a multidisciplinary research project intended to allow the co-existence of different artistic approaches.
The creative process was developed through a series of laboratory stages for choreographic, musical and visual experiments that resulted in 3 creations: Zwaarden, Le Bal + Crossover and Babylonia Kiss.
Team
Karine Ponties (F), Alessandro Bernardeschi (I), Martine Lunshof (NL), Malik Choukrane (B), Mauro Paccagnella (I), Martin Pakvis (NL), Joz Deconinck (B), Erwin Wittevrongel (B), Pascal Tondeur (B), Didier Casamitjana (F), Alexandre Vert (F/GB), Annelaure Chamboissier (F)

The Early Trilogy
1998-2001
Creation cycle #1

#1. CyberBeans (1998)
#2. Wit (1999)
#3. Formol (2000)
THE EARLY TRILOGY
Perhaps it is through the impurity of genres and the mixing of registers that new languages are today being developed that may regenerate performing arts...

An attempt to create closer ties, collusions, dynamic exchanges between dance, theatre, music, and plastic arts... Explorations of areas that are hardly, if at all, defined, hybrid zones where the personality of the creator and spectator alike is free to travel where it sees fit, pushing boundaries and setting their own specific, inimitable challenges.

It is through these challenges that current research can get closest to the uncertainties and requests of our societies. With this in mind, this first Woosh'ing Mach'ine trilogy was born of the meeting of singular artists: a choreographer and dancer (Mauro Paccagnella), a musician and composer (Didier Casamitjana), a video artist (Joz Deconinck) and a lighting specialist (Florence Richard).

His success is down to that intimate melting of languages as they collide and print over one another, gloriously disturbing our perceptions. With no concessions, yet open. Dark yet funny. Strange yet near. A look, a vision. The idea that cyberspace, both inevitable and commercial, also has an underbelly, which is poor, heroic, banal and fascinatory.

An act of creation, a way of being on stage, blending humour, invention and presence.

Patrick Bonté
Team
Mauro Paccagnella (I), Didier Casamitjana (F), Joz Deconinck (B), Florence Richard (F)

Other Productions

. The Magnificent 4 (court métrage - 2008)
. Emerge (court métrage - 2005)
. Jiggery Pockery / Subalina (performance - 2005)

The Magnificent 4 - © Stéphane BrocTHE MAGNIFICENT 4
Short Film
France - 2008 - 7 min - Colour
Direction, Editing: Stéphane Broc
Image: Yves Opstaele
With: Mauro Paccagnella, Benfury, Christophe Morisset, Stéphane Broc
© Stéphane Broc



Emerge - © Stéphane BrocEMERGE
Short film
France - 2005 - 4 min - DV - Couleur
Direction, Image, Editing: Stéphane Broc
With: Benfury, Mauro Paccagnella, Ayelen Parolin
© Stéphane Broc



Jiggery - © Stéphane BrocJIGGERY POCKERY / SUBALINA
Performance
France/Paris - July 2005
Olympic Swimming pool at Park of l'INJEP, Marly-le-Roi (Paris)

Park in Progress #3 Pépinières Européennes pour Jeunes Artistes
Team
Various artists