Andrea Spaziani

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Andrea Spaziani is a choreographer and performer based in Toronto, Canada. She has presented work at local venues such as Dancemakers, Hub 14, the Toronto Dance Community Love-In’s Performance Series, and TEDx Waterloo, and online at (site no longer available).

Spaziani is chasing perception (receiving) and projection (sending) in her studies of the communicative folds of performance events, and how they are made. She spends a lot of time on this question ‘how?’ by generating improvisation scores, testing them out with collaborators, and listening. She is currently making work that holds meditative space, and produces the imaginary: ungraspable sensorial experiences.

Spaziani has previously collaborated with Meagan O’Shea, Heidi Strauss, Emmanuel Jouthe, D.A. Hoskins, David Earle, Alicia Grant, Alias Dance Project, Brendan Fernandes, Marten Spangberg, and Christopher Mills, and I’ve had the privilege of collaborating with Julia Male, Christopher Willes, Alicia Grant, Brendan Jensen, Mike Hughes, Amanda Acorn, and Peter Katz on her own projects.

Art and Research Interests

“I’ve been dismantling the choreographic process to learn about ‘how’ meaning is produced, and ‘how’ the microcosm of a collaborative process reveals a relationship between control and human agency. I’m starting in the studio, on the dance/movement terrain, and I hope to eventually carry this information out into the social realm, using it as a template to study parallel systems of control and agency on a larger scale. In a constantly moving society, what are the rules that contain and produce movement? Or better yet, what could they be?  For my project at Transart, I’m working on identifying some of these rules. For my purposes I’m calling them improvisation scores, but maybe they’re becoming a methodology. They’ve taken shape as audio-guided meditation scores that I invent and record while dancing alone in the studio. I then share them with my collaborators, who then produce movements with me, and then we talk about what happened. The function of the scores is to reconfigure the experience of the body, and the information the body gives and receives, so that the body is held in the imagination and not fact: to reconfigure existence, and then communicate with each other from this new place.  My process asks: how can we inhabit the body differently? How is physical information received, how is it sent, and how is it experienced differently? It is this difference, this demarcation between people, objects, or across moments in time, that is somehow key. How thin is the line? By intentionally producing difference, can we look at it and understand our complicity in its production, or perhaps change the outcome of its production? Re-existence, navigating this re-existence, and communicating from this new place. All through dance: through the in-between-ness of dance, through the transitions, and the how. I believe it is in this how, and its reflective surface, that knowledge about individuation, freedom, and human agency can be uncovered. On another day I might call it utopian consciousness, or the production of hope through strange encounters with the self.”

Links to Media