Spellbound 25 years at Milano Oltre

The project  Spellbound 25 is a  Spellbound production realized with the contribution of The ministry of the Heritage and Culture  and Tourism and Regione Lazio – Cultural Department , Youth Policy and Creative Lazioin cooperation with The Spanish Embassy in Roma and   in coproduction with  Festival  MilanoOltre and  Cultur Partner.




Choreography Marcos Morau in collaboration with the dancers

Choreography Assistant Lorena Nogal Navarro

Performers  Lorenzo Capozzi, Riccardo Ciarpella, Linda Cordero, Maria Cossu, Mario Laterza, Giuliana Mele, Mateo Mirdita, Caterina Politi, Aurora Stretti

Set and Costumes  Marcos Morau

Lighting design  Marco Policastro

Music Various Artists

Length  25’


Despite being 37years old, Marcos Morau thinks about everything he has left behind and everything that he can never be again. Today he remembers the moment where everything was possible, that moment where fulfillment and failure are reached in all its splendor and everything is lived as if the world were going to collide tomorrow.

Marte is, in addition to the God of war, passion, sexuality, perfection, and beauty and gives title to the new work of the creator based in Barcelona for Spellbound Contemporary Ballet. 

Marte represents that empty and hostile planet waiting to be colonized by a group of young people. in a kind of celebration in 21st century Europe, with all the strength of its youth and desire as its driving force. A place where nobody wants to be left behind and the future is seen as a confusing maze full of resignations, disappointments and new conflicts, and where the only war that is fought is the one that confronts them with a world that advances so fast that they cannot continue.

Pleasure, desire and tension are the central elements of this piece. A conflict between the individual and the collective, between the present and an uncertain future, between organic matter and technology, where a new conception of abstract form is revealed.




Creation for an interpreter

Choreography, set and costumes Marco Goecke

Assistant choreographer Giovanni di Palma

Lighting designer Udo Haberland

Music Johnny Cash

Dancer Mario Laterza

Length 12’

Re-staging for Spellbound Contemporary Ballet, produced with the contribution of the Ministry for Heritage, Cultural Affairs and Tourism- Production 2020 part of the Spellbound 25 project

“Äffi“ , one of the most successful international creations by Marco Goecke, was included in the repertoire of the Scapino Ballet of Rotterdam in 2006. and it was performed by Tadayoshi Kokeguchi in 2006 in Istanbul and in 2008 in New York. Although Arman Zazyan, Damiano Pettenella, William Moore, David Moore, Robert Robinson, Mischa van Leuvenand – until now the only woman- Katja Wünsche have studied the solo, the most memorable performance is the one of the remarkable Marijn Rademaker, protagonist of the debut that in 2006 earned him the prestigious German theater award “Der Faust” (“The Fist”) as “Best Dance Performer”, given for the first time that year. Spellbound Contemporary Ballet is the only Italian company to have this creation in its repertoire.

Although Goeck’s gestures are based on the structure of the classical technique they are strongly combined with expressions from the German tanztheater: “The inspiration for my work is anguish, it can become a source of hope. Making anguish visible and tangible so as to transform it into beauty” says Goecke in the revealing documentary A fleur de peau, made by Manon Lichtveld and Bas Westerhof, where the artist reveals to us his passion for theatre discovered at 14, his panic attacks which began at a young age and the wonder of creation. “To slip out of our body, to escape our own limits is what I try to do wiith the fast movements of my expression” explains the artist.




Choreography Mauro Astolfi

Performer Maria Cossu

Choreography Assistant Alessandra Chirulli

Lighting Design  Marco Policastro

Music Various Artists

Length 14’


To Maria,

Unknown Woman is both a realistic and an imaginary tale, a gathering of memories and thoughts about what has happened to an important artist in 20 years of sharing and collaborating. She and I, during the last 20 years, have been used to telling each other secrets through movement, healthy carriers of truth, an untidy diary where I have had to read and reread notes in order to understand the woman and the artist.

Maybe we have understood each other only in rehearsal rooms or on stage in a theatre, but how is one able to understand an artist? To follow her has been possible only with eyes and heart, any other way confuses one even more and each time you almost have to start over again, as though we introduced ourselves and asked each other’s name for the first time.

I don’t know where imagination ends and how much I have learned about her in these 20 years. As strangers we are still in rehearsal rooms, we observe each other, we give and take from each other, however we know each other well and for this reason we are still walking side by side..

Mauro Astolfi




Choreographera Mauro Astolfi

Interpreti Lorenzo Capozzi, Riccardo Ciarpella, Linda Cordero, Maria Cossu, Mario Laterza, Giuliana Mele, Mateo Mirdita, Caterina Politi, Aurora Stretti

Choreography Assistant Alessandra Chirulli

Set and lighting design  Marco Policastro

Costumes Anna Coluccia

Music Various Artists

Lenght 35’


Wonder bazaar is an outpost of a humanity served and assisted by an obsolete technology, a cheap store where one tries to repair the damages of a life that cannot be understood or controlled.

Everybody crumpled on him or herself, human relationships by now reduced to a minimum leave space to a blind and meaningless trust towards the machine that, although switched off and not functioning, gives security.

But among the machineries and the shelves there is someone who finds a remedy for those suffering from existential anguish and works on a mysterious project, somewhat daring, but which tries to overthrow the alienating contemporary world. A now perfect system of mechanical productivity, shelves full of stories of happiness never achieved.

Wonder Bazaar is a hybrid study between the past and future where one stops spinning in a vast matrix of habits, where the inability to share real emotions with others happens.

The beauty of this bazaar is that in this cemetery of machineries no longer working or semi-working it is possible to find faith again no longer towards something or someone external to us: right here, interestingly enough, important theorems on the meaning of life beyond the connection with machines are resolved and we remember that it was us who built the machines.

Mauro Astolfi

Associazione Culturale Spell Bound

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