The Association “Il Teatro della Memoria”
was founded in 1992 with the purpose of promoting historical research, publications and performance in the field of early music and dance. Among its activities are the XIX century balls in historical palaces and performances on the occasion of festivals, exhibitions, conferences and historical re-enactment in Italy and abroad. The latest productions include performances at the Musée de l’Ariana in Géneve, for the Soprintendenza per il Patrimonio Storico Artistico e Demoetnoantropologico per la Calabria, for the Università di Roma “Tor Vergata” and within the festivals “I Concerti nel Parco” in Roma, “Notturni in Villa” in Milano, “BolognaEstate”, “Mesaionikò Festival” (Rhodes, Greece), “Suoni e Luoghi d’Arte” at the Reggia di Caserta, “Fuga dalla danza” organized by the Accademia Nazionale di Danza, “Festa Barocca” at Palazzo Vecchio in Florence, “I Concerti del Gonfalone” in Rome. In 2010 Il Teatro della Memoria has been a partner to the event “Alla Corte di Giulio II – La storia continua la tradizione” organized by Roma Capitale. Since 2002 it organizes the Early Music and Dance summer workshop “L’Humor bizzarro”.
Claudia Celi
after graduating in History of Theatre and Spectacle at the Università di Roma – La Sapienza, specialized in early dance performance with internationally known teachers such as Barbara Sparti, Francine Lancelot, Shirley Wynne e Angene Feves. Since 1982 she has taught History of Dance at the Accademia Nazionale di Danza in Rome; from 1991 to 1995 she was also deputy director of this institution, of which she currently is a member of the Administrative Board. She has regularly taught Dance History also at the ballet school of the Teatro dell’Opera di Roma and has been a visiting professor of Dance History for the Musicology specialized degree at the Università di Roma – La Sapienza. In 2001 she was appointed by the Education, University and Research Ministry as a member of the Working Group for Dance Education with the purpose of drafting the new charters of italian Academies and Conservatories. She has presented communications at international conferences and has collaborated with research centers and universities. She contributed articles to specialized journals, such as Chorégraphie, Cairon (also as member of the editorial board), La Danza Italiana and La Nuova Rivista Musicale Italiana. Among her latest publications are the chapters on italian XIX century ballet for Musica in Scena – Storia dello spettacolo musicale published by UTET and several entries for the International Encycolpedia of Dance, the Dictionnaire Larousse de la Danse and the Dizionario Biografico degli Italiani. Alongside the academic activity she has continued her performing activity in the field of historical dance, that she began in 1977 with the Gruppo di Danza Rinascimentale di Roma directed by Barbara Sparti; with this group, that in 1981 was awarded the “Jia Ruskaja” prize for dance didactics and culture, she has performed in many european festivals. She reguralry collaborates with the Scuola Internazionale dell’Attore Comico directed by Antonio Fava (Reggio Emilia), and has taught at the Officina-Laboratorio delle Arti e dei Mestieri del Palcoscenico organized by the Teatro Massimo di Palermo. Besides the activity for Il Teatro della Memoria, she has coreographed for theatre, TV and cinema productions.
Andrea Toschi
after graduating in Mathematics at the Università di Roma “La Sapienza” and in Bassoon at the Conservatorio di Musica dell’Aquila has performed in the principal symphonic and opera orchestras in Rome (Accademia di Santa Cecilia, Orchestra Sinfonica della Rai, Teatro dell’Opera, Orchestra di Roma e del Lazio). He has also worked at the Teatro Massimo di Palermo, the Istituzione Sinfonica Abruzzese, and with many chamber orchestras, playing for the major concert institutions in Rome (Accademia Filarmonica, Associazione Musicale Romana, Istituzione Universitaria dei Concerti, Oratorio del Gonfalone, etc.). He has performed on replicas of historical instruments (bass curtal, Baroque and Classical bassoon) with Orchestra Barocca Italiana, the ensemble “Gli Stromenti”, “L’Homme armé” and other early music groups. He has directed the reconstruction of the music for historical dance performances. He has presented papers at international conferences, has published essays and reviews in journals such as La Nuova Rivista Musicale Italiana, The Double Reed, La Danza Italiana, Il Flauto Dolce, Chorégraphie, Le Fonti Musicali in Italia, Cairon and has contributed entries to the Dictionnaire Larousse de la Danse.