Callot’s ‘Balli di Sfessania’ are much more than a grotesque panopticum. He documented the delicate movement of Italian stage dance in each detail. Last summer I started a practical research project. The first result was ‘Baroque Vaccination’ for the Angiolini Ballet, St. Petersburg last October. The workshop ‘Copy Callot’ is discussing the Italian ‘sense of line’ on the basic of regular baroque and renaissance steps.
Klaus Abromeit is living art twice as choreographer and visual artist. He is co-founder of the Dance-Theatregroup‚ l’autre pas‘ Berlin‘ (working since 1987), the ‚Angiolini Ballet‘, St. Petersburg (working since 2007) and the artist collective ‚Leichtkauf‘, Berlin (working since 1989) and he steadily develops projects for theatres, factories, castles, parks, churches and streets; this year with a performance and installation for ‚Esch Kulturhauptstadt Europa 2022‘, Luxembourg. For 40 years Klaus has been working with dance notation systems. From his point of view they are a synthesis of movement and visual art, representing specific concepts of the human body. Next to his artistic work, he works as a dance teacher i.a. Staatliche Ballettschule Berlin, University of Art Berlin, Conservatorium Amsterdam, Vaganova Dance Academy, St. Petersburg and coach for opera and drama theatre projects.