inQuanto teatro
with Floor Robert, Giacomo Bogani, Andrea Falcone
EXTRA EVENT with aperitif: it will take place on the terrace of Isolacasateatro (via Jacopo Dal Verme 16 – Isola district, Milan), with the collaboration of Isolacasateatro.
V o l a r e v i a d a l m o n d o is an act of evasion conducted starting from the spaces we live in, which superimposes the flight of aviation legends on the reality we know, made up of stones and words. Even if our feet cannot leave the ground, perhaps our heads can.
An impossible alternative is still an alternative. And is it really impossible? We shall see. As Bacon wrote, impossible is a word that is used only for lack of imagination.
In case of bad weather, the evenings will be hosted by Isolacasateatro.
Riserva Canini Teatro
the evening continues with ORLANDO-ORLANDO
imagined and created by Marco Ferro and Valeria Sacco
with Valeria Sacco
lighting design Andrea Narese
sound design Stefano De Ponti
original music Luca Mauceri, Stefano De Ponti, Eleonora Pellegrini
technical advice Sergio Bernasani
a Riserva Canini Teatro production
with the support of Festival Immagini dell’Interno of Pinerolo (TO), Festival Giardino delle Esperidi (LC), Rete Teatrale Aretina (AR) Teatro Gioco Vita (PC), and Théâtre Gérard Philipe de Frouard – Scène conventionnée pour les arts de la marionnette et les formes animées (Nancy – France)
On stage, a lone actress with a human-sized marionette that she animates herself. But the puppet abandoned in the arms of the puppeteer suddenly wakes up, and we discover that it is a human creature, breathing, looking, living. Yet the performer is only one, so the spectator begins to lose himself and then slowly understand that not only is what he thought was a marionette alive, but that what he thought was alive is actually animated. And, following the story, in its questioning of the true nature of the two protagonists, they find themselves questioning the very concept of life.
TalitaKum is born from a vision, complex and at the same time linear, as certain afternoon dreams are. It is a show that has no words, but there is a story. And we have brought it to life by following the route of a journey that resembles a fever, a fainting spell, one of those moments when energy runs out and gets confused within our incomprehensible boundaries.
Riserva Canini was founded in 2004 and is based in Florence and Milan. The artistic direction is entrusted to Marco Ferro and Valeria Sacco, who are also the founders. However, each individual project involves various artists and technicians. The company has so far collaborated on various productions with organisations such as Teatro Metastasio in Prato, Teatro Comunale in Castiglionfiorentino, Scarlattine Teatro in Lecco, Festival Immagini dell’Interno in Pinerolo, Teatro Comunale in Pieve S. Stefano, Teatro Giocovita in Piacenza, Pim Spazio Scenico, Teatro Laboratorio Mangiafuoco, Outis and CRT in Milan. In opera, he worked with AsLiCo for the productions of Rigoletto and Hansel and Gretel and with the Festival della Val d’Itria for Gianni di Parigi. Riserva Canini has had collaborations and residencies abroad with the Théatre Gerard Philipe in Frouard (Nancy), the International Institute of Puppetry in Charleville Mezieres and the Centre School of Speech and Drama in London.
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Cuochivolanti
h. 20.00 Prêt-à-PORTER aperitif by Cuochivolanti (Turin)
booking recommended
€ 5,00
h. 21.00 Happy Meals – Gastro-performance with Cuochivolanti (Turin)
€ 10,00 full price ticket
€ 7,50 reduced ticket
by and with Davide Barbato and Chiara Cardea
sound design Enrico Ascoli
staging Marco Gennaro and Jacopo Valsania
lighting design Davide Marcone
direction Davide Barbato
organisation Offrome
production Cuochivolanti and Associazione CuochiLab
project realized with the contribution of the City of Turin, the Province of Turin, with the support of Sistema Teatro Torino e Provincia with the productive collaboration and support of Associazione Teatro Baretti/Studio Marco Gennaro Architetto/Alain Battiloro photographer/Enrico Ascoli/Giulio Pedretti/Luigi Ceccon photographer
Image Alain Battiloro
The show had its national premiere at the Teatro Astra in Turin on 9 June 2012, as part of the XVII Festival delle Colline Torinesi.
Happy Meals cites the famous children’s menu of the unnamed fast-food giant, which was perhaps the first, together with the equally famous carbonated soft drink with a secret recipe, to replace the term “hunger” with the term “happiness” in people’s stomachs, discovering a new, unexpected and insatiable appetite for our overfed digestive systems. But he also cites Becketti’s Happy Days, the senseless binge of words (of food) that saves us from the senseless desert of existence: ‘there is so little that can be said (eat), that one says (eat) everything, everything there is’.
Eating is a recreational act, for almost all of us. A small private party. It is an interval from which we expect to find a part of ourselves. For everything else (nourishment, energy, vitamins, proteins) there are supplements. And coffee, of course.
With this show we go on stage to talk about food: we do it thanks to Chiara, who is an actress and lends her body and voice to a unique experiment in emotional nutrition, exposing her meals to the public. We do this thanks to Cuochivolanti, who are cooks and have seen more dramas, tragedies, comedies and farces than any playwright by making people eat. With Enrico Ascoli’s precious sound mechanisms, we make them, the food, talk too, trying to understand its hidden and mysterious language, just in case we manage to grasp an important message. And then there are you. The diners. Perhaps you would like to give us your opinion. Your stomach’s opinion.
Enjoy your meal.
Cuochivolanti is the brainchild of Davide Barbato, Roberta Cavallo and Patrizia Capuzzi. Since 2009 they have been working with Chiara Cardea, an actress. Their activities are varied and range from catering and home cooking to the creation of events, shows and performances. Company productions: Kitchen Kabarett (2007); Cooking Time (2009); Tempesta di pasta (2009); L’ultima cena di Leonardo (2010); Cucinasonora (2010-2011); Anima in bocca (2012) and, with the Ass. CuochiLab, Happy Meals (2012), a project that won the STT – Sistema Teatro Torino tender.
Since 2010 Cuochivolanti have been curating the project Play with Food – La scena del cibo, the first visual and performing arts festival entirely dedicated to food. As part of the festival, Cuochivolanti has co-produced new visual and performing arts creations by artists from Turin and all over Italy. Work is currently underway for the fourth edition of the festival (20-24 March 2013), whose programme is built around four ongoing calls for ideas.
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Compagnia Gorsciaskji
the evening continues with Salomè ha perso il lume
dramaturgy by Anna Schirru
directed by Anna Schirru
with Maria Gorini and Caterina Sciariada
Two sisters live their daily dystopia.
They distort natural Time and Space to create a microcosm that is theirs alone, regulated by a decalogue that marks their lives and that they have inherited, just as one inherits eye colour.
To maintain this balance they use the only strategy they know: play, the only moment of authenticity. A child’s game that becomes an opportunity to give free rein to adult, violent and turbid impulses, impulses that would otherwise be constantly silenced. If you want to survive, all you can do is keep quiet: swallow and pretend nothing is happening.
We have created a surreal and perverse but perfect balance.
The Gorsciaskji Company was founded in November 2011 by three young actresses: Anna Schirru, Maria Gorini and Caterina Sciariada. The three girls, one from Milan, one from Rome and one from Cagliari, met at the propaedeutic acting course at the Paolo Grassi School of Dramatic Art and chose Milan as the base for the company. With a similar vision of theatre and aesthetic taste, they embarked on a journey during which the physiognomy of the company was outlined. Ingoia e fai finta di niente is their first work.
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Fuorisalone 2013
THE MEETING BETWEEN GENERATIONS will be a central theme during the Salone del Mobile when we will publicly ask THE QUESTION MUST I ASK AN OLD MAN? and ZONA K will be dressed in the Ü60 exhibition – design for tomorrow.
In the same context, on Wednesday 10 April we will be presenting the book
Re-birth: grandmothers and grandfathers tomorrow. Intergenerational ties in a complex society by Cristiana Ottaviano, University of Bergamo.
Exhibition of some objects created by the Faculty of Design and Art of the Free University of Bolzano (I), the Burg Giebichenstein Kunsthochschule in Halle (D) and the Angewandte Kunst in Schneeberg (D). The content of the exhibition, which has already been presented at the Grassi Museum in Leipzig and at the IMM – Internationale Möbel Messe in Cologne, is the result of a cooperation project that began in February 2012 and revolves around a series of objects designed for the elderly in an attempt to avoid the medical aesthetic that usually characterises them. The aim of the exhibition is to raise awareness of the issue of ageing in contemporary society in a more general way, not only by focusing on the design of the objects, but also by thinking about a targeted mediation of this issue.
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Panda Project
the evening continues with Mo.Lem (Movimento Libere Espressioni Metropolitane)
with Beatrice Cevolani, Hendry Proni and Delia Trice
If you are at the supermarket checkout you expect the cashier to be honest. Yet the trolley is full of packages on which there are pictures of a perfect product that you won’t find inside the boxes. And you know it.
If you are at a poker table you think bluffing is legal.
If you go to the theatre you think you’re sitting there listening to and watching people put on a show.
If you go to see a Panda Bluff instead? You don’t. Because first you will be a spectator, then a spectator, then an actor, then a participant, then something that doesn’t yet have a name because it’s pure avant-garde, or a bluff. We won’t tell you, but if you don’t try you’ll never know.
We were thinking of a show, a format was born: in Panda Bluff we take a subject, we dissect it, we shake up a bit the conventions of theatre and the convictions of the audience to try to show that enacting declared fictions, in some cases fictions, in some cases, is the only way to be true.
Panda Project are Hendry Proni, Beatrice Cevolani and Delia Trice. Three actors with different backgrounds (academic, performance, group theatre) have been working in theatres, festivals and squares for years, with various groups/companies (Koiné, ALDES-Roberto Castello, Teatro Due Mondi), collaborating and have collaborated with anyone who has given them prestige, space or money. Now they have decided to stay together for a while. Panda Project was born, followed by Panda’s Heart. “Maybe we thought we were old enough. Or maybe we were the right people. We don’t know exactly when this project was conceived, but we are sure it was a good moment. We didn’t look for it, it’s true, but we’ll never tell them that.”
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