Research Presentation II:
The lingual body and its forms of expressions (2009)

From 2nd of February till 9th of March Giulia worked on new research in Danslab:

A common portrayal in dance is that a ‘dancing body’ merely executes forms, codes and space related actions; however I see the dancing body as a speaking body. To ‘speak’ he must source his most existential needs buried deep within. In doing this we review and disorientate both the dancing body itself and the perception of it.

Phase 1:
The possibilities of the faceless body.
How do two faceless and sexless bodies relate to each other? How do they make their longings, or lack thereof known to each other and to the spectator?
With: Goran Tunsek (dance), Dieuweke van Reij (costume and décor)

Phase 2:
The relationship between spoken language and the lingual body
How and when does a space exist in a dance context to use text?
With: Kay Patru (dance), Efrem Stein (mime actor), Fransien van de Putt (directing), Laszlo Geleng (teacher Kung Fu)

Phase 3:


How can a Martial Arts training enrich performative skills? We will investigate how a dancer deals with hitting a target, using weight against another, reading the opponent’s body and can reach a maximum result with minimal effort.

Giulia Mureddu invited Kung Fu trainer Laszlo Geleng to collaborate during her recent Danslab research ‘The Lingual Body – and its different forms of expression’. In her words: In order to let the body speak, in my work, I confuse, layer and deconstruct the body. That requires a mental elasticity, a readiness and consciousness of the own body. The Kung Fu system will support the research process through challenging us in our moving skills, approaches and performance.




Research Presentation I:
Deformalization and depersonalization (2008)

When does the artificial separation of dance and theatre blur?
When is a movement sequence abstract and when is it theatrical?

In my research I will focus on two core terms: ‘deformalization’ and ‘depersonalization’. The definitions are an extension of my former search for the duality between abstract and theatrical, human and formal – a duality always present in my work. Together with my dancers Katerina Dietzóva and Keyna Nara, who will also join my next creation, I will focus on movement language and possibilities for future material.

I want to provoke my dance material by bringing in more human elements. Therefore I will lead a workshop with people who are educated neither in dance nor in theatre. I want to research the interpretation of my choreographical idiom through an ‘unknowing’ body. I expect an interesting exchange between my professional dancers and the non-educated people.
Until what point am I able to deformalize my idiom?

The collected material in the first phase will form the physical ground to start digging into the term ‘depersonalization’. I intend to depersonalize the dancer by putting his/her body first. For this process I have invited puppeteer and puppet creator Ulrike Quade.
How can the work with puppets and masks be made more abstract and the dance be made more concrete?
Is it possible to make the body concrete to the extent that it can be looked upon as a independent, living object, so one might speak of a depersonalized dancer?

Giulia Mureddu

Go to Giulia's Blogspot for a detailed report of Robin Tunca, Giulia's dramaturg and for a diary of the days in Danslab.

Go to for more research of Giulia and other people of Danslab Den Haag.

> scroll below for videotrailer


February '09   
-- Research Presentation II: The lingual body and its form., Danslab, Den Haag [NL]   
February '08  
15 Research Presentation I: Deformalization & Depersonal., Danslab, Den Haag [NL]