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GIOVEDì 28 NOVEMBRE
ore 19:30
METABOLO II: ORYNTHIA di Valerie Tameu
Dove: in presenza presso La Corte Ospitale di Rubiera (RE) e online (invio del link via email dopo l’acquisto del biglietto)
Durata: 50′ – online: per 20 spettatori
Un rituale cyber-magico, in cui il movimento del corpo umano, quello di un biota acquatico e un software di intelligenza artificiale collaborano per dare vita a un’entità numerica, una figura ispirata alla leggenda della Mami Wata, divinità acquatica mutaforma dell’Africa occidentale ed equatoriale.
ore 21:00
SPAZIO LATENTE di Filippo Rosati
Dove: su Twitch
Durata: 50′ – per 50 spettatori
Un’esperienza digitale immersiva che porta il pubblico in un teatro anatomico virtuale dove l’innesto di un impianto cerebrale consentirà la modifica da parte del pubblico delle memorie del paziente, un lavoro che s’interroga sul rapporto tra tecnologia, arte e coscienza umana
VENERDÌ 29 NOVEMBRE
ore 19:30
NON PLAYER HUMAN di Simone Arganini e Rocco Punghellini
Dove: su Twitch
Durata: 60′
Una performance interattiva che, attraverso la figura del “Non-Playable-Character”, porta in scena le tensioni esistenziali dell’essere umano, interrogandosi sulle dinamiche relazionali e di potere che si creano in presenza di un soggetto controllato in un contesto di live-stream.
ore 21:00
METABOLO II: ORYNTHIA di Valerie Tameu
Dove: online (invio del link via email dopo l’acquisto del biglietto)
Durata: 50′ – per 20 spettatori
SABATO 30 NOVEMBRE
ore 18:30
RADIO PENTOTHAL di Ruggero Franceschini
Dove: online (invio del link via email dopo l’acquisto del biglietto)
Durata: 60′
Una radio ispirata dal personaggio di Andrea Pazienza e dalla storica Radio Alice, i cui contenuti sono generati da un programma di intelligenza artificiale addestrata con materiali della controcultura degli anni ‘70.
ore 21:00
NON PLAYER HUMAN di Simone Arganini e Rocco Punghellini
Dove: su Twitch
Durata: 60′
DOMENICA 1 DICEMBRE
ore 18:30
RADIO PENTOTHAL di Ruggero Franceschini
DOVE: online (invio del link via email dopo l’acquisto del biglietto)
Durata: 60′
“La quinta edizione della Settimana delle Residenze Digitali porta all’attenzione di pubblico e operatori quattro artisti fortemente motivati a lavorare nello spazio digitale online, con progetti realizzati dal vivo che domandano allo spettatore una partecipazione relazionale e interattiva: sempre più il nostro lavoro si avvicina agli obiettivi che avevamo pensato quando lo abbiamo avviato nel 2020, ovvero aprire nel panorama teatrale e coreografico italiano uno spazio che prima non c’era” – dichiarano Lucia Franchi e Luca Ricci, direttori generali dell’Associazione CapoTrave/Kilowatt e coordinatori insieme ad Armunia del network Residenze Digitali.
Residenze Digitali nasce da un’idea del Centro di Residenza della Toscana (Armunia – CapoTrave/Kilowatt), in partenariato con l’Associazione Marchigiana Attività Teatrali AMAT, il Centro di Residenza Emilia-Romagna (L’arboreto – Teatro Dimora │ La Corte Ospitale), l’Associazione ZONA K di Milano, Fondazione Piemonte dal Vivo – Lavanderia a Vapore, C.U.R.A. – Centro Umbro Residenze Artistiche, a cui si sono aggiunte quest’anno due nuove realtà: il Centro di produzione di danza e arti performative Fuorimargine, in Sardegna, e l’Associazione Quarantasettezeroquattro (In\Visible Cities – Festival urbano multimediale) di Gorizia.
BÜRGERBÜHNE – La scena dei cittadini
Performance itinerante in cuffia | durata 120 min | in italiano
adatto a un pubblico a partire dai 10 anni
evento non accessibile a persone con mobilità ridotta
punto di partenza: Via Cesare Cesariano, 8 Milano
ATTENZIONE: PRIMA DI EFFETTUARE L’ACQUISTO DEI BIGLIETTI
LEGGERE ATTENTAMENTE TUTTE LE INFORMAZIONI INERENTI ALLA PARTECIPAZIONE
ELENCATE DI SEGUITO
Una mappa di parole e suoni, un disegno di luoghi e storie, un percorso audio a misura di cittadino, che attraversa Milano e unisce Parco Sempione a Villapizzone, Lambrate ai Navigli, Paolo Sarpi a Rimembranze di Greco.
Sono luoghi di crescita e di trasformazione, di memoria e proiezioni di futuro quelli che il pubblico è chiamato ad attraversare: alcuni solo evocati, altri realmente toccati dal percorso a piedi che il pubblico è chiamato a seguire.
In ogni luogo la cronaca e la storia di Milano incrociano le storie personali dei cittadini, così in una strada una targa ricorda uno scienziato mentre al civico 2 una ragazza entra nella casa che segna l’inizio della sua storia nella città; una piazza diventa un campo da calcio dove si gioca una partita tra vecchi e nuovi abitanti; una canzone ricorda un concerto annullato all’ultimo minuto e un titolo di giornale rimbalza tra gli anni della contestazione e l’omicidio nell’albergo proprio accanto a quel locale dove tutte le mattine si faceva colazione ai tempi dell’Università.
Lungo la strada, attraversata dal percorso chic e dal percorso radical, incontri inaspettati, soste improvvise e cambiamenti di rotta: un viaggio per Milano, ogni volta diverso, allo stesso tempo collettivo e individuale, dove perdersi tra passato, presente e futuro diventa un modo per scoprire quello che non sapevamo di conoscere.
COME PARTECIPARE
➤ La camminata ha una durata di circa 2 ore. Si consiglia di indossare scarpe e vestiti adatti alla camminata urbana e di portare con sé una bottiglia/borraccia d’acqua.
➤ Il ritrovo è 15 minuti prima dell’inizio della performance nella piazzetta di via Cesariano 8, lì riceverete le vostre cuffie wireless.
➤ Il luogo di arrivo è una sorpresa, ma sarà una fermata della metro o di un tram, o del passante ferroviario.
➤ NB: durante il percorso si prenderanno i mezzi pubblici, si prega di portare con sé un biglietto cartaceo ATM.
➤ La performance verrà annullata solo in caso di pioggia consistente; in caso di annullamento preventivo verrete avvisati telefonicamente.
La performance è realizzata in seguito a un laboratorio teatrale cominciato a Living Moneta e proseguito a ZONA K.
“BÜRGERBÜHNE – La scena dei cittadini” – ispirato al progetto dello Staatsschauspiel di Dresda – è uno spazio aperto al confronto per trasformare le riflessioni, le urgenze e le domande dei cittadini in linguaggio artistico e trovare così nuove forme di partecipazione attiva
Un progetto di ZONA K Performer, autori/autrici dei testi Massimo Amati, Eleonora Bedon, Emilia Bella, Francesco Cecinato, Francesca Gerli, Maria Teresa Gimelli, Paolo Grulla, Fabio Lastella, Elena Lerra, Xina Veronese, Sara Pennati, Daniela Petrillo, Irmtraut Tonndorf Drammaturgia e regia Federica Di Rosa Organizzazione e aiuto regia Leda Peccatori Editing audio Davide Stecconi Laboratorio a Living Moneta/Associazione Porta Moneta a cura di Miriam Selima Fieno, Nicola Di Chio Laboratorio a ZONA K a cura di Federica Di Rosa con Leda Peccatori costumi Tantrika Shop musiche originali Bruschetta Brothers Si ringrazia LibrOsteria, Ristorante Pizzeria Mediterraneo, Giardini In transito Lea Garofalo e Federico Antonello
Foto da Unsplash: Andrea Ferrario
Gaia Giani (IT)
EXTRA FOCUS
IN COLLABORATION WITH Micamera
participatory performance, karaoke
DETAILED INFORMATION COMING SOON
ON HOW TO RESERVE THE MICROPHONE
132 moons, 2244 songs, 17 playlists, three years of love.
Then it’s all over.
What’s left?
Gaia Giani recounts her dream of love between Milan and Tucson in a performance – karaoke created to collectively process the end of a love affair.
It all begins with the 2244 tracks divided into 17 playlists created together with her ex-partner. What to do with them? Giani can no longer listen to them, but she can’t get rid of them either. She decides to start sharing them with her friends, asks them to choose some tracks, and before long a playlist of playlists is born, a musical elaboration of her romantic evolution.
There’s nothing left to do but sing them together: here is PLAYLIST PLAYLAST. The Impossible Karaoke, a collective performance to sing about an impossible love. The goal is to reclaim the music and erase the 17 playlists. Each track has a story behind it, and in a sort of stand-up comedy, Giani retraces the ‘playlist method’, the heartache, and the goodbyes.
PLAYLIST PLAYLAST. The Impossible Karaoke is an evening of singing and dancing, a collective ritual, shared laughter and tears. At the same time, it is a reflection on memory, on the archives – of songs, photos, messages – that we carry with us, in our phones or on hard drives, with the dilemma and sometimes the urgency to archive them, let them lie silent, or get rid of them.
After an initial private performance, this second edition is open to a wider audience. Participants will have the opportunity to suggest a track to add (and a story to tell). Among the proposals, two will be included as bonus tracks in the original playlist.
The performance is linked to the work Volatile, 2022. Click to watch.
Listen to the Playlist, click to open Spotify
“You were my first and only Spotify love“
a show by Gaia Giani, karaoke DJ Manga, with the participation of The Beat Barons, an idea developed in collaboration with Giulia Zorzi – Micamera
photo by Gaia Giani
GAIA GIANI BIO: click here
MAPPE: IL VALORE DEL PAESAGGIO TRA TEATRO, NATURA E ARTIFICIO
Incontro | partecipazione gratuita
c/o Biblioteca Comunale di Bollate, Via Carlo Alberto dalla Chiesa 30
Archivio di segni, palinsesto di tracce, il paesaggio sfugge a una definizione univoca. Al limite tra città e campagna, tra naturale e artificiale, all’incrocio tra teatro e rito sociale, tra comunità umane e non umane, il progetto Paesaggi condivisi è l’occasione per discutere alcune questioni nodali che riguardano il rapporto tra gli spazi e l’abitare. E, a partire dal teatro, esplorare nuovi modi di guardare al proprio territorio e al suo valore.
A cura e con Francesca Serrazanetti (Politecnico di Milano / Stratagemmi) e Emanuele Regi (Dottorando Università di Bologna) in dialogo con Arch. Giuseppe Brollo, Prof Antonio Longo (Politecnico di Milano), Ente Parco delle Groane.
VAI AL TALK VOCI: CREANDO PAESAGGI CONDIVISI
VOCI: CREANDO PAESAGGI CONDIVISI
Incontro
ingresso gratuito
prenotazione obbligatoria: clicca qui ➝ piccoloteatro.org
c/o Chiostro Chiostro Nina Vinchi via Rovello 2, Milano
Quella tra teatro e paesaggio è una relazione antica ma soggetta a continue reinvenzioni. Dentro e fuori la città, l’invisibile si fa evidente davanti allo sguardo dello spettatore, orientato dalla lente dell’arte. Il progetto Paesaggi condivisi offre una panoramica di possibilità e visioni nel porre il paesaggio come soggetto del teatro, nel superamento della convenzionale relazione palco-platea. In dialogo con artiste e artisti coinvolti, l’incontro approfondisce i processi di avvicinamento alla creazione artistica nella relazione tra spazio e dispositivi performativi, tra costruzione di comunità e di un’idea europea, condivisa, di paesaggio.
A cura di e con Francesca Serrazanetti (Politecnico di Milano / Stratagemmi) e Emanuele Regi (Dottorando Università di Bologna) in dialogo con i curatori artistici del progetto Paesaggi Condivisi Stefan Kaegi e Caroline Barneaud e alcuni degli artisti coinvolti.
VAI AL TALK MAPPE: IL VALORE DEL PAESAGGIO TRA TEATRO, NATURA E ARTIFICIO
BÜRGERBÜHNE – La scena dei cittadini
Performance itinerante in cuffia | durata 120 min | in italiano
punto di partenza: Via Cesare Cesariano, 8 Milano
ATTENZIONE: PRIMA DI EFFETTUARE L’ACQUISTO DEI BIGLIETTI
LEGGERE ATTENTAMENTE TUTTE LE INFORMAZIONI INERENTI ALLA PARTECIPAZIONE
ELENCATE DI SEGUITO
Una mappa di parole e suoni, un disegno di luoghi e storie, un percorso audio a misura di cittadino, che attraversa Milano e unisce Parco Sempione a Villapizzone, Lambrate ai Navigli, Paolo Sarpi a Rimembranze di Greco.
Sono luoghi di crescita e di trasformazione, di memoria e proiezioni di futuro quelli che il pubblico è chiamato ad attraversare: alcuni solo evocati, altri realmente toccati dal percorso a piedi che il pubblico è chiamato a seguire.
In ogni luogo la cronaca e la storia di Milano incrociano le storie personali dei cittadini, così in una strada una targa ricorda uno scienziato mentre al civico 2 una ragazza entra nella casa che segna l’inizio della sua storia nella città; una piazza diventa un campo da calcio dove si gioca una partita tra vecchi e nuovi abitanti; una canzone ricorda un concerto annullato all’ultimo minuto e un titolo di giornale rimbalza tra gli anni della contestazione e l’omicidio nell’albergo proprio accanto a quel locale dove tutte le mattine si faceva colazione ai tempi dell’Università.
Lungo la strada, attraversata dal percorso chic e dal percorso radical, incontri inaspettati, soste improvvise e cambiamenti di rotta: un viaggio per Milano, ogni volta diverso, allo stesso tempo collettivo e individuale, dove perdersi tra passato, presente e futuro diventa un modo per scoprire quello che non sapevamo di conoscere.
COME PARTECIPARE
➤ La camminata ha una durata di circa 2 ore. Si consiglia di indossare scarpe e vestiti adatti alla camminata urbana e di portare con sé una bottiglia/borraccia d’acqua.
➤ Il ritrovo è 15 minuti prima dell’inizio della performance nella piazzetta di via Cesariano 8, lì riceverete le vostre cuffie wireless.
➤ Il luogo di arrivo è una sorpresa, ma sarà una fermata della metro o di un tram, o del passante ferroviario.
➤ NB: durante il percorso si prenderanno i mezzi pubblici, si prega di portare con sé un biglietto cartaceo ATM.
➤ La performance verrà annullata solo in caso di pioggia consistente; in caso di annullamento preventivo verrete avvisati telefonicamente.
La performance è realizzata in seguito a un laboratorio teatrale cominciato a Living Moneta e proseguito a ZONA K.
“BÜRGERBÜHNE – La scena dei cittadini” – ispirato al progetto dello Staatsschauspiel di Dresda – è uno spazio aperto al confronto per trasformare le riflessioni, le urgenze e le domande dei cittadini in linguaggio artistico e trovare così nuove forme di partecipazione attiva
Un progetto di ZONA K Performer, autori/autrici dei testi Massimo Amati, Eleonora Bedon, Emilia Bella, Francesco Cecinato, Francesca Gerli, Maria Teresa Gimelli, Paolo Grulla, Fabio Lastella, Elena Lerra, Xina Veronese, Sara Pennati, Daniela Petrillo, Irmtraut Tonndorf Drammaturgia e regia Federica Di Rosa Organizzazione e aiuto regia Leda Peccatori Editing audio Davide Stecconi Laboratorio a Living Moneta/Associazione Porta Moneta a cura di Miriam Selima Fieno, Nicola Di Chio Laboratorio a ZONA K a cura di Federica Di Rosa con Leda Peccatori costumi Tantrika Shop musiche originali Bruschetta Brothers Si ringrazia LibrOsteria, Ristorante Pizzeria Mediterraneo, Giardini In transito Lea Garofalo e Federico Antonello
Foto da Pexel: Francesco Ungaro
Ant Hampton/Time Based Editions (GB/DE)
individual experience | duration 80 min
available in Italian, English, French and Dutch
in partnership and c/o Casa degli Artisti Milano
Via Tommaso da Cazzaniga, Corso Garibaldi, 89/A
AUDIO IS PLAYED FROM YOUR SMARTPHONE,
SHOW UP FULLY CHARGED AND EQUIPPED WITH YOUR OWN HEADPHONES
Time Based Editions’ ingenious new format offers ‘audio-visual’ as two separate elements, held together here in a shared, collective present through a physical synchronisation of our hands. Together we dive into a here-and-now of the page: printed photography brought alive by a soundscape that both guides and surrounds us.
“the beauty of the collective experience is that it does feel more like a live event, which increases the attention and urgency. In the theatre auditorium, Borderline Visible truly feels like a journey through space and time.” – Marijn Lems, for Theaterkrant
What’s the difference between experiencing it collectively and doing it alone?
Partly, it’s the same difference between seeing a movie at home and in a cinema with others. Especially when, as here, the material and story gets to a place where bearing witness collectively feels necessary.
But with Time Based Editions we are not simply watching a film.
We become aware of movement around us – a choreographed ‘echo’ of our own page-turning; fingers tracing lines together, a book being turned upside down in sync with others.
With this awareness our attention is brought away from image and representation and more to the book as a material object and our embodied relationship with it.
Sometimes the prompts to ‘close your eyes’ are not present in the collective version. Instead, the light may fade or disappear entirely leaving us momentarily holding our books in darkness as the sound continues.
By Ant Hampton Feedback David Bergé Book design Roland Brauchli Based on a project with Rita Pauls Music Perila, Oren Ambarchi Thanks to Pieter Ampe, Giorgos Antoniou, Sae Bosco and Samos Volunteers, Yannick Christian, Hani Dunia, Effi & Amir, Tim Etchells, Katy Fallon, Martin Hampton, Britt Hatzius, Leo Kay, LAPS, Camille Louis, Eva Neklyaeva, Beyhan Onur, Anelka Tavares, Prodromos Tsinikoris, Giulia de Vecchi, Anny Y
Credits for the various versions can be found at https://timebasededitions.com/Product-page
Time Based Editions is an imprint of PHOTOGRAPHIC EXPANDED PUBLISHING ATHENS Created with the support of: The Resonance Foundation (Los Angeles) Bimeras (Istanbul / Berlin) Théâtre Vidy (Lausanne) Research and prototype support: Lita House of Production and Kundura Stage (Istanbul) National Theatre of Northern Greece (Thessaloniki)
More info – www.timebasededitions.com / instagram: @time_based_editions
Photo by Doc Lab
Ant Hampton (1975, DE/UK) is a British-German performance maker and writer. His work since 1999 has often involved guiding people through unrehearsed situations and interactive relations, using automated devices. His three collaborations with Tim Etchells are participative experiences for two at a time, combining audio with different engagements with the page: text and silent reading (The Quiet Volume, 2010); archive photography (Lest We See, 2015); and mark-making/ erasure (Not to Scale, 2020). In more recent years his practice has expanded into a wider investigation of risk-taking and leaps of faith, for example with The Thing – An Automatic Workshop in Everyday Disruption, created with Christophe Meierhans. These and many other of his “Autoteatro” works continue to tour internationally in over 80 language versions, some of them without anyone needing to travel – a paradoxical outcome for an art committed to liveness and presence which in turn informed his 2021 advocacy and research project: ShowingWithoutGoing.live – an Atlas. Together with David Bergé, he co-founded Time Based Editions in 2023.
In partnership with
Tolja Djokovic (IT)
performance for 25 spectators
c/o private houses in the Isola district and ZONA K
A più voci (Quaderno proibito) is a theatrical performance in four episodes, each of which takes place in a private home or a non-theatrical space and revolves around the relationship between domestic work and creativity. Each episode deals with a specific theme, and the private homes chosen as performance venues become fundamental elements of the story, transforming themselves into open spaces visited by outsiders.
Co-produced by E Production, Periferico Festival and ZONA K, A più voci (Quaderno proibito) is a special project realised by the playwright Tolja Djokovic that saw the involvement of a large community of women from the city of Modena, where a participatory workshop was held starting in June, and that also feeds on the contribution of other women from the cities where it is staged.
Each episode of the series is unique and develops on the basis of the experiences and stories shared during the workshop meetings. The result is a choral process that questions domestic work and the forms in which art manifests itself, seeking new perspectives on the role of women in society and the definition of the woman artist. A più voci (Quaderno proibito) reflects on the concepts of home and domestic work, which can be experienced as sources of pain and frustration but also as reservoirs of skills, energy and vitality.
A project by Tolja Djokovic in dialogue with Serena Terranova / Collettivo Amigdala realised with the participation of Simona Biagi, Anna Chiara Nicolussi, Giulia Matzé, Gabriella Tritta, Paula Nolff, Teresa Righi Riva, Nicoletta Rinaldi, Teodora Grano, Elena De Simone, Teresa Mazzanti, Maria Chiara Vigiano, Chiara Ricci, Emilia Bergamini, Roberta Dell’Oste, Valentina Piro, Gloria Dagnino, Elena Gargaglia, Luisa Motta, Irmtraut Tondorf, Xina Veronese, Elena Lerra, Emilia Bella, Francesca Gerli, Angela Ruggeri graphic design Inner Room, Sanctuary, Economy Fabrizio Goglia production E Production, Periferico Festival, ZONA K
Photo by Davide Piferi De Simoni
Tolja Djokovic grew up in Rome but lives in Milan. She graduated in Philology and Italian Literature with a research thesis on reading aloud the poetic text, and has been working in theatre as an actress and author since 2009. In 2018 she participates in the International Dramaturg Masterclass of the Iolanda Gazzarro School of Theatre of ERT. In 2019 she founds the company tostacarusa for which she is dramaturg and director. In 2021 she participates in the writing of Per la città dolente, a Teatro Metastasio production, directed by Roberto Latini. In 2022 she is present at the Venice Theatre Biennale with the text En Abyme directed by Fabiana Iacozzilli. In 2023 he won the 57th Riccione Theatre Prize with the text Lucia camminava.
Giulia Scotti (IT)
show | duration 60 min
c/o ZONA K, admission allowed with membership 2024
In my family there are stories that are not told in the belief that what is not told will never be known. Of my aunt’s story no one ever told my brother and me anything, what we did know was that my father had three sisters and that we now have two aunts and that therefore one of the three was no longer alive, Daniela. I have no memories of her alive, nor of us together. There is a photograph of her, I remember that one, I never liked it, it’s a bit grainy, a bit anonymous, and my aunt’s face is yellow, or at least that’s how it looked to me when I looked at it as a child. It is the photo you give to friends and relatives on the day of the funeral. When she died nobody told me. I have an image of that afternoon. I am walking through the house, I stop in front of my parents’ bathroom, I have a feeling. The door is half-open, I look inside: there is my father, standing there, his arms long, outstretched, leaning against the sink, he is crying, desperately crying, shaking, but without making a sound. I remember being worried because I had never seen my father cry.
I grew up and didn’t think about it any more: my aunt was dead and death brings sadness, which is why, I imagined, no one ever talked about it. Then one day, I was twenty-five, my father came to me and told me Daniela’s story. He did it without stopping, without omitting anything, as if he had been waiting for that moment all his life. This is the story of my aunt as I heard it from my dad, it is the story of a man who wants to save his sister from death but cannot.
Almost everything is true, some parts are made up.” Giulia Scotti
Winner of the ‘Tuttoteatro.com’ Dante Cappelletti 2023 Award
Special mention bando Odiolestate 2023text and direction Giulia Scotti collaboration on the project Andrea Pizzalis consultancy Alessandra Ventrella with Giulia Scotti lighting design Elena Vastano sound Lemmo co-production INDEX, tuttoteatro.com production residence Carrozzerie | n.o. t with the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia, Centro di Residenza della Toscana (Armunia – CapoTrave/Kilowatt), Olinda/TeatroLaCucina in collaboration with mare culturale urbano, Ex Asilo Filangieri production, organisation, administration Valentina Bertolino, Silvia Parlani, Grazia Sgueglia communication Francesco Di Stefano
We would like to thank Antonio Tagliarini, Fabiana Iacozzilli, Francesco Alberici for having believed in it first. Special thanks to Daria Deflorian for supporting the project
Pic by the artist
Giulia Scotti graduated as an actress from Grock – Theatre School. She participates as an actress in several shows, the latest of which Elogio della vita a rovescio directed by Daria Deflorian; in addition to her theatrical practice she explores different expressive mediums, until she approaches comics. In 2018 she was selected for the European project Artists@Work. Fermata Rogoredo was born, a short comic-strip story exhibited during the festival of Internazionale in Ferrara, ed. 2018. In 2020 her debut comic Tutto quello che non ho dimenticato won the first prize, awarded by the writer Paolo Cognetti, of the Milano Pitch for the adult fiction book section. In 2019 he founded, together with a collective of actresses and actors, the Praxis association, which works by proposing a blend of performing arts, anthropological discipline and social research methods. What is not there is the personal project currently in the works.
Diana Anselmo e Sara Pranovi (IT)
performance in Italian and LIS | duration 50 min
c/o ZONA K, admission allowed with membership 2024
In collaboration with Danae Festival
Je Vous Aime is a lecture-performance about a short film, so short that it lasts barely a second: it is 1891, four years before the Lumière premiere. Georges Demenÿ invents a device that for the first time manages to project a faint moving image: his own face uttering the words “Je vous aime”. This is technically the first video ever, which will lead to the invention of the cinematograph and eventually cinema itself.
Starting from History, always the result of a meticulous choice between what can be preserved and what cannot, and from the Archive, a device at the service of a certain system of power, the performance highlights the anti-history, or rather “those whom History does not take into account”; thus revealing how that first video was aimed at teaching lip-reading to deaf children – after they were prevented by law from signing. This was the verdict of the Milan Congress, the consequences of which still affect Deaf people today. In Italy, Italian Sign Language (LIS) was only recognised as a true language in May 2021: 141 years later. Je vous Aime is, therefore, a multimedia performative stage action that unfolds between verbal storytelling, slides, video testimonies in Italian Sign Language (LIS), and Visual Sign (a poetic form of sign languages) with the aim of discussing audism, phonocentrism, and linguicism, and rewriting the “literature of the masters”.
performer Diana Anselmo and Sara Pranovi director Diana Anselmo video testimonies Paolo Girardi, Leonarda Catalano, Mario Minucci, Maurizio Anselmo, Anna Folchi, Vincenza Giuranna, Diana Vantini, Matteo Pedrazzi produced with the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia
Photo by Sara Meliti
Diana Anselmo is a Deaf performer, activist and improvised human being.Bilingual LIS and Italian, she made her debut with her first performance “Autoritratto in 3 atti” (2021), still presented at various Italian and international festivals. Abroad, he made his debut in Berlin with “Le Sacre du Printemps (2022)” by Xavier Le Roy. He is one of the founders of Al.Di.Qua. Artists, the first association in Europe of and for artists* with disabilities.
Sara Pranovi is a LIS interpreter with specific expertise in the world of performance. On stage, she has translated numerous shows into LIS: alongside Marta Cuscunà (Corvidae, Sguardi di Specie) and Irene Serini (Abracadabra), she has also interpreted in sign language the works “Abbracci” by Teatro Telaio, “I Danni del Pomodoro” by Teatro d’Emergenza, “Escargot” by Teatro del Piccione, “Il Tenace Soldatino di Piombo” by Teatro delle Apparizioni and “Pornodrama 2.0” by Giuseppe Comuniello and Camilla Guarino.
Guinea Pigs (IT)
EXTRA FOCUS
show | duration 80 min
c/o ZONA K, admission allowed with membership 2024
A theatrical fiction on citizenship rights that tells the story of the transition from adolescence to adulthood of a second-generation girl grappling with the construction of her identity, conflict with her family and her relationship with her origins, and the obstacles caused by missed citizenship rights in school life and in the world of sport. The story focuses on a pivotal moment in the protagonist’s life: her turning 18, and sees her coming to terms with the desires, expectations and renunciations that this ‘milestone’ brings to her existence. The show talks about school, the relationship between generations, education, privileges acquired by birth and rights denied by law. The adolescent characters are played by girls and boys met along the production route, while adult actors and actresses represent the family and the educating community. The show marks the culmination of three years of work by the Guinea Pigs Performing Arts Laboratory with groups of teenagers in Milan and Lombardy. Every aspect of the creative process is conceived, written in collaboration, and in dialogue with the working group: a collective and transgenerational creation process where each participant finds a space for storytelling, action, and representation. L’Italia è relativa also wants to be an opportunity to reflect on the unconscious privilege that concerns a large part of the population that is already Italian and to publicly question ourselves on what is the society we are imagining or are consciously deciding not to imagine.
a performance by Giulia Tollis and Riccardo Mallus with Letizia Bravi, Marco De Francesca, Ivna Lamart and Ilenia Mia Carrozzo, Giovanni Di Ponziano Tiffany Guaygua dramaturgy Giulia Tollis with contributions by Annasimon Hanna Edward Botros and the actresses and actors directed Riccardo Mallus and Mohamed Boughanmi Rengifo video Julian Soardi sound design Flavia Ripa set design and costumes Stefano Zullo technical direction Marco Ottolini with the precious collaboration of Federica Incrocci with the consultancy Nicola Datena of the Association Le Carbet of Milan and Na. Co. – Narrazioni Contaminate of Turin
We would like to thank AGS Pallavolo Milano and the Istituto Comprensivo ‘Gino Capponi’ of Milan and all the people we met in the high schools and in the creation workshops who contributed to the realisation of this show We would like to thank Irene Timpanaro for her red Citroën C3
A Laboratorio d’Arte Performativa Guinea Pigs production, with the support of MiC and SIAE in the framework of the programme ‘Per Chi Crea’ with the support of Intercettazioni – Centro di Residenza Artistica della Lombardia, a project of Circuito CLAPS and Industria Scenica, Laagam, Teatro delle Moire, ZONA K with the support of ZONA K, Industria Scenica, Ilinxarium multidisciplinary artistic residency, Casa degli Artisti di Milano, Compagnia Carnevale, Centro Culturale Barrio’sPhoto: M. Giussani
Photo by the artist
Laboratorio d’Arte Performativa Guinea Pigs creates performances, installations, events, and cultural experiences that investigate social issues in theatrical spaces and urban contexts and are the result of meetings and collaborations with third parties operating in the social field and other artistic disciplines. In 2022 the company, together with the publishing house Marcos Y Marcos and the Arci Post club in Parma, planned and realised a cycle of digital and live events to promote the fruition and diffusion of poetry as part of the project Atlante Sonoro della Poesia Mondiale (Sound Atlas of World Poetry) financed by the Fondazione Cariparma.
Massimo Furlan / Claire De Ribaupierre (CH)
show | duration 60 min | in italian
c/o Parco delle Cave
Cava Aurora – Associazione Unione Pescatori Aurora
(in case of rain, the show will be staged in ZONA K)
An ancestral bond with the wild world, based on knowledge, patience, and listening with all the senses. Men and animals. Hunters and prey, fishermen and fish, forest rangers and philosophers. What connects them? Forests, rivers, mountains, and lakes where some live, and others search for a world that has almost disappeared. What do their stories, their anecdotes, and their experiences tell us?
On stage, fishermen and hunters—examples of the paradoxes of our time—are intimate connoisseurs of animals in their habitats and bearers of questions about human intervention in natural ecosystems. Their actions and practices combine tradition with contemporary issues, necessary needs (population regulation, human sustenance, etc.), and Sunday pastimes.
“Con l’Animale” is the second chapter of the “Trilogy of Contaminations,” a project in which Massimo Furlan and Claire De Ribaupierre explore the relationships we have with nature and its inhabitants to understand how an environment is structured: who are the main players, how they interact, and how they constantly evolve together. It aims to understand what unites us, what we all have in common. How do we build balances or create imbalances, form alliances or break them, and how do we coexist?
Today, more and more, we are neglecting the ancestral knowledge based on the balance between what we take from nature and the time we give it to regenerate. To no longer know the environment is to neglect it; to exploit it excessively is to destroy it. Without understanding the intelligence of what surrounds us, we are destroying ourselves.
a project by Massimo Furlan and Claire De Ribaupierre direction Massimo Furlan dramaturgy Claire De Ribaupierre with Tommaso Banfi, Vanni Bruscaglioni, Fabio Fiochi, Paolo Nicolini, Pablo Vallin technical and video direction Jérôme Vernez lighting Etienne Gaches sound Aurélien Chouzenoux administration and production Noémie Doutreleau distribution Jérôme Pique production Numero23Prod. co-production Théâtre Vidy – Lausanne (CH), Les 2 scènes – Besançon with the support of Ville de Lausanne, État de Vaud, Pro Helvetia – Fondation Suisse pour la Culture, Loterie Romande (en cours), programme européen de coopération transfrontalière Interreg France-Suisse dans le cadre du projet CDuLaB.
Foto di Pierre Nydegger
After training at the Ecole des Beaux-Arts in Lausanne, Swiss set designer and visual artist Massimo Furlan worked with various dance and theatre companies. In 2003, he founded his own company dedicated to the performing arts, Numéro23Prod, to interrogate the act of representation outside the confines of genres. His multiple performances, essentially articulated around humour and contrast, question popular manifestations, the notion of the team and the themes of image, duration, childhood, memory and play. In 1988 Furlan received an award from the Irène Reymond foundation in French-speaking Switzerland and in 2001 a Prix culturel vaudois jeunes créateurs beaux-arts. In 2014, he received the Swiss Cultural Theatre Prize. Her works have been presented in theatres and festivals throughout Europe.
Since 2023 Claire De Ribaupierre has been the dramaturge of Massimo Furlan’s creations. She holds a degree in Literature and conducts research in the fields of anthropology and contemporary images and literature.
FOCUS #3 · ROTTE / ROUTES
The route must be established before navigation and then checked along the way, step by step. It is a matter of having a direction to steer the course. This is how we have tended to move for centuries. We set off with a destination and a path. This applies to our movements, to research (the ‘method’ comes from there) as to any path of truth or direction of self-care.
Today, rather, we often have the impression that something is broken. In the great historical journeys of mankind, in the sensible experiences or oriented paths above and within one’s own soul, something has broken. These ruptures often question us, if not trouble, distress or even despair us.
Yet, the ruptures also allow us to discover something that the direction and the path of truth kept hidden. Caught up as we were by the sense, meaning and direction of our progress, we forget what was happening to us along the way, step by step, and what was being erased at each step because it was inevitably left behind, discarded, (de)cayed.
Another route, then, begins to emerge from the background of our teleological truths. Another adventure, seemingly devoid of the sense that the first knew how to display, but more rooted or radical. More than a story, then, it is a geography, a writing of spaces that become lived, inhabited, traversed places. More than a journey, a wandering. More than a discovery, an encounter.
Learning to inhabit the silent trail of what continually interrupts the route entails a general turning of ourselves and our way of inhabiting the space in which we live. It means beginning to inhabit one of the last enigmatic sentences that Freud left us: “the psyche is extended, knows nothing about it”.
The routes, our routes, are among the places, in the interstices between a life lived and another that we have instead abandoned, written on the landscapes where the traces of ourselves, realised and unrealised, allow us to rediscover what we have always been because we have never been. The psyche is out there, amidst the passages of the city, the chiaroscuros of the parks, the alleys of the houses, the grand buildings of the past and present.
Faced with the feeling we often have that something is broken, it is a matter of inventing passages, interstices, cracks that allow us, as they say, to make it through by the skin of our teeth. It is more than a survival strategy, it is an over-living, a living above life, another method, another step. As Roland Barthes suggested: “I move on to another kind of knowledge (that of the Amateur), and it is in this that I am methodical”. Another politics being announced, a different way of inhabiting the city, one’s own as well as that of others, or rather, of constantly writing and retracing this threshold between one’s own and others. Because, if the psyche is extended, the unconscious is out there, in the polis, or in what will become of it, on the condition of finding it again, forever lost, every morning, at dawn.
Matteo Bonazzi
[Philosopher (University of Verona) and psychoanalyst (SLP/AMP). President of the association “CLAC. Clinic of contemporary adolescence”]
PROGRAM
25 October c/o ZONA K
Diana Anselmo e Sara Pranovi (IT)8 + 9 November c/o ZONA K
Simon Senn (CH)14 + 15 November c/o Teatro La Cucina
Yves Degryse / Berlin (BE)4 – 6 December c/o ZONA K
Giulia Scotti (IT)13 + 14 December c/o private houses
Tolja Djokovic (IT)
Photo by Cesura – Design by Neo Studio/Leonardo Mazzi
FOCUS #1 · TRANSITI / TRANSITS
Transits, passages. Passages, borders. Borders, transits. The circle closes and it is a very ancient circle, which brings together the atavistic migration of mankind with respect to the self-determination of populations within a territory, in some way seizing a geography, constructing a proprietary map on a common good.
If transit was for centuries linked to expansionist aims where land, read food and taxes, and power (temporal or linked to religion) were the drivers of conflict, at least since the Second World War to the present – after the opposition in blocs – asymmetrical wars arise not over food, but over raw materials, strategies of influence and the arrangement of new logistics markets. Power and hoarding are sold as wars of freedom and exports of democracy, which seems to be a unique characteristic of the Western world.
Power corrodes and progress gallops. The expansion of a group of countries that have united within the acronym Brics (Brazil, Russia, India, China and South Africa) has experienced an enlargement in recent years that has seen 22 other requests from other countries and Egypt, the Arab Emirates, Iran and Ethiopia joined the group. On the table is the de-dollarisation of the economy, a different conception of power relations, the end of routes linked to a past, even a colonial past.
It is a new step, very definite, but still little perceived, in a particularly weak era of the former superpowers and their uncharismatic and/or bloodthirsty leaders.
From the sky comes rain and scorching heat that will overwhelm us because we have failed to make a reasoned transit to rescue temperatures. Written like this, reality looks more like a script from a tragic horror film, where no hero can escape the inevitable fate.
In 2024, it is still possible for the nation-state to block the prohibition of border crossing, in the name of free and complete transit, in accepting that passage is inevitable and must be governed, not suffered. Without forgetting that there exists a humanity, the majority, of women and men who want to transition into a new era, but who are periodically disappointed by the 1% in charge. In this scenario we, billions of humans, also transit. With our dreams, miseries and happiness. There is a street in Milan where an association operates that helps undocumented migrants. It is called Via dei Transiti. It happened like this, by chance, but sometimes they seem like signs of destiny, which leave an often salvific fuse lit, that of hope.
Angelo Miotto [journalist, documentary filmmaker, podcaster. Founder and director of Q Code Mag].
PROGRAM
8 + 9 marzo c/o ZONA K
Faustin Linyekula / Mamu Tshi (RDC/CH)22 + 23 marzo c/o ZONA K
Lina Majdalanie e Rabih Mroué (LB/GE)24 marzo c/o ZONA K
Lina Majdalanie e Rabih Mroué (LB/GE)4 + 5 aprile c/o ZONA K
Zoë Demoustier / Ultima Vez (BE)16 + 17 maggio c/o ZONA K
Ant Hampton (GB/CH)
Photo by Cesura – Design Neo Studio by Leonardo Mazzi
FOCUS #2 · TERRITORI / TERRITORIES
What a strange condition we are living in. The Earth demands our attention, the climate crisis asks us to finally take care of our planet, just when it seemed we could do without it. Some (very few super-rich), planning to move elsewhere, colonising other planets or transferring their residence onto space rockets orbiting far from here. Others (increasingly more), carving out their own enclosure, within boundaries more and more uncertain yet considered natural, traditional, inherited: we inside and the others outside. A great many (how many billions?) spending much of their time in digital spaces, according to codes and rules of a topological rather than metric nature. We all build exclusive territories, homes tailored to our needs, “particular housing solutions”, we might call them in the casual language of real estate agents. So, artificial territories, which do not exist in nature, our phantasmagorical projections. With one rather significant peculiarity though: to be inhabitable, these territories need resources extracted from the common territory that is the Earth: energy, food, labour, technology, metals, oxygen, water…
Forced to come to terms with the Earth, we escape it. We live by paradoxes: we inhabit the Earth, but struggle to set foot on the ground. We were all thrown onto the Earth, but we wonder how do I recognise my territory? We still measure distances in metres, but we are constantly connected, in networks that transcend them.
Someone, more informed, tells us that we are the Earth, that is, the Earth belongs to all its inhabitants, human and non-human. We should stop distinguishing between the world we rely on and the world we live in. The first is the Earth; the second is the territory. Those who concern themselves with the former are considered idealistic enemies of the people. Those who prioritize the latter tend to define it in demanding terms: Nation, Homeland. In order to live comfortably in “our” territory, we need the Earth. But if we adopt the perspective of the Earth, it follows that we must consider the territories we inhabit as non-exclusive, shared among other earthly beings. At that point, where to place the boundaries? If they cannot be recognised, territories disappear. Territorial pissing would return to being an exclusive practice of non-humans, with humans ceasing to seek refuge in it and ultimately recognising that territory is the use that is made of it: a space of circulation, available to those who move there.
For the thoughts expressed here, I am indebted to Pierluigi Crosta, Bruno Latour, Michel Serres, Alain Tarrius, and the Nirvana.
Claudio Calvaresi
[PhD in Urban Planning, he is Principal of Avanzi-Sustainability by Action. He is coordinator, for Avanzi, of MadreProject, the School of Bread and Places].
PROGRAM
8 + 9 e 15 + 16 June c/o Parco delle Groane
Caroline Barneaud, Stefan Kaegi (CH/GE)
22 + 23 June
ZONAK presents
BÜRGERBHÜNE
10 + 11 September
Be Flat (BE)
20 + 21 September
Moni Wespi (CH/BE)
11 + 12 October
Massimo Furlan, Claire De Ribaupierre (CH)
Photo by Alessandro Sala / Cesura – Design Neo Studio by Leonardo Mazzi
GEOGRAFIE / GEOGRAPHIES
“History is the teacher of life”. From childhood, we are used to repeating it to the point of exhaustion. So abused is the ancient saying that it has ended up losing power, and from history, it seems we have learned little, more often nothing. The twin sister of history is geography. There is no history without land, no history without borders to cross, conquer, restore, sacrifice. There are no peoples who do not say, rightly and more often wrongly, ‘this is mine.’ There is no history without geography, therefore: yet, always, in cultural rhetoric and in the construction of scholastic and academic paths, geography is the child of a lesser God. A childhood memory of lists of capitals and names of lakes and heights of mountains, and nothing else.
It took the overbearing reactivation of history, the brutal reshuffling of the cards of the economy, the boiling of young blood that feels all the boundaries of body and soul, deserts and seas, to remind us that geographies exist, they affect us, they define us: and so do humans with them. It took the clear, incontrovertible, and swift arrival of signs of inequality to the poorest, to mobilize them to cross over. It took human action to change the global ecosystem, producing droughts and floods, to push the caravans of salvation to move northwards, precisely following the opposite route to the one that, hundreds of thousands of years ago, led a few thousand homo sapiens to guarantee a future for our species, surviving in the heart of Africa.
It was a time without nations and without borders, a time of survival without boundaries without which humanity would not have existed. An era in which the factors of an unknown and indomitable nature decided everything, and pre-human geography could only adapt: if it could manage to do so.
Today, in the time of hyper-humanity, of the Anthropocene that has irreversibly altered atmospheres and temperatures, investigating the geographies of the world and of the soul means traversing the choices of peoples and those who dominate them, and the very concept of democracy, its utopian dimension, the temptation to consider it obsolete. It means questioning, criticising, thanking or cursing humanity itself, which in space builds and names places, designs harmony or incubates domination and destruction. The geographies we look at, finally, put us right in front of a crossroads: they remind us that nothing is given, and every right promised land is only the result of choice and decision.
Jacopo Tondelli
[journalist and writer, co-founder and editor of Gli Stati Generali].
March – May 2024
FOCUS #1 · TRANSITI / TRANSITS
Faustin Linyekula / Mamu Tshi (RDC/CH)
Lina Majdalanie e Rabih Mroué (LB/GE)
June – September 2024
FOCUS #2 · TERRITORI / TERRITORIES
October 2024
EXTRA FOCUS
4 – 6 October c/o ZONA K
Guinea Pigs (IT)
October – December 2024
FOCUS #3 · ROTTE / ROUTES
The images of the 2024 season’s poster and materials are by Cesura, an independent photography collective whose work focuses on authorial photographic documentary. Founded with the desire to be a new and autonomous force on the international photography scene, Cesura also founded its own independent publishing house and printing workshop. Its publications have received countless prizes and awards over the years.
Alessandro Sala deals with social and environmental issues and has followed the migration crisis in the Mediterranean with particular attention, focusing on the reception process of asylum seekers. In 2022, he won the PAC ministerial grant with the DIORAMI project, a tale of 8 Sicilian botanical wonders exhibited at the Botanical Garden in Palermo.
Design: Neo Studio by Leonardo Mazzi
Yves Degryse/Berlin (BE)
show | duration 110 min
in German and Dutch with Italian subtitles
c/o Teatro La Cucina / Olinda onlus via Ippocrate 47, Milan
At the end of the performance on Thursday 14 November, there will be a talk with the director Fien Leysen of the Flemish collective led by Francesca Serrazanetti of Stratagemmi.
The making of Berlin is a portrait of a city. It is built around the extraordinary story of Friedrich Mohr, a Berliner who was the Berliner Philharmoniker’s stage manager during WWII. The making of Berlin – with live horn music – offers an unfiltered look at BERLIN’s work process. But above all, it tells the story of one of the ‘unbrave’ who failed to stand up when fellow Jewish musicians and friends were expelled from the orchestra. The making of Berlin is the final part of the Holocene cycle, during which BERLIN made several portraits of cities over the past twenty years.
BERLIN helps Mohr to realize an as yet unfulfilled dream. At the end of WWII, the conductor of the Philharmonic decided to perform Siegfried’s Funeral March from Wagner’s Götterdämmerung one last time. The performance would be broadcast live on German state radio. Rehearsing with the entire orchestra in one location soon proved too dangerous due to ongoing bombing. So the conductor divided the orchestra into seven segments and had them rehearse in separate bunkers. Faltering (recording) technology threw a spanner in the works. Mohr’s ultimate wish is to perform the technical tour de force as initially planned seventy-five years after the date. The Götterdämmerung will be played from seven bunkers simultaneously and can be heard in its entirety on the radio. A daring feat for which BERLIN called on, among others, radio station Klara, the orchestra of Opera Ballet Vlaanderen and German actor Martin Wuttke (known from Tarantino’s Inglourious Basterds).
Theatre- and film-maker Fien Leysen records the creation process for a behind-the-scenes documentary. Her footage eventually ends up in the performance as well. You gradually discover together with BERLIN that Mohr’s story is full of inaccuracies and that he seems to want to restore the irreparable. How far can you stretch the truth when you’re looking for atonement?
direction Yves Degryse with (on stage) Yves Degryse, Geert De Vleesschauwer / Marjolein Demey / Bregt Janssens / Eveline Martens / Sam Loncke (afwisselend), Rozanne Descheemaeker / Matea Majic / Diechje Minne / Jonathan van der Beek (afwisselend) ; with (film) Friedrich Mohr, Martin Wuttke, Stefan Lennert, Werner Buchholz, Alisa Tomina, Krijn Thijs, Chantal Pattyn, Symfonisch Orkest Opera Ballet Vlaanderen, Alejo Pérez, Yves Degryse, Caroline Große, Michael Becker, Claire Hoofwijk, Alejandro Urrutia, Marek Burák, Marvyn Pettina, Farnaz Emamverdi, team BERLIN: Jane Seynaeve, Eveline Martens, Jessica Ridderhof, Geert De Vleesschauwer, Sam Loncke, Manu Siebens, Kurt Lannoye, team Opera Ballet Vlaanderen: Jan Vandenhouwe, Lise Thomas, Eva Knapen, Christophe De Tremerie video e video editing Geert De Vleesschauwer, Fien Leysen, Yves Degryse internship video editing Maria Feenstra drone shots Yorick Leusink, Solon Lutz behind the scenes footage Fien Leysen scenography Manu Siebens set construction Manu Siebens, Ina Peeters, Rex Tee, Joris Festjens set design and construction film Jessica Ridderhof, Klaartje Vermeulen, Ruth Lodder, Ina Peeters musical composition and mixing Peter Van Laerhoven live music (horn) Rozanne Descheemaeker / Matea Majic / Diechje Minne / Jonathan van der Beek (alternating) music film Peter Van Laerhoven, Tim Coenen, Symfonisch Orkest Opera Ballet Vlaanderen olv Alejo Pérez mixing orchestra Maarten Buyl sound design and mixing Arnold Bastiaanse sound recordings Bas De Caluwé, Maarten Moesen, Bart Vandebril technical coordination Manu Siebens, Geert De Vleesschauwer production management Jessica Ridderhof production support Germany Daniela Schwabe, Gordon Schirmer research Wagner Clem Robyns, Piet De Volder research internship Annika Serong photography Koen Broos, Gordon Schirmer technical coordination berlin Marjolein Demey day-to-day coordination and production assistant Jane Seynaeve production BERLIN coproduction DE SINGEL (Antwerp, BE), le CENTQUATRE-PARIS (FR), Opera Ballet Vlaanderen (BE), VIERNULVIER (Ghent, BE), C-TAKT (Limburg, BE), Theaterfestival Boulevard (Den Bosch, NL), Berliner Festspiele (DE) with the support of the Flemish Government, Sabam for Culture, Tax Shelter of the Belgian federal government via Flanders Tax Shelter
Photo by Koen Broos
Founders of BERLIN in 2003, Bart Baele, Caroline Rochlitz and Yves Degryse decided not to choose a particular genre, but to venture into the realm of documentary filmmaking and let the places of their forays guide their inspiration. This philosophy resulted in two project cycles: Holocene (the current geological era) where the starting point is always a city or other place on the planet, and Horror Vacui (fear of the void) in which true and poignant stories are delicately unravelled around a table. The Holocene cycle includes Jerusalem, Iqaluit, Bonanza, Moscow and Zvizdal. The first three episodes of Horror Vacui are Tagfish, Land’s end and Perhaps all the dragons. BERLIN are still working on both cycles. The Making of Berlin is the last chapter of Holocene. The company has worked in 27 different countries in recent years, within various circuits: from theatres to exhibition spaces, from festivals to special locations.
Simon Senn (CH)
performance | in French and English with Italian surtitles | duration 60 min
viewing is recommended for audiences over 15 years old
c/o ZONA K, admission allowed with membership 2024
At the end of the performance on Friday 8 November, there will be a public meeting moderated by Maddalena Giovannelli (Stratagemmi) in dialogue with Simon Senn and with Ester Fuoco, PhD in Digital Humanities and Researcher in Disciplines of the Performing Arts at IULM in Milan (see full BIO below)
In this digital conference that doubles as a demonstration and confession, Simon Senn, a videographer and visual artist from Geneva, demonstrates how the virtual world and the real world are not always in opposition, revealing the unexpected entanglements between technology, representation, gender, and law.
Simon Senn’s experience began when he bought the digital replica of a female body online. He then went in search of the woman whose body he was « virtually » inhabiting. Onstage he conveys this disturbing experience to the audience.
After downloading the replica (a detailed and evidently accurate reproduction), he brought it to life with easily purchased sensors and discovered what it felt like to « have » a female body – at least through his 3D glasses. The experience was moving. Who is this woman ? Can he do anything he likes with this digital body ? What about the new and enjoyable sensuality this virtual form offers him ? He managed to track down the young woman and begin a discussion with her (one that continues today), where together they investigate this third digital body that exists between them. Arielle is now part of the project and is present in the show.
Simon Senn decided to consult a psychologist and explore his feelings of «gender disturbance », which continue to surprise him – does he perhaps suffer from « Snapchat dysmorphia », the clinically accepted psychological illness of those who wish to transform themselves in order to resemble their online image?
conception and direction Simon Senn with Simon Senn, Arielle F. and a virtual body production Compagnie Simon Senn co-production Théâtre Vidy-Lausanne – Le Grütli, Centre de production et de diffusion des Arts vivants – Théâtre du Loup distribution and tour Théâtre Vidy-Lausanne with the support of Porosus – Pro Helvetia – Fondation Ernst Göhner – Pour-cent culturel Migros – Loterie Romande
Photo from simonsenn.com
Born in 1986, Simon Senn is an artist and theater director, and lives in Geneva. He obtained a Bachelor of Fine Arts from the Haute école d’art et de design de Genève and a Master’s degree from Goldsmiths College in London. At first glance, his work seems to suggest that he is a socially engaged artist, speaking out against a certain type of injustice. However, his works sometimes reveal a more ambiguous approach, exploring aporias rather than articulating addressed criticisms. Even if his videos or installations are normally based on a certain reality, fiction is often mixed in. Be Arielle F is his first proposal for the stage, with which he received the second Prix d’encouragement pour les arts de la scène Premio in 2019. During the health crisis of 2020, a live stream and adapted version of the show was offered digitally by the Théâtre Vidy-Lausanne. In 2024, he collaborates with Indian dancer Rohee Uberoi to capture and encode the movement of Bharata natyam in their projet Rohee, to be shown in Vidy.
Ester Fuoco is PhD in Digital Humanities and Researcher in Disciplines of the Performing Arts at IULM in Milan. From 2021 to 2023 she was a research fellow at the Biorobotics Institute of the Scuola Superiore Sant’Anna in Pisa and at the Univ. IULM with projects related to the application of robotics and AI in the performing Arts. Her recent publications include the volume Deviations in Contemporary Theatrical Anthropology: New Myths and Performative Rituals between XR, Robots and AI (Routledge,2024) and Neither here, nor now. Medial vicissitudes of contemporary performance (Ledizioni, 2022).
Be Flat (BE)
touring acrobatic improvisation performance
The two acrobats of Be Flat have prepared a unique tour of (name city) for a select group of followers. The streets of the city, the facades of the buildings and the cobblestones below are transformed into an urban circus piste. But Follow me is not only a performance to be watched, it is a playful collective journey through public space. So turn off your cell phones, tighten your shoelaces, and lets go!
directors / circusartists Ward mortier, Thomas Decaesstecker dramaturgical advice Craig Weston external viewpoint Sander De Cuyper with the support of Vlaamse gemeenschap coproduction Miramiro partners Circuscentrum, Centre des Arts scéniques, Centre des Arts de la Rue, Latitude 50, Circusplaneet, Circus in beweging et Ell Circo d’ell Fuego
Photo by Yngwie Scheerlinck.
Thomas (Tervuren 1989) and Ward (Ghent 1993) first met at a freerunning gathering in Ghent in 2008. Sharing a mutual passion for music and movement during the ensuing years has led them to a unique and solid friendship. Ward studied Chinese pole combined with acrodance at ESAC (Ecole Supérieure des Arts du Cirque, Brussels). Thomas followed training as acrobat and hand-stand artist in Santiago, Chili at the Escuela De Artes Circenses Del Circo Del Mundo. Their mutual interests, combined with their individual specialisations and experiences, guarantee a broad range of skills to be used in a gamma of contexts and situations.
Ant Hampton/Time Based Editions (UK/DE)
live collective experience | duration 80 min | in italian
c/o ZONA K, admission allowed after membership 2024
in collaboration with Ateatro
A talk with the author will be held at the end of the performance on Thursday 16 May.
Books and reading have changed and continue to change. The advent of digital, the rediscovery of orality and the audio dimension, and forms of participatory art are multiplying ‘ways of reading’ in new and innovative, yet ancient ways. Hybrid, performative, multimedia, transmedia forms are emerging… These transformations are reflected on the book as a physical object and on libraries as places of encounter and experience.
Starting from the experience of Borderline Visible, the author Ant Hampton and Stefano Parise, Director Area Biblioteche del Comune di Milano, will discuss these themes, moderated by lecturer and theatre and publishing expert Oliviero Ponte di Pino.
“Borderline Visible is probably DocLab’s most poetic work this year, but in all its simplicity it is also the most poignant.”– NRC Handelsblad
“an extremely engaging psychogeographical framework constantly enriched by Hampton’s searching mind and razor-sharp political rage.”– Marijn Lems, Theaterkrant
Winner of the IDFA (International Documentary Festival Amsterdam) 2023 DocLab award for Creative Technologies
Ant Hampton presents the first in a new series of ‘live books’ – Time Based Editions – in which photographs and audio take you on a journey through the pages interweaving history, autobiography, literature and an urgent investigation into the hidden atrocities perpetuated on the margins of Europe.
Borderline Visible begins as a récit de voyage, a journey from Lausanne to Izmir undertaken by two artists and friends. In Greece, health problems force one of them to stop, while the other goes on to Turkey, suddenly remaining alone. The narrative turns into a moving and troubled psycho-geography. Moving from ‘we’ to ‘I’, from present to past, from the personal to the political, Ant Hampton attempts to give value and meaning to the all too human ruins of ambition, history and language. The careful process of recomposition gradually brings to light a complex constellation of Jewish history, the end of the Ottoman Empire and Sephardic diasporas, rumours, earthquakes, tourism and forced migration, mental health and dementia, swallows and TS Eliot’s The Waste Land.
In the collective experience, the spectators are invited to participate in this journey together, flipping back and forth through the pages of the book, comparing images, closing and opening their eyes, drawing lines on the maps with a finger, guided by an audio track that combines narration, music, field recordings and instructions on how to get through the book.
After the two collective appointments, Borderline Visible will be available for individual viewing in Italian, English, French and Dutch from 18 to 26 May (excluding Mondays) at 3.30 p.m. and 5.30 p.m. at Casa degli Artisti Milano. Tickets available soon.
By Ant Hampton Feedback David Bergé Book design Roland Brauchli Based on a project with Rita Pauls Music Perila, Oren Ambarchi Thanks to Pieter Ampe, Giorgos Antoniou, Sae Bosco and Samos Volunteers, Yannick Christian, Hani Dunia, Effi & Amir, Tim Etchells, Katy Fallon, Martin Hampton, Britt Hatzius, Leo Kay, LAPS, Camille Louis, Eva Neklyaeva, Beyhan Onur, Anelka Tavares, Prodromos Tsinikoris, Giulia de Vecchi, Anny Y
ITALIAN VERSION Translation Valentina Kastlunger Editing Valentina Picariello Voice Astrid Casali Recording Luca Ciffo Editing and sound Ant Hampton Thanks to Flora Pitrolo for proofreading and correcting the translation Produced by Quarantasettezeroquattro, Teatro Bastardo and ZONA K
Time Based Editions is an imprint of PHOTOGRAPHIC EXPANDED PUBLISHING ATHENS Created with the support of: The Resonance Foundation (Los Angeles) Bimeras (Istanbul / Berlin) Théâtre Vidy (Lausanne) Research and prototype support: Lita House of Production and Kundura Stage (Istanbul) National Theatre of Northern Greece (Thessaloniki)
More info – www.timebasededitions.com / instagram: @time_based_editions
Photo by Doc Lab
Ant Hampton (1975, DE/UK) is a British-German performance maker and writer. His work since 1999 has often involved guiding people through unrehearsed situations and interactive relations, using automated devices. His three collaborations with Tim Etchells are participative experiences for two at a time, combining audio with different engagements with the page: text and silent reading (The Quiet Volume, 2010); archive photography (Lest We See, 2015); and mark-making/ erasure (Not to Scale, 2020). In more recent years his practice has expanded into a wider investigation of risk-taking and leaps of faith, for example with The Thing – An Automatic Workshop in Everyday Disruption, created with Christophe Meierhans. These and many other of his “Autoteatro” works continue to tour internationally in over 80 language versions, some of them without anyone needing to travel – a paradoxical outcome for an art committed to liveness and presence which in turn informed his 2021 advocacy and research project: ShowingWithoutGoing.live – an Atlas. Together with David Bergé, he co-founded Time Based Editions in 2023.
Zoë Demoustier / Ultima Vez (BE)
dance | duration 60 min
in English with Italian subtitles
c/o ZONA K, admission allowed after membership 2024
At the end of the performance on Friday 5 April there will be the meeting “The political gesture of a body-archive“.
The body-archive and gesture as instruments of an investigation into violence, at the centre of Zoë Demoustier’s work, are themes that also belong to other contemporary dance experiences.
One of the most significant is that of Arkadi Zaides and his “Archive”, in which the dancer’s body interprets the proxemics of war, calling into question the gaze of the spectator.
To these intersections is dedicated the meeting with Zoë Demoustier, moderated by Camilla Lietti and Francesca Serrazanetti (Stratagemmi).
In Unfolding an Archive, Zoë Demoustier unfolds an image archive of 20 years of war reporting. The man behind the camera is her father Daniel Demoustier. The search for a relationship to the imagery of world events with which she grew up is like a movement from far and near. In an attempt at a reconstruction, she brings the archive to life. She dismantles the mechanisms hidden behind the archive images. Gradually, a choreography of poses and gestures is created in a broken timeline of physical memories.
« In Unfolding an Archive I investigate what news is, how journalism works, how you use images to place reality in a certain frame. But there is also a second, much more personal track: what has my father’s special job done to me? It took a long time before I dared to put that into the performance. At some point I realized I couldn’t avoid that question. And that those apparently very personal topics – how
our family functioned, the father-daughter relationship, the question of how present a parent should be – are just very universal: everyone has to deal with them. » Zoë Demoustier in HUMO
Choreography and performance Zoë Demoustier Live sound Willem Lenaerts Sound concept Willem Lenaerts & Rint Mennes Light design Harry Cole Light and technical support Pieter Kint Interview & editing Yelena Schmitz Design & Costume Annemie Boonen Research Annemie Boonen & Willem Lenaerts Dramaturgy Elowise Vandenbroecke Coaching Danielle van Vree Video and sound archive Daniel Demoustier Co-production STUK With the support of the City of Leuven, 30CC, Platform In De Maak Residences STUK, Ultima Vez, Vlaams Cultuurhuis de Brakke Grond, Voetvolk Atelier Rubigny Thanks to Shila Anaraki, Oihana Azpillaga, Jonas Beerts, Anna Bentivegna, Stijn De Cauwer, Elliot Dehaspe, Dirk De Lathauwer, Lahja Demoustier, Misha Demoustier, Hannes Dereere, Josine De Roover, Pieter Desmet, Klaas De Somer, Willem Malfliet, Hildegard De Vuyst, Silke Huysmans, Karen Joosten, Koen Theys, Maarten Van Cauwenberghe, Gerlinde Van Puymbroeck, Veerle Van Schoelant, Niek Vanoosterweyck, Bart Vanvoorden, Remo Verdickt, Cas-co Leuven, Dag van de Dans, Danstuin.
Photo by TomHerbots
Zoë Demoustier (1995) is performer and choreographer. The body is always the starting point for her visual representations. From movement she makes links with topical and committed subjects to create documentary choreographic work. Zoë made the performances nesten (fABULEUS/Anna Bentivegna & Ayrton Fraenk), Road to Nowhere (Forsiti’A/Yelena Schmitz), Born to be wild (Thespikon) and worked as a performer and assistant with Kabinet K, Michiel Vandevelde, Alma Söderberg/Manyone, Iris Bouche/Opera Ballet Vlaanderen, David Weber Krebs and Marcelo Evelin. In 2021 she was ambassador of Dance Day in which she created tomorrow’s dance makers in collaboration with De Zendelingen. From 2022 she will start a new collaboration as a choreographer at Ultima Vez. Unfolding an Archive is her first solo performance, for which she has already initiated within the Directing course at the RITCS and Cultural Studies at the KU Leuven. In the performance she uses techniques from the mime corporel tradition that she learned during her studies at the Mime Education in Amsterdam. For Unfolding an Archive she works closely with musician and sound designer Willem Lenaerts.
Lina Saneh and Rabih Mroué (LB/DE)
video installation | original version translated into Italian
+ meeting with the company
c/o ZONA K, free entrance allowed with 2024 membership
You collect a lot of things over the years, often without knowing why or what you want to do with them. Until one day, you spread them out and start looking at them properly. You try to understand why it is you like them and why you might also be ashamed of them at the same time. You attempt to discover or to invent their stories, struggling to give free rein to your emotions or to tame them. As you look at your collection, you might allow memories to return, and you might try to utter them, mixing your stories with their imagined ones. In brief, you might use them to talk about “you”; you, as an inseparable singular from all the other singulars, you, as an unbreakable moment from history.
written and directed by Lina Majdalanie & Rabih Mroué voice-over Francesca Bracchino e Marcello Spinetta animation Sarmad Louis music Abdalla El-Masri, Charbel Habr, Matef and HoRa’ Mim editing Rabih Mroué, Sarmad Louis sound Rafi Mrad photo corrections Randa Mansour
Commissioned and produced by steirischer herbst ’20
Lina Saneh and Rabih Mroué were born in Beirut in 1966 but reside in Berlin. They generally work together, while also pursuing personal projects. Rabih Mroué has developed a versatile artistic practice in which he assumes, often simultaneously, the functions of actor, director and playwright, with a peculiar ability to photograph the contemporary. Since 1990, he and Lina Saneh have created performances that blur the boundaries between disciplines in a poetic fusion of theatre, installations, performance art and video. Together they present works that directly reflect the social and political realities of their country, while delving into the underlying issues and contradictions of Lebanese society.
Lina Saneh and Rabih Mroué (LB)
show | duration 50 min
in French with Italian subtitles
c/o ZONA K, admission allowed upon 2024 membership
After its premiere in 2009, Photo-Romance immediately become one of the most successful international theatre pieces and is now, after touring worldwide, is coming to Mousonturm in its newest version: in the roles of author and censor Lina Saneh and Rabih Mroué discuss the photo novella adaptation of a historical film document, which shows the enthusiasm of Italian crowds at Hitler’s Mussolini visit. The two of them – him, a former leftist activist, she, a divorced homemaker – met in Beirut in 2006 shortly after Israel’s attack on Lebanon: two lonely people, uncomfortable with the hubbub outside. By mixing fiction and reality, Photo-Romance deconstructs the political logic, as well as the illusion of theatre and shows “truth” to be a construction of possibilities.
Concept, text and direction Lina Saneh and Rabih Mroué Translation Masha Refka Set design Samar Maakaroun Music Charbel Haber Soundtrack Lina Saneh, Rabih Mroué, Sarmad Louis Direction of photography Sarmad Louis jeu pour la bande-image Rabih Mroué, Lina Saneh Special guest Mona Mroué Assistant director and executive producer Petra Serhal Costumes Zeina Saab de Melero Makeup Stéphanie Aznarez Production assistant Ashkal Alwan (Beyrouth) With Lina Saneh, Charbel Haber, Rabih Mroué
Director, performer and playwright, Lina Majdalanie is a Lebanese artist, living in Berlin. Her work includes: Hartaqāt (2023), Second Look (serie video, 2020), Sunny Sunday (2020), Borborygmus (2019), Do I Know you? (2017), A Drop of Sweat (2015), 33 rpm and a few seconds (2012), Photo-Romance (2009), Appendice (2007), I Had A Dream, Mom (vidéo, 2006), Biokhraphia (2002), and others…
She curated several events in Mousonturm-Frankfurt (2016 and 2023), HAU-Berlin (2017), Kunsthalle-Mulhouse (2015) and Tanzquartier-Vienna (2009). She was a fellow at the International Research Center “Interweaving Performance Cultures”/FU in Berlin (2009-2010) and a member of Home Workspace Curricular Committee-Ashkal Alwan (Beirut 2010-2014). She opted the pseudonym Lina Saneh in April 2015.
Rabih Mroué, born in Beirut and currently living in Berlin, is a theatre director, actor, visual artist and playwright. He is a contributing editor for The Drama Review /TDR (New York) and a co-founder of the Beirut Art Center (BAC). He was a fellow at The International Research Center: Interweaving Performance Cultures/ FU/Berlin from 2013 -2014. He has been a theatre-director at Münchner Kammerspiele from 2015 -2019.
His works include: Hartaqāt (2023), Sunny Sunday (2020), Borborygmus (2019), So Little time (2016), Ode to Joy (2015), Riding on a cloud, (2013), 33 RPM and a Few Seconds (2012), Photo-Romance (2009), The Inhabitants of images (2008), Who’s Afraid of Representation (2005), Looking for a Missing Employee (2003), Biokhraphia (2002), Three Posters (2000) and others…
Faustin Linyekula / Mamu Tshi (RDC/CH)
dance | duration 50 min
in French with Italian subtitles
c/o ZONA K, admission allowed upon 2024 membership
Amandine Ngindu, a renowned krump dancer from Lausanne who goes by the stage name Mamu Tshi, met her Congolese compatriot Faustin Linyekula at Vidy. Together they traveled to the Kasai region to meet her grandmother, with whom she has no common language. In this danced portrait composed together upon their return, Mamu Tshi expresses herself through words and the restrained power of krump, reaching across the borders of her history.
With Mamu Tshi (Amandine Tshijanu Ngindu) Concept and choreography Faustin Linyekula, Mamu Tshi (Amandine Tshijanu Ngindu) Assistant director Angélique Tahé Music Twin Traxamus, Groupe folklorique Atandele (Kananga, DRC) Recorded voices Kaku Musambi Papa Ngindu Papa Mako Griot Tshimina Video Faustin Linyekula Zima Tukala Thanks to Aunt Pauline Bibomba and all the family in Kanyuka, DRC, Zima Tukala (yo moko oyebi), Victor Bafuafua, Sylvie Makela and the Salon Tribus Urbaines General director Veronique Kespi Lighting director Farid Deghou Boussad Sound director Luc Grandjean Stage director Christian Wilmart Production Anouk Luthier Production Théâtre Vidy-Lausanne with support from Studios Kabako (Kisangani, DRC) Support Arts and Humanities Division, New York University Abu Dhabi
photo by Sarah Imsand
Mamu Tshi Mamu Tshi was born in Congo, which she left at birth for Lausanne, where she lives and works today. Very early attracted to urban dance, she is today part of the world krump elite: in 2020 and 2021, she received the title of “dancer of the year” in this discipline. Freestyle dancing, powerful, expressive and liberating, is part of the street dance movement and is considered, among other things, as an artistic response to the systematic oppression of certain groups and the frustration that results from it. The battles, influenced by hip-hop and full of energy, are generally contested in public spaces by different crews. Mamu Tshi frequented urban dances for a long time before performing for the first time in 2019 at the Théâtre Sévelin 36 as part of the “Quarts d’Heure” – a platform for young choreographers. The same theater then invited her to develop her soloWomb: Entrailles as an “associated artist” for a creation in spring 2023. With her playL’Héritière, Mamu Tshi also completes the international trio Portraits in Otherness commissioned by Akram Khan Company for the tour in Switzerland (Steps festival). In parallel and with the collective “Swiss Krump Movement” and the Warriorz, pioneers of krump in Switzerland, she transmits this culture by organizing training and other community events. The lack of resources led her to initiate a project to include cultures and artistic practices from urban and underground environments in the Swiss cultural landscape, CAaUSE, entre d’Arts Alternatif et Urbain Suisse Émergent. At Vidy, she is a choreography assistant and performer in Sous influence by Nina Negri in 2021, and in 2024 she performs Mamu Tshi, Portrait pour Amandine in collaboration with Faustin Linyekula.
Dancer, choreographer and director, Faustin Linyekula lives and works in Kisangani (Democratic Republic of Congo). After literary and theatrical training in Kisangani, he moved to Nairobi in 1993 and in 1997 co-founded the first contemporary dance company in Kenya, the Gàara company. Returning to Kinshasa in June 2001, he set up a structure for dance and visual theater, a place for exchange, research and creation: Studios Kabako. With his company, Linyekula is the author of more than fifteen plays which have been presented on the biggest stages and festivals in Europe, North and South America, Australia and Africa. Among his collaborations are a production for the Comédie Française (Bérénice, 2009), a creation for the Ballet de Lorraine (La Création du monde 1923-2012, 2012), a solo for a dancer from the National Ballet of Portugal. Linyekula has also imagined performances for museums: the MOMA in New York (2012), the MUCEM in Marseille (2016), the Metropolitan Museum (2017) or the Royal Museum for Central Africa in Tervuren (2018). He teaches regularly in Africa and the United States. Linyekula received the Grand Prize from the Prince Claus Foundation for Culture and Development in 2007. Since 2007, Linyekula’s work and approach have been based in the city of Kisangani, where Kabako Studios supports the training, production and dissemination of young Congolese artists in the field of performing arts, but also video and music. In 2014, Linyekula and Kabako Studios received the first prize from the American CurryStone foundation for the work developed in Kisangani and in particular in the commune of Lubunga with the different communities. In 2016, as part of the Artista Na Cidade biennial, Linyekula was an associated artist of the city of Lisbon, from which he received the medal for artistic merit. From September 2018 and for three seasons, he was associated with the Manège – Scène nationale de Reims in France. In 2019 he was an associate artist of the Holland Festival in Amsterdam. At Vidy, he presented Congo, a trio for singer, actor and dancer based on the eponymous book by Éric Vuillard in 2019. The series of films by young African artists Lettres du continent, which he designed with Virginie Dupray during the pandemic in 2020, was presented by Vidy in the fall of 2020. In 21/22, he led the Imaginaires des futurs possibles cycle with the playwright Claire de Ribaupierre, an initiative bringing together artists, scientists and spectators proposed by Vidy and the Sustainability Center of the University of Lausanne. In 2024 he presents Mamu Tshi, Portrait pour Amandine.
source https://vidy.ch/en/
Generazione gLocale – Focus Diritti
spettacolo multimediale dal vivo con cuffie audio WiFi | durata 50 min.
c/o Liceo Clemente Rebora
Via Beatrice d’Este, 28 – RHO (MILANO)
Ingresso gratuito fino ad esaurimento posti
Per prenotazioni scrivere a biglietti@zonak.it
Una scuola.
Un gruppo di adolescenti di Rho.
Una voce in cuffia che guida il Pubblico.
Generazione gLocale è un format di teatro partecipativo che racconta le nuove generazioni superando pregiudizi e stereotipi. Dal 2017 ad oggi ha visto la sua realizzazione in diverse città italiane coinvolgendo adolescenti nel ruolo di Protagonisti.
In questi ultimi mesi, durante i laboratori a Rho, siamo partiti da domande di cui non sapevamo già le risposte. Ci siamo chiesti, per esempio, quali sono i diritti che ci appartengono per davvero. Nel nostro quaderno degli appunti abbiamo iniziato a scriverne alcuni: diritto alla cura, diritto alla scuola, diritto alla ribellione, diritto al futuro…
Così abbiamo adottato storie che parlano di noi, dei luoghi che attraversiamo ogni giorno, di desideri e paure comuni. Abbiamo provato a mettere insieme i pezzi costruendo un racconto multimediale dal vivo interamente realizzato con le nostre voci e le nostre azioni.
E tu, quale diritto vorresti adottare?
produzione ZONA K (Milano), creazione collettiva Classe 4AC del Liceo Rebora di Rho (Milano), con Tommaso Amboldi, Pietro Carabelli Pietro, Elizabeth Colaiemma, Elisa Cozzi, Simone Garavaglia, Giulia Girometta, Beatrice Giudici, Francesca Gorla, Sara Lualdi, Anna Manfredini, Sofia Muliari, Francesca Oropallo, Giulia Ragusa, Martina Ranieri, Elena Sardelli, Martina Trovato, drammaturgia e regia Andrea Ciommiento, assistenza alla regia Leda Peccatori, referente scuola Ylenia Marotta, coordinamento didattico Federica Di Rosa, con il sostegno dell’Otto per Mille della Chiesa Valdese, in collaborazione con Lapsus e Terzo Paesaggio
Open Call per “CON L’ANIMALE”
NUMERO23PROD. // MASSIMO FURLAN
Con l’animale
Un progetto teatrale di Massimo Furlan & Claire de Ribaupierre
Per il progetto teatrale Con l’animale, gli artisti svizzeri Massimo Furlan & Claire de Ribaupierre sono alla ricerca di racconti, aneddoti e testimonianze di appassionati e praticanti di caccia e pesca, da affiancare a interviste ad antropologi, filosofi e scienziati e a specialisti della fauna selvatica sul tema di queste pratiche.
La loro ricerca artistica pone l’attenzione sulle relazioni tra la natura e i suoi abitanti: chi sono i protagonisti, come interagiscono, come si influenzano a vicenda ed evolvono nello stesso tempo e nello stesso luogo. La raccolta delle testimonianze si trasformerà in un testo teatrale.
Oggi ci accorgiamo sempre più spesso che stiamo trascurando le conoscenze ancestrali, basate su un equilibrio tra ciò che prendiamo dalla natura e ciò che le lasciamo il tempo di ricostituire. Se non conosciamo più l’ambiente, lo stiamo trascurando e se ne prendiamo troppo, lo stiamo distruggendo. Senza la conoscenza dell’intelligenza di ciò che ci circonda, distruggiamo noi stessi.
Si cercano aneddoti, piccoli racconti di giornate di pesca e di caccia. Luoghi, fiumi, laghi, correnti, criteri per trovare i pesci, quale vegetazione, quale altitudine, quale ora del giorno. Boschi, foreste, pianure, montagne, la luce, le tracce, gli odori, la temperatura per il cacciatore. Aspettare la preda, in solitudine e in silenzio. La pazienza. Il rapporto con il tempo. Come accadono le cose piccole, infinitesimali, i microeventi che costituiscono forme di attenzione: la precisione del gesto, l’ascolto, la presenza di segni nell’acqua o nei boschetti, la conoscenza del terreno, la qualità dell’aria, la qualità dell’acqua, la qualità della luce. E poi le abitudini e le traiettorie di pesci e selvaggina: la molteplicità delle specie, il loro comportamento, la loro intelligenza, le loro tecniche.
Gli artisti Massimo Furlan & Claire de Ribaupierre sono disponibili
a incontri in presenze nel periodo 28 novembre – 6 dicembre 2023.
Per informazioni e disponibilità, contattare stagione@zonak.it
Massimo Furlan, regista
Massimo Furlan è nato a Losanna nel 1965 da genitori italiani. Dopo aver studiato alla scuola cantonale d’arte di Losanna, lavora nel suo studio, espone regolarmente i suoi dipinti e disegni in varie gallerie e lavora come scenografo. Nel 2003 ha fondato la compagnia Numero23Prod e ha iniziato a sviluppare lavori teatrali e performativi. All’inizio, il suo lavoro si ispira ai suoi ricordi d’infanzia: parte dalla sua storia personale per poi toccare la memoria collettiva di un’intera generazione. Rivisita modelli, sogni e aneddoti che hanno avuto un impatto particolare su di lui e la cui intensità provoca ancora oggi sorpresa e una certa esultanza. Si tratta di progetti come Gran Canyon Solitude (2003), (storia d’amore) Superman (2004), Palo Alto (2006) e Les filles et les garçons (2007). Nei suoi progetti scenici, invita danzatori e altri performer sul palcoscenico per creare quelle che lui chiama immagini lunghe: scatti in sequenza che ricordano il cinema e l’installazione. Continua questa ricerca con You can speak, you are an animal (2009), Schiller Thriller (2011), Giacomo (2012), Un Jour (2014). Accanto ai suoi progetti teatrali, si dedica anche alla performance art, rimettendo in scena partite mitiche della storia del calcio negli stadi di tutta Europa (dal 2000), correndo sulla pista dell’aeroporto internazionale di Ginevra per il Festival de la Bâtie del 2004 nell’aeroporto internazionale e correndo nel tunnel del Grand Saint-Bernard che collega Svizzera e Italia, per Tunnel nel 2015. Ha inoltre interpretato tutti i concorrenti dell’Eurovision Song Contest del 1973 per il Festival di Avignone nel 2010.Dal 2008 in poi, con la sua drammaturga Claire de Ribaupierre, inventa protocolli e dispositivi unici per la parola, nell’ambito di progetti come Chanteur plutôt qu’acteur (2008), Les Héros de la pensée (2012-2018), Après la fin, le Congrès (2015), Le Concours européen de la chanson philosophique (2019) che portano in scena pensatori.
Nel 2017 il lavoro si è aperto a una dimensione documentaristica, coinvolgendo attori non professionisti, abitanti dei villaggi dei Paesi Baschi per il progetto Hospitalités nel 2017 e lavoratori migranti per Les Italiens nel 2019. Questo approccio, che solleva la questione di chi è in scena e di chi racconta la storia, continua con progetti come Avec l’animal (2022), Les feux (2023) e Dans la terre (2024), che interrogano i gesti e il saper fare. Un altro aspetto del suo lavoro consiste nel portare gli spettatori di notte su treni, autobus e battelli, alla scoperta di paesaggi urbani o selvaggi, attraverso la contemplazione, la musica e la camminata, come una lunga ripresa cinematografica itinerante: così Girls change places (2004), The Wind in the Wood (2016), Nocturne, (2017), Travelling (2017), Factory (2017), Dans la forêt (2020). Massimo Furlan ha ricevuto il Premio svizzero per il teatro nel 2012 e il suo lavoro è sostenuto da un accordo congiunto tra la Città di Losanna, il Cantone di Vaud e Pro Helvetia, la Fondazione svizzera per la cultura.
Claire de Ribaupierre, drammaturga
Claire de Ribaupierre è nata a Losanna nel 1968, ha studiato letteratura e ha conseguito un dottorato in letteratura contemporanea. Svolge ricerche nei campi dell’antropologia, delle immagini e della letteratura. Ha pubblicato Le roman généalogique. Claude Simon et Georges Perec (2002), e ha curato diverse opere collettive sulla questione del lutto e del fantasma (Le corps évanoui, les images subites, 1999), sulla figura dell’idiota (2004) e sulla questione dell’aneddoto (2007). Nell’ottobre 2012, con il Centre d’art de Neuchâtel, ha pubblicato Les Héros de la pensée, un libro che ripercorre le 26 ore di spettacolo e 11 canzoni filosofiche (2019) per il progetto European Philosophical Song Contest. Dal 2003 lavora alle produzioni di Massimo Furlan, prima come interprete e poi come drammaturga.
È stata collaboratrice scientifica e docente presso l’École cantonale d’art du Valais e la Haute École d’art et de design di Ginevra, e ha organizzato diversi incontri in luoghi d’arte che riuniscono artisti e teorici intorno a un tema specifico (aneddoto, archivio, animale, incidente, eccesso, ecc.). Dal 2008 al 2010 ha lavorato come ricercatrice sostenuta dal Fondo Nazionale Svizzero sulle pratiche artistiche dell’archivio e su un progetto sulle pratiche di improvvisazione con diverse scuole d’arte, teatro e musica. Attualmente insegna metodologia, drammaturgia e antropologia presso La Manufacture – Haute école des arts de la scène, nell’ambito del programma di Bachelor in teatro e danza.
Foto ©far° Nyon2022 – Arya Dil
ZONA K
video installation
free participation
c/o The D!alma – urban creative yard
Via Claudio Monteverdi, 117 – La Spezia
After its debut at Sarzana’s Teatro degli Impavidi in 2022, ZONA K offers in installation form the important work of investigation and involvement of ordinary people carried out with the production We are nothing, we will be everything.
Interviews, footage, and audio that photograph a complex labor today, made up of strong generational gaps, missed expectations, achievements, and the desire to participate. An online archive of the world of work today, starting with the testimonies of the first workers in La Spezia and Sarzana involved and growing for each square the show touches.
An immersive journey into one of the most pressing issues for everyone’s present and future.
a project by ZONA K curated by Fabio Cherstich content and direction of the show of the same name Alessandro Renda editing and visual effect video Francesco Tedde and Alessandro Tedde (Anthropotopia)
The project is produced with the support of Fondazione Compagnia di San Paolo as part of Art Waves Contemporary Culture Productions.
AA.VV.
RESTITUZIONI DEI PROGETTI SOSTENUTI DAL BANDO DELLE RESIDENZE DIGITALI:
Mara Oscar Cassiani, Malte & Collettivo Ønar, Martin Romeo, Simone Verduci/Ariella Vidach
Per informazioni e acquisto biglietti (3 euro) consultare il sito www.residenzedigitali.it. All’atto dell’acquisto lo spettatore riceverà tutte le informazioni necessarie.
Si rinnova, per il quarto anno consecutivo, l’appuntamento con la Settimana delle Residenze Digitali, progettualità artistiche sperimentali, che trovano nello spazio digitale il loro habitat ideale.
La settimana si svolgerà dal 22 al 26 novembre e prevede le restituzioni dei progetti selezionati attraverso la quarta edizione del bando delle residenze digitali, un progetto ideato e promosso dal Centro di Residenza della Toscana (Armunia – CapoTrave/Kilowatt), in partenariato con l’Associazione Marchigiana Attività Teatrali AMAT, il Centro di Residenza Emilia-Romagna (L’arboreto – Teatro Dimora │ La Corte Ospitale), l’Associazione ZONA K di Milano, Fondazione Piemonte dal Vivo – Lavanderia a Vapore, a cui si aggiungono quest’anno altre due realtà: C.U.R.A. – Centro Umbro Residenze Artistiche (La Mama Umbria Umbria International – Gestioni Cinematografiche e Teatrali/ZUT – Centro Teatrale Umbro – Micro Teatro Terra Marique – Indisciplinarte) e la Fondazione Teatro Comunale Città di Vicenza.
Il programma della settimana
22 – 26 novembre dalle 16.30 alle 18.00, di CITIZENS di SIMONE VERDUCI / ARIELLA VIDACH, progetto di arte performativa e partecipativa immaginato per lo spazio virtuale che ripercorre la definizione di eterotopia enunciata dal filosofo Michele Foucault, usata per indicare quegli spazi che hanno la particolare caratteristica di essere connessi a tutti gli altri spazi, ma in modo tale da sospendere, neutralizzare o invertire l’insieme dei rapporti che essi stessi designano, riflettono o rispecchiano. Il corpo dello spettatore è il motore di questo attraversamento. Conversazioni in corso, corpi danzanti, la preghiera in una chiesa, la confusione di un mercato affollato, sono solo alcune delle situazioni che gli utenti possono incontrare durante il loro percorso, oltre alla possibilità di interagire tra loro. Le situazioni agite da rappresentazioni virtuali sono le controparti umane. La scelta del percorso influenzerà direttamente l’evolversi degli eventi, la trama e il modo in cui lo spettatore si relazionerà all’esperienza. Le musiche sono di Franco Conte.
Simone Verduci è creative technologist e new media artist. La sua ricerca è incentrata sullo sviluppo e l’applicazione di nuove tecnologie per l’arte e il design, con uno sguardo sempre attento al contemporaneo e alla multidisciplinarietà.
Ariella Vidach si forma a New York negli anni Ottanta, dove ha modo di approfondire il lavoro con i protagonisti della danza postmoderna americana. Torna a Milano nel 1990 e nel 1996 fonda la Compagnia di danza Ariella Vidach – AiEP, con la quale produce performance multimediali che affiancano alla ricerca coreografica l’interesse per il rapporto tra corpo e tecnologia. Nel 2017 AiEP riceve il “Premio Speciale” nei Premi della danza svizzera per la ricerca e l’innovazione del linguaggio.
Giovedì 23 e venerdì 24 è il momento di AI LOVE, GHOSTS AND UNCANNY VALLEYS <3 di MARA OSCAR CASSIANI. Il lavoro può essere fruito in versione online giovedì 23 dalle 11 alle 12.30 e in versione ibrida, online e in presenza alla Lavanderia a Vapore di Collegno (To), venerdì 24/11 dalle 11 alle 12.30 – in presenza replica riservata alle scuole- e dalle 19 alle 20 – durata fra i 10 e i 30 minuti).
Possiamo innamorarci di una Ai (intelligenza artificiale) e poi decidere di lasciarla? Amici virtuali, avatar che posseggono profili Instagram e ci danno consigli, Ai che diventano i partner nella vita affettiva. In molti modi, sembra la relazione perfetta, perché si potrebbe sempre fare affidamento sul compagno di intelligenza artificiale, sempre disponibile a fornire compagnia e comprensione. Mentre aumentano le relazioni reali sparite in preda al ghosting (la scomparsa di qualcuno senza spiegazioni), le relazioni con le Ai crescono. I corpi, che sembrano spesso semi coscienti con un dispositivo in mano, vivono una seconda vita emotiva e reale sulle piattaforme social e Ai. Le Ai colmano i vuoti degli umani che infondono in loro quello che Gilbert Ryle nel 1949 chiamava il Ghost, l’anima nella macchina. Eppure, questo meccanismo di estrema umanizzazione diventa aberrante: quanto più la Ai assomiglia all’umano, tanto più gli utenti sono sconvolti (effetto Uncanny Valley). Il processo di ricerca oscilla tra storytelling di YouTube e momenti di realtà aumentata e si è sviluppato anche nel corso di due residenze: la prima in Lavanderia a Vapore, che ha permesso all’artista di interrogarsi su questi temi incontrando studenti e studentesse del Liceo Curie di Collegno e dell’Università DAMS di Torino, e la seconda presso C.U.R.A. centro umbro residenze artistiche. L’obiettivo è narrare ma anche dare una dimostrazione performativa della coesistenza di un rapporto tra Ai, in forma di avatar virtuali e utenti, e l’impatto sulla presenza corpo e sul nostro comportamento dell’uso dei device come tramite comunicativo. Mara Oscar Cassiani condividerà, inoltre, il processo di ricerca, la sua poetica artistica e l’esperienza di Residenze Digitali, durante la sua permanenza a Torino, il 26 novembre in occasione di onLive Campus, progetto promosso da Piemonte dal Vivo, quest’anno nell’ambito della sesta edizione del TFI Torino Film Industry al Circolo dei lettori. onLive Campus è un contesto in cui dare visibilità alle nuove estetiche e all’impatto delle residenze dedicate alle arti digitali in dialogo con la rete, come conferma la presenza nella stessa giornata di Kamilia Kard, tra i vincitori della precedente edizione di Residenze Digitali, e di MALTE & Collettivo ØNAR, altro progetto selezionato dal bando, sempre il 26 novembre a Torino per Memissima.
Mara Oscar Cassiani è un’artista wifi-based che lavora nel campo della performance, della coreografia, dei linguaggi digitali, del ritual clubbing, esplorati attraverso pratiche performative live, sia offline che online. La sua ricerca è incentrata sulla creazione di un’iconografia contemporanea, in cui le nuove grammatiche e i rituali sono mutuati dal mondo di internet, dalle sottoculture, dagli avatar e dall’immaginario del brutal capitalismo. Il rapporto che intrattiene con il pubblico, in una dimensione allargata – sia live che mediata – viene esplorato, attraverso questi immaginari visivi, in allestimenti performati in luoghi open space o in spazi virtuali open source. La performance risultante diventa un flusso di immagini, un continuo scroll-down tra estratti di cultura avatar, folklore rituale, folklore digitale e di riappropriazione nei confronti del linguaggio capitalista. L’artista ci restituisce così un’istantanea globale, un “fast food visivo” tra kitsch, cruda ritualità e apocalisse.
Giovedì 23, dalle ore 18 alle ore 20 dal vivo presso ZONA K e per un gruppo di 100 iscritti su Telegram, (replica domenica 26 dalle 18,30 alle 20 live da Off Topic di Torino per Memissima e fruibile da un gruppo Telegram di 100 iscritti) TEATROPOSTAGGIO di GIACOMO LILLIÙ. Lo shitposting è la condivisione in una chat o sui social di contenuti volutamente scadenti o fuori contesto, con l’obiettivo di far esplodere qualsiasi possibilità di comunicazione univoca. Strumento principale di questa operazione sono i meme, dunque assemblaggi di immagini, video e testi: una dialettica tra scritto e icona assimilabile a quella tra parola e palco. Ma cosa succede se si utilizza lo shitposting per “schiantare” i paradigmi drammaturgici? Giacomo Lilliù (ideazione e curatela performativa) e Pier Lorenzo Pisano (curatela drammaturgica) hanno selezionato 5 tra i più interessanti creatori di contenuti memetici, e li hanno invitati a creare nuovo materiale insieme a 4 attori professionisti. Per la Settimana delle Residenze Digitali, il percorso di ricerca trova attuazione sull’applicazione di chat Telegram, con una performance in bilico tra dadaismo, oscenità e nichilismo semantico. Gli attori saranno chiamati a condividere piccoli atti situazionisti in foto e video, che fungeranno da base per l’operazione di risignificazione dei memer, che a loro volta ispireranno nuove situazioni agli stessi performer, in un processo di feedback in cui è impossibile arrivare al termine di un qualsiasi pensiero. D’altronde, se lo shitposting serve a far saltare le fila del discorso, nessun discorso può dirsi immune da questa tentazione a deragliare.
Giacomo Lilliù (1992) è regista e attore. Formatosi alla Scuola del Teatro Stabile delle Marche e successivamente alla LAMDA di Londra, dirige e collabora a progetti in Italia, Polonia, Regno Unito. Come attore recita per Marco Baliani, la compagnia belga Ontroerend Goed, Romeo Castellucci. Dal 2014 collabora con la compagnia MALTE, diretta da Sonia Antinori, con la quale dirige e interpreta progetti come Teoria della classe disagiata, adattamento ufficiale dell’omonimo saggio di culto. Nel 2015 crea Collettivo ØNAR, gruppo informale attraverso cui si dedica alla creazione multidisciplinare e intraprende un percorso di ibridazione fra teatrale e digitale, realizzando opere come WOE/Wastage of Events (vincitore Residenze Digitali 2021). Nel 2022 il network Fondo, istituito da Santarcangelo Festival assieme ad altri 13 enti, gli riconosce una fellowship per la sua personale ricerca artistica.
Conclude la programmazione, venerdì 24 a Vicenza, dalle 20 alle 22,30 in 5 turni da 5 persone per volta, durata 30 minuti e sabato 25 nella sua versione online dal teatro virtuale di AMAT dalle 20 alle 22 (sempre 5 turni per 5 persone alla volta) HUMANVERSE di MARTIN ROMEO. Una ricerca sul post-umano che considera tutti gli attori presenti come parte di un ecosistema: elementi fisici, non fisici, digitali, virtuali e phigital. Il metaverso è parte di questo nuovo ecosistema-mondo con il quale dobbiamo interfacciarci in vista della nascita di una nuova “civiltà”. Humanverse ci porta a riflettere sulla questione antropologica del corpo, in una realtà in cui vengono contrapposti mondi fatti di nuove alleanze tra specie diverse e abitati da esseri permeabili, ibridi e molteplici, come le creature fantastiche inventate da Carrington. Che farcene della nostra materia quando tutto è sempre più immersivo? In un mondo sempre più propenso all’immersività, quali priorità si vuole stabilire? Lo sviluppo di queste tematiche darà vita a elaborati audiovisivi generati con piattaforme AI (MidJourney, OpenAI, ChatGPT) che saranno presentati al fine di instaurare dialoghi e scambi. Lo spettatore potrà accedere a questo ambiente sia da computer che da smartphone tramite un avatar, avrà modo di interagire fisicamente grazie all’impiego di visori Quest 2 messi a disposizione durante le restituzioni pubbliche. Potrà partecipare all’esperienza in tempo reale, vivere all’interno di questo ecosistema e farlo evolvere.
Martin Romeo è un artista multimediale Italiano cresciuto in Argentina, la cui ricerca è rivolta all’arte interattiva, spaziando tra videoinstallazioni e performance di danza. Partecipa a numerosi festival internazionali, tra cui File – Electronic Language International Festival in Brasile e all’ International Sarajevo Winter Festival in Bosnia-Erzegovina. I suoi lavori sono stati esposti al Minsheng Art Museum in Cina, all’ IMRC Center in US, e a varie biennali, tra cui la 54° Esposizione Internazionale d’Arte di Venezia e la 15° BJCEM in Grecia. Ha creato diversi progetti culturali ed è direttore artistico del Toolkit Festival di Venezia e Screening Festival di Trieste. Insegna all’Università ISIA e all’ Accademia di Belle Arti di Urbino.
Mauro Pescio (IT)
Tratto da Podcast Io ero il Milanese di Raiplay Sound
Spettacolo teatrale | durata 75 min
c/o Casa Circondariale“Francesco Di Cataldo” San Vittore
Piazza G. Filangieri 2 – Milano
POSTI ESAURITI – LISTA D’ATTESA COMPLETA
Guarda le repliche del 17 e 18 novembre c/o ZONA K
Uno spettacolo nato come podcast dalla penna di un attore-scrittore, Non è la storia di un eroe è la restituzione live del podcast Io ero il Milanese di e con Mauro Pescio. Lo spettacolo è il racconto di un uomo che nella vita ha fatto tante scelte sbagliate, un uomo con cui la sfortuna si è accanita, un uomo che ha toccato il fondo, ma che da quel fondo si è rialzato. La storia di Lorenzo è diventata un podcast, intitolato Io ero il Milanese, prodotto da RaiPlay Sound, diventato un vero e proprio caso nel 2022. Partito in sordina, grazie al passaparola il podcast ha conquistato il pubblico superando i 700 mila ascolti. Ora la storia di Lorenzo S. potrà essere conosciuta dal vivo: lo spazio teatrale è, per antonomasia, lo spazio della rivoluzione, adatto quindi a dare voce alla rivoluzione personale di Lorenzo S. e alla sua storia difficile, dura, ma anche piena di speranza.
di Mauro Pescio e Lorenzo S. con Mauro Pescio e la partecipazione straordinaria del Coro La Nave di San Vittore a cura di Associazione Amici della Nave, Associazione Verso Itaca, ZONA K
Mauro Pescio, autore radiofonico e teatrale. Dopo essersi diplomato alla Civica Scuola di Teatro Paolo Grassi di Milano si trasferisce a Roma dove fonda una compagnia teatrale con cui lavora per dieci anni. Dal 2012 è autore di “Voi siete qui” per Radio24 e dal 2015 di “Pascal” di Radio2. Per Audible ha scritto “La piena”, prima produzione italiana di Amazon di un podcast teatrale. Dal 2017 collabora con Radio3 per la trasmissione di audiodocumentari “Tre soldi”.
DANAE FESTIVAL
25^ edizione
Anche quest’anno ZONA K si fa tappa del DANAE FESTIVAL, un progetto di Teatro delle Moire giunto alla 25^ edizione, e accoglie lo spettacolo di
RITA FRONGIA
Étoile & Star – Essere umani molto da vicino
Rita Frongia, drammaturga, attrice, regista, che da molti anni scrive per Claudio Morganti, presenta il dittico Étoile & Star, per i quali ha sentito il desiderio di lavorare con uno sguardo coreografico, coinvolgendo due interpreti con una lunga e articolata storia artistica: l’attore Stefano Vercelli che ha lavorato tra gli altri con Jerzy Grotowski e Eugenio Barba e la danzatrice americana Teri Weikel che ha alle spalle una serie di collaborazioni con artisti e artiste di fama internazionale e dal 2002 è insegnante del Metodo Feldenkreis applicato alla danza.
Dopo una lunga vita sulla scena, quando l’equilibrio del danzatore si fa precario e le ossa sporgono come rami in cerca di luce e non ci sono più virtù e giovinezza da esibire, si va all’osso appunto, si indaga il piccolo, il sottile, l’inenarrabile, si evocano i fantasmi di una vita e si desidera danzare come mai si sarebbe immaginato. È questo il desiderio. Se metti insieme la lunga vita di un artista, più la storia che desidera incarnare (o il fantasma che cerca di evocare), viene fuori una terza storia: il suo umano ritratto. Serve una storia che faccia la grazia di nascondersi, una drammaturgia che rispetti l’intelligenza del pubblico e che non suggerisca chiavi di lettura, serve che l’artista sia presente, che in scena indaghi attimo per attimo tempi e forme, affinché si possa immaginare l’indicibile, vedere l’invisibile.
Info e Acquisto biglietti ➝ DANAEFESTIVAL.COM
I KEPLER-452 si raccontano: una parabola tra teatro e realtà
È da qualche tempo che ci occupiamo di raccontare la realtà, di tentare di portarla in scena, con tutte le resistenze, intuizioni, difficoltà, scoperte, meraviglie che ne conseguono.
Dopo circa dieci anni di questo lavoro pensiamo di non aver elaborato un vero e proprio metodo, perché la realtà e il teatro sono due cose che, messe insieme, è difficile che forniscano due volte circostanze analoghe o anche solo simili. Il cortocircuito tra loro è un’altra realtà, ancora. Irripetibile.
Quando ZONA K ci ha chiesto di tenere una “MasterClass”, abbiamo pensato che, in poche ore, sarebbe stato difficile trasmettere a qualcuno la nostra pratica di lavoro.
Abbiamo deciso, piuttosto, di ripercorrere insieme questi dieci anni di incontri, tentativi, spettacoli, persone, identità, fallimenti, e raccontarli pubblicamente, nella speranza che questa parabola narrativa tracci qualcosa di simile, se non a un metodo, a una possibilità di teatro.
Una sintesi che offra l’occasione di affacciarsi su un’avventura che possa, forse, far intravedere una strada, un’intuizione nuova, in qualcuno che l’ascolta .
Nicola Borghesi, Enrico Baraldi
La masterclass si svolge il giorno 5 OTTOBRE 2023 dalle ORE 16.00 alle ORE 18.00 presso il Teatro OUT OFF – via Mac Mahon 16 Milano.
La partecipazione è gratuita e avviene attraverso la compilazione di ➝ QUESTO MODULO
Il numero delle/dei partecipanti è limitato.
I posti verranno assegnati in base all’ordine di arrivo dei moduli correttamente compilati.
Vai allo spettacolo di KEPLER-452 in scena il 4 e 5 ottobre per la stagione 10
DOM- e ANTONIO MORESCO (IT)
Urban walk for 20 participants only | Duration 270 min.
c/o Urban spaces*
“L’uomo che cammina ” (The walking man) is a landscape performance, a walking journey of about four hours for 20 spectators at a time. A figure, shadowy and elusive, strolls through the city. Through her journey, the landscape opens up and hides from the eyes of the audience, which follows at a distance, as if spying, poised between identification and detachment.
Starting from the graphic novel by Jiro Taniguchi, DOM- builds a dramaturgy of spaces to delve deeper and deeper into the tangle of the city, and let the living experience of walking become the pretext for a hand-to-hand with reality. The protagonist of the Milanese remake is the writer and playwright Antonio Moresco. Walking in his footsteps and following his figure from behind, the audience finds itself immersed in a phantasmagorical sequence plan. The spaces follow one another – a square, a station, a cathedral, a swamp, a wasteland, a motel, a swimming pool – and are interwoven with solitary writings and tales of nocturnal journeys.
After the original productions in 2018 and 2019, realised thanks to the collaboration between ZONA K and Danae festival, the project is now also offered in the English version for the international meeting (Un)Common Spaces.
a project by DOM-
creation, dramaturgy and direction Leonardo Delogu, Valerio Sirna
with Antonio Moresco
and with Paola Galassi, Isabella Macchi, Achraf Saiklaroussi
with the guidance of Sathya Nardelli
and with the participation of the students of ITSOS Albe Steiner
freely inspired by the comic strip of the same name by Jiro Taniguchi L’uomo che cammina
sound processing of the text “Camminare da solo di notte di Antonio Moresco” curated by Fabio Zuffanti
with the voice of Gabriele Portoghese
in the English version audioguide sound processing Lorenzo Danesin
English translation of the texts Richard Courtenay Dixon
video project by di Studio Azzurro curated by Alberto Danelli, Alexey Demichev, Laura Marcolini, Martina Rosa
co-production Sardegna Teatro e ZONA K, co-production 2018 and 2019 edition Teatro delle Moire with the collaboration of Terzo Paesaggio
thanks for the collaboration Museo del Novecento, Abbazia di Chiaravalle and Pizza 3 Corvetto.Students of ITSOS Albe Steiner are Johan Boccalini, Alessandro Delbosio, Deva Diminutto Formiconi, Claudia Ghielietti, Aurora Gigliotti, Manuel Giuliano, Eleanna Marseglia, Giada Mura, Sam Nalgrati, Mariangela Valle.
*The starting location will be communicated by text message the day before the performance.
It will be necessary to give ZONA K your mobile phone number.
Comfortable clothing and shoes are recommended.
Walk not appropriate for persons with reduced mobility.
DOM- is a research project born in 2013 from the collaboration between artists Leonardo Delogu and Valerio Sirna. DOM- investigates the language of performing arts, contaminating it with the militant approach of the Environmental Humanities and with the instances and imaginaries of feminist and queer ecologies. The research revolves around the relationship between bodies and territories, investigating the knot of permeability and observing how power, nature, culture and marginality interact in public space. DOM- constructs performance works, walks, gardens, texts, lectures and debates, audiovisual works, workshops, DJ sets and parties. www.casadom.org
Antonio Moresco, Italian writer [Mantua, born 1947]. After completing a difficult apprenticeship of which he gives an account in Lettere a nessuno (1997), critically documenting the difficulty of emerging from the condition of being an underground writer and rejected by the Italian publishing world, in 1993 he published the collection of short stories Clandestinità (Clandestinity), in which the themes that substantiate his work are already present, rendered in a dry and hyperrealist style that increases its dramatic impact: that of loneliness, first and foremost, traversed by a dream dimension as estrangement from the self, which is accompanied by the recurring motif of a harried search for meaning that unravels through oblique and unstable paths. The core of Moresco's oeuvre revolves around the vast work Games of Eternity, written over a period of 35 years, consisting of Gli esordi (1998), Canti del caos (published in two volumes in 2001 and 2003) and Gli increati (2015). His other works include: La cipolla (1995), Lo sbrego (2005), Scritti di viaggio, di combattimento e di sogno (2005), Merda e luce (2007), La lucina (2013), Fiaba d'amore (2014), I randagi (2014), Piccola fiaba un po' da ridere e un po' da piangere (2015), L'addio (2016), Fiabe da Antonio Moresco (2017) and, both in 2018, L'adorazione e la lotta and Il grido. Founder in 2003 of the blog Indian Nation, in 2005 he created the online and print magazine Il primo amore.
with the patronage and contribution of
with the contribution of
BÜRGERBÜHNE – La scena dei cittadini
BÜRGERBÜHNE – THE CITIZEN’S SCENE
Participatory show | duration 120 min
At condominium of viale Lombardia 65, Milan
Free participation
Obligatory booking on biglietti@zonak.it
10+1. “ Alla ricerca della pubblica felicità” (On the search for the public happiness) is a parcipitatory theatrical performance idealised and realised together with a group of citizens which took part at the BÜRGERBÜHNE theatrical laboratory – La scena dei cittadini (the citizen’s scene)
10 rooms, 10 themes, 10 questions which need to urgently dealt with and told through a performative action in the interior of the condominium on viale Lombardia 65.
The public is suggested to observe and listen but most of all to respond and act. Is it possible to find the collective happiness? And how? Through stories real and imaginary, games and provocations, reality and fiction we move towards the inside of a path which won’t be equivalent for everyone.
17 citizens- a class representative of the city- make themselves authors and actors to bring to stage, with irony, their point of view of Milan.
A Zona K project direction and dramaturgy Federica Di Rosa of and with Massimo Amati, Fiorenza Auriemma, Eleonora Bedon, Isabella Fazio, Maria Teresa Gimelli, Paolo Grulla, Fabio Lastella, Ele- na Lerra, Mattia Martini, Cristina Meneguzzo, Sara Pennati, Giovanna Piccardo, Emanuela Sitzia, Irmtraut Tonndorf, Arianna Tuzzolino, Xina Veronese, Alessandro Zemella laboratory conducted by Federica Di Rosa with the support of Leda Peccatori
GO TO THE PERMANENT THEATRICAL LABORATORY 2023
Event inserted in the schedule of
PAESAGGI CONDIVISI
Sette pièce tra campi e foreste
Paesaggi condivisi is a theatrical journey through fields and forests, seven immersive proposals to provoke an examination of our relationship with the landscape and nature.
What if the landscape were a theatre? What if art did not imitate nature, but rather allowed us to experience it collectively? What is at stake in our relationship with “nature” and its representations, in this era in which climate and resources have made us aware of our fragility and interdependence?
Paesaggi condivisi is an invitation to leave the theatre and spend a day in nature; walking and exploring fields and forests, spectators will discover seven works of art, seven variations on the theme of landscape. Stefan Kaegi, from the Rimini Protokoll collective, and Caroline Barneaud, curator of the Théâtre Vidy-Lausanne, have invited ten European artists to share their visions on our relationship with the territory. Performative and choreographic interventions, sound and multimedia creations and dives into philosophy offer a collective and participatory experience.
Paesaggi condivisi is part of the European project Performing Landscape, which sees the involvement of eight partners from Germany, Austria, France, Italy, Spain, Portugal, Slovenia. Artists, cultural organisers and experts reflect on notions of art, the landscape and the territory. Drawing a visible and invisible map of the European locations involved, they reveal the spaces that the share through the lens of the arts and the sciences. An alternative way to examine and reinvent Europe together. Paesaggi condivisi made its debut on 14 May 2023 in Chalet-à-Gobet with the Théâtre Vidy-Lausanne and has currently been adapted and presented in the various locations involved: Avignon, Berlin, Milan, Ljubljana, St. Pölten, the Girona region and the Lisbon region.
Stefan Kaegi (Rimini Protokoll)
The Swiss and German director Stefan Kaegi invites the audience to lie down under the trees, to put on headphones, and to listen to a conversation recorded under similar circumstances. An immersion into sound for a shift in perspective.
Conversation with a psychoanalyst, a singer, a curious child, a forest ranger and a meteorologist.
Chiara Bersani e Marco D’Agostin
Chiara Bersani and Marco D’Agostin are two Italian artists, one with disability and the other not, who have been exploring the notion of “political body” together for the past ten years.
With a local performer, using bodies and words, the duo will stage a strange picnic in which the landscape will become a space of sharing as much as an inaccessible space.
Portuguese choreographers and performers Sofia Dias and Vítor Roriz have developed a choreographic language that includes text and voice, creating shows, performances, and podcasts as well as installations… For Paesaggi Condivis, the duo has composed a sound and choreographic piece for audio-guide headsets, which simultaneously guides two audience groups through the forest, in a kind of pas de deux or surrealistic ritual, between instructions and daydreams. A personal meditation and a collective experience that interrogates our relationship to what surrounds us.
Begüm Erciyas is a Turkish-Belgian artist who develops theatrical devices that offer audiences individual and intimate experiences in a collective context.
Daniel Kötter is a director and filmmaker, and has directed a
series of virtual reality documentaries that explore the effects of extraction on landscapes and communities.
Ari Benjamin Meyers, an American artist and composer living in Berlin, creates musical pieces for international stages and museums. He is particularly interested in formats that deploy the social and performative issues at stake in music. He takes advantage of this unique occasion to deploy a piece for an entire territory and an entire afternoon and composes for Paesaggi Condivisi UNLESS, 4 musical and sculptural works for the trees, the ground, the birds and the air, which unfold as the landscape and the day go by with 6 local musicians.
El Conde de Torrefiel is a Spanish collective that creates visual and textual theatre pieces in which theatre, choreography, literature and the visual arts cohabit. For the end of the day and of the route, El Conde de Torrefiel will install the audience in a situation in which they will contemplate a “subtitled” landscape, augmented by an LED screen on which thoughts, questions, perspectives and revelations will unfurl. A collective reading of the landscape which will highlight the imperceptible and some of the fictions that govern our representations of nature.
French director Emilie Rousset uses documentary research to create theatrical, installative, and filmic forms in which actors embody the collected archives, creating fruitful superpositions between reality and fiction, original and copy. For Paesaggi Condivisi, she met with an agroecology advocacy officer, a tractor farmer and a bio-acoustician, and recorded their words. Performers and a machine replay these original and several versions, inviting the audience to contemplate, upend, and examine the connections between science, technology, economy and landscape.
PAESAGGI CONDIVISI Sette pièce tra campi e foreste
Duration (estimation) : 7 hours, including breaks Performative land art (theatre, performances, music…)
Concept and curation Caroline Barneaud, Stefan Kaegi (Rimini Protokoll)
With pieces by Chiara Bersani and Marco D’Agostin (Italy), El Conde de Torrefiel (Spain), Sofia Dias and Vítor Roriz (Portugal), Begüm Erciyas and Daniel Kötter (Turkey, Belgium, Germany), Stefan Kaegi (Germany, Switzerland), Ari Benjamin Meyers (USA, Germany), Émilie Rousset (France)
Artistic assistant Giulia Rumasuglia, Magali Tosato
Stage manager Guillaume Zemor
Production and coordination Isabelle Campiche, Aline Fuchs (Théâtre Vidy-Lausanne)
With the support of the production, technique, communication and administration teams of Théâtre Vidy-Lausanne
Coordination of Performing Landscape Chloé Ferro, Monica Ferrari, Lara Fischer (Rimini Protokoll)
Production Rimini Apparat (Germany) and Théâtre Vidy-Lausanne (Switzerland)
Coproduction Performing landscape, European consortium: Bunker and Mladi Levi Festival (Slovenia), Culturgest (Portugal), Festival d’Avignon (France), Tangente St. Pölten – Festival für Gegenwartskultur (Austria), Temporada Alta (Spain), ZONA K and Piccolo Teatro di Milano Teatro d’Europa (Italy).
Berliner Festspiele (Germany).
Performing landscape, European consortium: Bunker and Mladi Levi Festival (Slovenia), Culturgest (Portugal),
Festival d’Avignon (France), Tangente St. Pölten – Festival für Gegenwartskultur (Austria), Temporada Alta (Spain), ZONA K and Piccolo Teatro di Milano Teatro d’Europa (Italy).
Berliner Festspiele (Germany).
pic © Léonard Rossi
With the support of INVR Berlin for the virtual reality headsets.
The concept creation was funded by the Federal Agency for Civic Education (Germany)
The prototype in Lausanne was supported by Jorat natural park, the City of Lausanne, the Competence Centre in Sustainability of the University of Lausanne.
Mobile Akademie Berlin (DE)
MILAN AND THE UNPREDICTABLE
performance
c/o La Pelota Jai Alai, via Palermo 10, Milan (MM2 Moscova)
Free entrance subject to availability.
RESERVATION RECOMMENDED, on Eventbrite
The performance will take place from 5 p.m. to 8.30 p.m.
from 16.00 it is possible to join at any time until the end of the performance
The city has restarted. It is moving. It looks ahead. She has to do, to move forward, to plan, to take care of others and herself. It is always her: progressive, generous, activist, entrepreneurial, international, obnoxious, snobbish, exaggerated. The city regenerates and consumes, operates from below and builds high, dismantles crime and tradition. It is finance and real estate speculation. It is branding. Bike lanes, culture, ethical food, new neighborhoods, housing prices up 40 percent, uninhabitable public housing, 700,000 cars coming in every day, ever-increasing commuters, off-market student beds. A washing machine that centrifuges its inhabitants. It attracts them, welcomes them and after 15 years spits out 60 percent of them. But the city is a complex system. If, in physics, a complex system is defined as a whole that acts and evolves according to a logic that cannot be reduced to the sum of its parts, Milan must be seen in its molecular tangle composed of multiple elements: physical, social, economic, cultural, human, all closely connected and intertwined. A complex system. A complex organization that is self-determining and determines an evolution of individual and collective choices.
Conceived by Hannah Hurtzig and presented for the first time in 2004, The Market for Useful Knowledge and Non-Knowledge was rappresented 34 times in the countries Germany, Poland, Turkey, Latvia, France, Israel, Finland, Colombia; Great Britain and many others.
It is an artistic event, a wide-ranging participatory performance, a place for the exchange, observation and production of knowledge that combines the intimacy of the tête-à-tête with the spectacularity of the theatrical installation, creating a multidisciplinary, multidimensional and hallucinatory space of knowledge, evoking what Milan is and could become.
In a large space called the Arena with the atmosphere of a reading room and market noise, experts are called upon to offer some of their knowledge – obvious, irreverent, unexpected and surprising – in 30 minutes of one-to-one conversation with the audience. Their knowledge provides an encyclopaedic insight into the selected topic. These are urgent topics of urban and universal interest, different for each venue.
When entering, the audience is given an encyclopaedia, a guide to the event that is useful for understanding the subject matter and expert knowledge. Yet, the encyclopaedia – faced with the wild taxonomy of cultural, artistic, scientific, practical and common-sense areas of knowledge, disciplinary and non-disciplinary, recognised and clandestine – always fails in its task of guidance.
It is in front of a Check-in – manned by uniformed hosts and hostesses, the administrative stage and bureaucratic heart of the evening’s organisation – that the public queues up to book a dialogue for the symbolic sum of 1€. This is not a market organised according to the principle of rational choice, but rather a roulette: customers queue to book a dialogue, but 60% of them are persuaded by the salesman to book something or someone else. If the customer is not satisfied with his purchase, he can turn to a Complaints and Grievances Desk to express his disappointment. These moments of bureaucratic efficiency (or Kafkaesque bureaucracy) offer further moments of involvement and absurdity.
The one-to-one conversations are simultaneously observed by the audience sitting on the bleachers around the Arena, who can tune in to one of the Market Radio channels to hear what is being said. A multiple-choice experience is created, in which each spectator chooses whether to participate or observe or do both.
The Knowledge and Non-Knowledge Market is an interactive installation space for learning and unlearning. Here knowledge and non-knowledge are staged and in play. One will witness a proliferation of speech acts, punctuated to the rhythm of administrative time. All possibilities are open to what is said and heard, as long as three simple rules are observed: Arrive at the table on time! Wait for the gong, the conversation starts with the gong! The expert has the first word! You have 30 minutes.
The Market of Knowledge and Non-Knowledge transforms the performative nature of all social interaction into captivating theatre. A strongly desired project that marks the arrival and restart of ZONA K’s 10 years, the synthesis of a will and a vision of our building out-of-format participatory theatre projects.
HOW TO PARTICIPATE
- Access and booking of conversations with expert(s) from 4 p.m. onwards.
The cost of each conversation (duration 30 minutes) is €1.
.
CHECK-IN
Booking from 16.00: ROUND 1A 17.00>17.30 | ROUND 1B 17.35>18.05
Booking from 17.00: ROUND 2A 18.15>18.45 | ROUND 2B 18.50>19.20
Booking from 18.00: ROUND 3A 19.30>20.00 | ROUND 3B 20.05>20.35
. - It is possible to follow some of the conversations on the RADIO DEL MERCATO channels.
Headphones are available at the entrance in exchange for an ID card.
LANGUAGES
.
Conversations in Italian, English, French, Arabic, Spanish, Tunisian dialect, Chinese, Romanian, LIS.
For more information on the project www.mobileakademie-berlin.com | www.zonak.it
EXPERTS
Pietro Bagnoli, Architect; Jada Bai, Professor of Chinese culture and cultural mediator; Yraida Bailon, Caregiver; Christine Ballarin, Head Of Planning And Valorisation Of The Hydro Resources Of The Municipality Of Milan; Gianni Barbacetto, Journalist and writer; Carlo Berizzi, Associate professor of Architectural And Urban Composition – University Of Pavia; Ales Bonaccorsi, Creative director National Museum Of Science And Technology “Leonardo Da Vinci”; Paola Bonini, Expert in digital media, activist of “Sai che puoi”; Lucia Borso and Teresa De Martin, Co-founders of “So.De – Social Delivery”; Gabriella Bottini, Neurologist, neuropsychologist, ordinary professor of Psychophysiology; Rabii Brahim e Anna Serlenga, Co-founders of “Corps Citoyen”; Marco Caccianiga, Botanic; Ilenya Camozzi, Cultural sociologist; Davide Carnevali, Dramaturg and theater author; Ivan Carozzi, Journalist and writer; Anna Casali, Real estate consultant; Arianna Censi, Councillor to the Mobility of the Municipality of Milan; Fabio Cherstich, Director and set designer; Michele Ifigenia Colturi, Choreographer and guest Airbnb; Mimmo Cosenza, Expert on AI; Edoardo Croci, Professor at Bocconi University and director of the Sustainable Urban Regeneration Lab; Tobia D’Onofrio, Cultural agitator, music and controculture enthusiast, journalist; Marianna D’Ovidio, Urban sociologist; Giovanni Damiani, Architect; Danilo De Biasio, Journalist and director of “Fondazione Diritti Umani”; Elio De Capitani, Actor, director and artistic co-director of “Teatro dell’Elfo”; Nicola Del Corno, Associate professor of History of Political Thought; Andrea Di Mario, Headmaster; Alberto “Abo” Di Monte, Social and geographical agitator, librarian, author; Linda Di Pietro, Cultural manager; Jacopo M. DustyEye, Time traveller; Progetto Giovani dell’Istituto dei Istituto Nazionale dei Tumori di Milano; Giordana Ferri, Architect; Francesco Floris, Journalist; Silvio Garattini, Founder and president of the “Istituto di Ricerche Farmacologiche – IRCCS Mario Negri” (Farmalogical Research Insitute); Elena Gianni, Architect, “Mutuo Soccorso” member; Sandro Greblo, Bicycle delivery man and author; Igor Guida, Scientific director for “Stripes Digitus Lab” at MIND Milano Innovation District; Cecilia Guida, Art curator and critic; Eiman Hussein Adam, Activist; Isabella Inti, Urban Architect – landscape technician; Michel Koffi Fadonougbo, Griot and activist; Alessandra Kustermann, Gynecologist and “SVS Donna Aiuta Donna” President; Chiara Lainati, Anthropologist and founding member of “Super”; Federico Leoni, Philosopher; Claudio Longhi, Director of “Piccolo Teatro di Milano”; Alessandro Maniaci, Lawyer and ASL interpreter; Alina Marazzi, Director; Gabriele Antonio Mariani, Engineer and architect; Michele Masneri, Journalist; Marco Minoja, General director “Fondazione Scuole Civiche Milano”; Liliana Moro, Artist; Azzurra Muzzonigro, Independent researcher, “Association Sex and the City” co-founder; Giacomo Negri, Activist and inhabitant of the neighborhood; Bertram Niessen, Researcher, design engineer, professor, author and advisor, “cheFare” president; Maurizio Orlandella, Consultative gynecologist; Caterina Orsenigo, Journalist and writer; Giovanni Padula, Urban economist, specialist in the creative and cultural sectors; Giacomo Papi, Writer, journalist and television author; Federico Parolotto, Transport planner; Diego Piemontese, Theater director, activist, stand-up comedian; Paolo Pileri, Professor of urban planning and design at the Politecnico di Milano; Milena Piscozzo, ICC Head teacher and writer; Plata, Artist and rapper; Carlo Polidori, Zoologist; Oliviero Ponte di Pino, Curator of the “Bookcity Milano” programme; Ulisse Romanò | Demetra, Biologist, actor and drag queen; David Röttgen, Environmental lawyer; Gianluca Ruggieri, Environmental engineer; Giovanni Scirocco, Professor of contemporary history, Università degli Studi di Bergamo; Rahel Sereke, Urban planner, politician, activist; Davide Steccanella, Lawyer and essayist; Sonia Stefanizzi, Ordinary professor of Sociology and director of the Department of Sociology and Social Research at the Università Degli Studi di Milano – Bicocca; Gregorio Taccola, Doctor of research in history; Luciana Tavernini, Historian and writer; Alberto Tavolaro, Student and institute representative of the “Liceo Carducci” di Milano; Jacopo Tondelli, Journalist and writer, founder of “Gli Stati Generali”; Lucia Tozzi, Journalist and independent scholar; Alberto Vailati, Physicist and professor of Physics of Matter at Università degli Studi di Milano; Franco Vaio, Physicist and author; Fulvio Vanacore, Artist and tarologist; Serena Vitucci, Activist; Sara Zambotti, Radio presenter and university professor; Cino Zucchi, Architect
research and dramaturgy Federica Di Rosa, Valentina Kastlunger e Valentina Picariello
with the collaboration of Silvia Rigon e Eliana Rotella
and the contribution of Renata Viola
with the participation of Federica Bruscaglioni, Valeria Casentini, Gabriele De Risi, Leo Djavidnia, Anna Doneda, Philippe Hochleichter, Fabio Lastella, Nicole Lentin, Sathya Nardelli, Silvia Orlandi, Elena Pagallo, Leda Peccatori, Lorenzo Piccolo, Silvia Rigon, Eliana Rotella
production manager Luca De Marinis
organisation and production Federica Bruscaglioni e Leda Peccatori
set design Marco Muzzolon e Marianna Cavallotti
head of beauty and costume design Christian Fritzenwanker
make up & styling Elizabeth Fogel
communication Silvia Orlandi
graphics Leonardo Mazzi – Neo Studio
press office Renata Viola
administration and fund raising Valeria Casentini
licenser Hannah Hurtzig e Mobile Akademie Berlin
licensee ZONA K Milano
a project by Mobile Akademie Berlin
produced by ZONA K Milano
with the support of MIC and Fondazione Cariplo
Mauro Pescio (IT)
IT’S NOT A HERO’S STORY
Theatrical show | duration 75 min
at ZONA K
A show born as a podcast from the pen of an actor-writer, Non è la storia di un eroe is the return of the podcast Io ero il Milanese of and with Mauro Pescio. The show is the telling of a man which in life has made many wrong choices, a man which unluckiness has gotten fierce to, a man who’s touched the bottom, but from which he risen back. Lorenzo’s story became a podcast, titled Io ero il Milanese, produced by RaiPlay Sound, become a real and true case in 2022. It took off quietly, and thanks to word of mouth it conquered the public, overtaking 700 thousand plays. Now Lorenzo S.’s story can be known live: theatre space is, per antonomasia, the space of the revolution, hence suitable to give voice to the personal revolution of Lorenzo S. And his past, difficult, tough, but also full of hope.
of Mauro Pescio e Lorenzo S. with Mauro Pescio and the special participation of Coro Amici della Nave di San Vittore under the cure of Associazione Amici della Nave, Associazione Verso Itaca, ZONA K
Mauro Pescio, radio and theatrical author. After graduating from Civica Scuola di Teatro Paolo Grassi di Milano he moves to Rome where he founds a theatre company with which he works for ten years. From 2012 he is author of “Voi siete qui” for Radio24 and from 2015 Radio 2’s “Pascal”. He has written “La piena” for Audible, Amazon’s first Italian production on a theatre podcast. Since 2015 he collaborates with Radio3 for the transmission of audiodocumentaris “Tre Soldi” (A few bucks).
Sergi Casero Nieto (ES)
THE PACT OF FORGETFULNESS
Performance in the Spanish language with subtitles in Italian | duration 55 min
On Friday, Nov. 10, at the end of the performance, there will be a meeting open for the audience with Sergi Casero and Angelo Miotto (journalist and co-director of Q Code Magazine) and Maddalena Giovannelli of Stratagemmi Prospettive Teatrali
At ZONA K, via Spalato 11
“Why to I barely know my grandma’s past?”
El Pacto del Olvido is a theatrical monologue which looks into the historic silence on the civil war and Francisco Franco’s reign in Spain, on his intergenerational transmission and the effects he has had on those who were born after the dictatorship.
The performance combines personal experiences, historical stories and documents collected during the research Casero conducted around the “Il Patto dell’oblio” affair, a Spanish amnesty law which passed soon after the the dictators Francisco Franco’s death in 1975 which impedes the investigation on the crimes committed during the 40 years of rule. In the monologue Casero tries to rebuild an incomplete national historiography through the recounts of the grandma who witnessed the civil war. It deals however with a fragmented narration, fruit of an auto-censorship at this point internalised at transgenerational level. This performative work is born from the reflection which, to confront Spain’s recent political violence, it is necessary to reveal the habits of domestic oppression on which oblivion has been woven into generation after generation, idem for the aftermath which this historic omission has produced in the successive descendents of families such as Casero’s.
Autofiction and historical analysis go hand in hand in this memory exercise which, through the language of light, examines the surroundings of the collective silence, inviting the spectator to explore the empty gaps of memory in which decades of furtively repressed decades of pain are insinuated. With the intention of intimately toning down the trauma provoked by the official speech which talks about winners and wins as collectives with no personal background, Casera investigates the varying generational behaviours respecting the institutionalised amnesia, incarnated in their relatives.
Until what point can silence push itself before becoming oblivion?
Ideation and direction Sergi Casero Nieto author Testo di Sergi Casero Nieto with citations and fragments of Jorge Luís Borges, Federico García Lorca, text of memory of Clara Valverde interpreted by Sergi Casero Nieto assistant to the dramaturgy Mónica Molins Duran assistance Elsa Casanova Sempé English translation Vincent Sanchís Puerto Italian translation Sofia Breschiane scenography, stage and stage objects Sergi Casero light design Sergi Casero with the supervision and help of Mifuel Angel Ruz Velasco costumes Sara Clemente graphic design Sergi Casero distribution Domenico Garogalo production Centrale Fies / Live Works residence Centro de Residencias Matadero Madrid
Sergi Casero Nieto (Barcelona, 1991) His work occurs at the intersection between design, action and research. In his work he explores the use of performance as an instrument to represent the results of research, paying particular attention to the projection of scenographic techniques. The historical information becomes physically present in his work, delving deeper into counter-narrations such as the oral testimonies or the collective memory, putting into discussion the hegemonic narrations through the presentation of multiple past perspectives. His work has been presented, amongst the other European institutions, at the Veem House for Performance (Amsterdam), at the Het Nieuwe Instituut (Rotterdam), at the Van Abbe Museum (Eindhoven), at the Arts Santa Mònica (Barcellona) and at the Centrale Fies (Dro, Italia).
Photos by Roberta Segata
Anagoor (IT)
proiezione con live set elettronico | durata 50/70 min
c/o Teatro Out Off, via Mac Mahon 16
A fine replica si terrà l’incontro con la compagnia e la giornalista Ira Rubini (Radio Popolare Milano).
Un Grand Tour nelle zone buie del cosmo, lì dove scaturiscono insieme la tenebra e le sofferenze delle generazioni, il rapporto dell’uomo con la natura, con l’eros, con i compagni animali, con il tempo e con la tecnica, con l’assoluto: l’impossibile. Sotto il nome del demone che tentò Faust, Mephistopheles, Anagoor raduna il materiale video raccolto tra il 2012 e il 2020 in un unico viaggio per immagini attraverso le lacrime del mondo, musicato in un live set elettronico da Mauro Martinuz. La materia cinematografica di spettacoli teatrali come Lingua Imperii, Virgilio Brucia, Socrate il sopravvissuto, Faust, Orestea, è composta da immagini profeticamente raccolte nei musei e nei templi, nelle case di cura per anziani e negli allevamenti intensivi, tra macellai, pastori e pellegrini, in India, in Iran, ad Olimpia, sulla ferita campagna veneta e sul Vesuvio. L’enorme quantità di materiale inedito trova nuova composizione in questo volo e caduta in forma di concerto cum figuris. Un concerto per immagini sul mondo, l’umano e l’animale, la violenza contro i corpi e il profitto in un’opera che ben mostra la visione estetica e politica della compagnia. Un’opera-film dove l’immagine che scorre trova il suo movimento nel suono live di Mauro Martinuz per condurci in un contemporaneo fuori dal tempo: quello dei corpi e della loro devastazione, dei soprusi di un capitalismo sempre più accelerato che nega le stagioni, il paesaggio e i sentimenti. Uomo contro natura ma anche uomo contro uomo. Mephistopheles eine Grand Tour è un film “mondo”, un gesto politico di consapevolezza.
scritto e diretto da Simone Derai musica e live set Mauro Martinuz montaggio Simone Derai fotografia Giulio Favotto assistente alla regia Marco Menegoni riprese Giulio Favotto, Simone Derai, Marco Menegoni coordinamento organizzativo Annalisa Grisi management e promozione Michele Mele produzione esecutiva Centrale Fies / Laura Rizzo, Stefania Santoni produzione Anagoor 2020 coproduzione Kunstfest Weimar*, Theater an der Ruhr**, Fondazione Donnaregina per le arti contemporanee / Museo Madre***, Centrale Fies, Operaestate Festival Veneto in collaborazione con Fondazione Campania dei Festival – Napoli Teatro Festival Italia, Villa Parco Bolasco – Università di Padova
*supportato dal Ministero dell’Ambiente, Energia e Protezione della Natura della Turingia;
**supportato dal Ministero della Cultura e della Scienza della Renania Settentrionale – Vestfalia;
*** finanziata da POC Regione Campania 2014-2020.
Vai a ECOGLA XI Un omaggio presuntuoso alla grande ombra di Andrea Zanzotto
La compagnia Anagoor è fondata da Simone Derai e Paola Dallan a Castelfranco Veneto nel 2000, configurandosi fin da subito come un esperimento di collettività. Oggi alla direzione di Simone Derai e Marco Menegoni si affiancano le presenze costanti di Patrizia Vercesi, Mauro Martinuz e Giulio Favotto, Monica Tonietto, Gayané Movsisyan, Massimo Simonetto mentre continuano a unirsi artisti e professionisti che ne arricchiscono il percorso e ne rimarcano la natura di collettivo. Il teatro di Anagoor risponde a un’estetica iconica che precipita in diversi formati finali dove performing art, filosofia, letteratura e scena ipermediale entrano in dialogo, pretendendo tuttavia, con forza e in virtù della natura di quest’arte, di rimanere teatro. Dal 2008 Anagoor ha la sua sede nella campagna trevigiana, presso La Conigliera, allevamento cunicolo convertito in atelier e dal 2010 fa parte del progetto Fies Factory di Centrale Fies – art work space. Michele Mele e Annalisa Grisi completano il team seguendo management e curatela del progetto artistico.
Anagoor (IT)
un omaggio presuntuoso alla grande ombra di Andrea Zanzotto
spettacolo teatrale | durata 80 min
c/o Teatro Out Off, via Mac Mahon 16
Anagoor ha sede a Castelfranco Veneto e ha un atelier operativo nella campagna trevigiana in un ex allevamento di conigli trasformato in teatro. Da sempre ha a cuore la relazione che intercorre tra politica, lingua, ambiente naturale e paesaggio: lo fa convocando sulla scena linguaggi diversi, una babele delle arti (da quelle visive alla poesia) nello sforzo di dire il reale e le sue fratture. Anagoor -pur non citandolo mai esplicitamente -ha da tempo fatto propria la lezione di Zanzotto. Molte le analogie che legano il gruppo di Castelfranco al poeta di Pieve di Soligo: la scelta radicale di osservare la storia dalla periferia senza che questa posizione implichi chiusura e arroccamento, la relazione complessa con la tradizione e con il canone che determina un’inattualità ostinata, la sofferenza per la devastazione, la tenacia nel rinnovare la fiamma di arti solo apparentemente inascoltate.
Il titolo di questo lavoro allude alla raccolta di versi IX Ecloghe che Andrea Zanzotto pubblicò nel 1962. Il poeta sceglieva per umiltà di stare un passo indietro al luminoso Virgilio e alle dieci ecloghe delle Bucoliche. Ultra moderno e antichissimo a un tempo, Zanzotto sa bene che la letteratura è come un coro di voci di morti. L’ultra modernità da antichissimo che connota Zanzotto non è tuttavia un dato puramente letterario, e la sovrimpressione delle bucoliche al proprio paesaggio, al proprio linguaggio, non è mai piana memoria letteraria, bensì̀ percezione di una irrimediabile frattura tra chi è ormai “versato nel duemila” e quel mondo perduto. Zanzotto capta e illumina l’inferno dentro il quale siamo calati eppure ostinatamente regge il fuoco di una speranza bambina. Il poeta del paesaggio, attraverso la visione della devastazione del paesaggio e la crisi del paesaggio interiore, della psiche e della lingua, afferra e connette le cause e gli effetti di un dolore che rende muti, ergendosi presto come forza civile e storica e persino metafisica. L’intera opera di Zanzotto, come una nuova ecloga, oltre le dieci di Virgilio, parla con la voce futura della profezia e rinnova la visione di un bambino che verrà.
testi Andrea Zanzotto con Leda Kreider e Marco Menegoni musiche e sound design Mauro Martinuz drammaturgia Simone Derai, Lisa Gasparotto regia, scene, luci Simone Derai voce del recitativo veneziano Luca Altavilla la scena ospita un’evocazione dell’opera Wood #12 A Z per gentile concessione di Francesco De Grandi Realizzazioni Luisa Fabris immagine promozionale realizzata da Giacomo Carmagnola management e distribuzione Michele Mele produzione Anagoor 2022 coproduzione Centrale Fies, Fondazione Teatro Donizetti Bergamo, ERT / Teatro Nazionale,TPE – Teatro Piemonte Europa / Festival delle Colline Torinesi, Operaestate Festival Veneto
Vai a MEPHISTOPHELES di Anagoor
Foto Giulio Favotto
ZONA K (IT)
WE ARE NOTHING WE WILL BE EVERYTHING
Participatory theatre play
At Cittadella Dei Giovani
Viale Giuseppe Garibaldi, 7, 11100 Aosta AO
info and bookings: 016535971 – info@cittadelladeigiovani.it
Does work really define who we are?
How well does it meet our expectations?
How much weight does it bear on our lives and on the choices we make?
A participatory performance on working men and women, a choir of instances and inquiries.
A public call, tens of workers which respond and a chorus. The “work” like fil rouge. Work as an aspiration, a forced choice, a source of sustenance, but most of all as a motor which derails trajectories, defines self esteem and personal beliefs, and which determines where and who with we spend most of or time. But does work truly define who we really are? How well does it meet out expectations? How much weight does it bare on our life and the choices we make? Does comprehending happiness or individual dissatisfactions help us evaluate collective wellbeing? The concatenation of stories becomes an investigative instrument to transform the collective experience into a shared narration, a hymn thought as a total art piece to re-hug a communities wish, and, through theatre, find new forms of representing reality.
a ZONA K project, direction Alessandro Renda, scenic implant Fabio Cherstich, testo Riccardo Spagnulo, con Matteo Gatta. Alessandra Renda, i cittadini and the coro di Aosta, production ZONA K co-porduction Teatro delle Albe
The project is realised with the support of the Fondazione Compagnia di San Paolo in the scope of Art Waves Produzioni of contemporary culture and with the support of Fondazione Cariplo and the Comune di Milano
Alessandro Renda is an actor of the Teatro delle Albe di Ravenna and from 2001 he is a “guide” in the laboratories of the “non-scuola”, pratica teatral-pedagogica antiaccademica delle Albe, with different experiences in Italy and abroad.
Photos Alessandro Renda
Kepler-452 (IT)
CAPITAL. A book that we haven’t read yet
Theartre Show | duration 100 min
At Teatro Out Off, via Mac Mahon 16
Once the play has finished on Wednesday 4th October the meeting with the company and Prof. Vittorio Morfino (ordinary Professor of the History of Philosophy at University Milano-Bicocca) will be held.
Moderated by Ira Rubini (Radio Popolare Milano)
A theatre company that decides to play “Il Capitale” (Capital) by Karl Marx. It decides this because, after the end of the first lockdown, it feels the urge to listen to in the immediate successive stage, would lose their position of employment. Nicola and Enrico hence decide to cruise around Italy at the research of those places in which the pages of Marx became people, locations, events. One day they end up in a factory, the GKN of Campi Bisenzio, which has just closed. One morning of the 2021 summer, the 9th to be precise, the 422 employees which worked there received an email: they did not have to return to work the day after: they’ve been fired. From that day on the employees occupy the factory. In the first days of Autumn the company entered for the first time at the GKN. The workers invite them to eat boar together. From that day on they sleep there, inside the occupied factory, on some cots. Meanwhile Nicola and Enrico interview the hundreds of workers, participate at pickets, assemblies, manifestations, listen, observe, each time looking to return to Marx’s pages to try to establish a creative dialogue between “Capital” and what happens in the environment, between a classic on philosophical and economic literature and a group of human beings in flesh and bones. Then their attention shifted onto three people in particular: Iorio, maintainer, Felice, worker responsible for setting up and Tiziana, worker responsible for cleaning, which they invite to the theatre to make a show together. This is the start of the creation of Il Capital, a show which recounts the meaning what spending 20 years in a factory making pieces, of the difference between who’s done it and who has never done it, of the extraction of surplus value, the closing of one factory amongst many, of what happens when a group of workers decide to attempt to make history, of how for some time the logics of the Capitale become ousted from a perimeter of space, one of an occupied industrial establishment. Of how Il Capital, sooner or later will return to present the bill. Il Capital Is also the story of the meeting between a theatre company and a group of metal labourers in the Capitale’s autumn. Il Capital is especially a show on time, on its passing, on who owns it, on who sells it, buys it, frees it.
A Kepler-452 project dramaturgy and direction Enrico Baraldi and Nicola Borghesi with Nicola Borghesi and Tiziana de Biasio, Felice Ieraci, Francesco Iorio – factory workers collective GKN and with the participation of Dario Salvetti light and scenic space Vincent Longuemare sound design Alberto Bebo Guidetti video and documentation Chiara Calió technical-scientific advice on “Capital” by Karl Marx Giovanni Zanotti assistant to the direction Roberta Gabriele machinist Andrea Bovaia light and video technician Giuseppe Tomasi sound engineer Francesco Vacca scenic elements created in the Laboratorio di ERT production Emilia Romagna Teatro ERT / Teatro Nazionale thanks to Stefano Breda and Cantiere Camilo Cienfuegos di Campi Bisenzio
Kepler-452 is a theatre company born in 2015 in Bologna from the encounter between Nicola Borghesi; Enrico Baraldi, Paola Aiello and, for the organisation role, first Michela Buscema and then, since 2021, Roberta Gabriele. Since it’s birth the company cultivates this urgency: opening the doors of theatres, go out, observe what’s around, in the unshakable conviction that reality has an autonomous dramaturgical force. The theatrical formats created range from the involvement of non-professionals on stage on the basis of their own biographies, to theatrical reportages that transform investigations into reality into performative moments, to the creation of audio-guided itineraries and other devices for interaction with the urban space, up to the creation of the Festival 20 30 which, starting from 2014, brought many under 30s on stage in an attempt to paint a generational fresco. Starting from 2018, a production path begins with ERT / Teatro Nazionale (“ Il giardino dei ciliegi – Trent’anni di felicità in comodato d’uso” (The cherry garden – Thirty years of happiness on loan for use) (2018) while in 2019 F. – Perdere le cose” (F. – Losing things) debuts. Starting from 2017, its creats several editions of Comizi d’amore, a participatory theatre format that tells the story of communities on stage starting from the questions posed by Pasolini in his honomymous documentary.
photos Luca Del Pia
Roger Bernat/FFF
e Qui E Ora (ES/IT)
Participatory performance
at Magnete – via Adriano 107, Milan
In LA SCELTA (THE CHOICE) the public is called to experiment work mechanisms of an artistic direction: visualise, discuss, operate the choice. A real challenge, in which one finds themselves immersed, a fiction which produces effects on the reality of one’s city.
Roger Bernat has been for 6 months spectator of different artistic directions participated by the “Rete Risonanze”. From this came a work which reproduces, witnesses and prevaricates about this experience, telling another possibility of carrying out cultural programming, where people speak for themselves.
Project by Roger Bernat, with the dramaturgy of Roberto Fratini and Marie-Klara Gonazález, with the participation of Francesca Albanese, Silvia Baldini, Josephine Magliozzi e Laura Valli, programming and technical care Stefano Colonna and Txalo Toloza, graphics Marie-Klara Gonazález, creative transcription of the registrations of the tour following the artistic directions of Elena Bernardi and Pina Rocco, production and curation Qui e Ora in coproduction with Capotrave – Infinito e Kilowatt Festival, with the support of Risonanze Network and the MIC, thank you to Stronger Peripheries.
With the collaboration and images of: Catalina (Iniciativa Sexual Femenina), Les Vedettes (Marta Galán), Grandissima Illusione (Cris Blanco), The Watching Machine (Macarena Recuerda), Aquelles que no han de morir (Las Huecas), Figures (Germana Civera), It don’t worry me (Atresbandes + Bertrand Lesca & Nasi Voutsas), Los figurantes (Ça Marche) e Tierras del Sud (Azkona/Toloza).
And the cooperation of: Agnès Mateus e Quim Tarrida, Agrupación Señor Serrano, Alessandra García, Animal Religion, Baró d’Evel, Brodas Bros, Cabosanroque, Col·lectiu VVAA, David Espinosa, El Conde de Torrefiel, Joan Català, Jordi Oriol, Juana Dolores, Malpelo, Marcel·lí Antúnez, La Veronal, Nao Albet e Marcel Borràs, Núria Guiu, Nyam-nyam, Pere Faura, Quim Bigas, Societat Doctor Alonso e Soren Evinson.
Roger Bernat is a Catalan director, after having started his studies in architecture and painting, he studies dramaturgy and directing at the Institut del Teatre di Barcellona. IN 2008 he founds Roger Bernat/FFF and starts creating performances in which the public takes the stage and becomes the protagonist. «The spectators pass across a piece which invites them to obey or to conspire, and in any case to pay with their own body and make an effort». The firs parcipitatoru performance is Domini Public (2008), followed by the others Please ontinue (Hamlet)(2011), Pendiente de voto (2012) We need to talk (2015), No se registrar conversations de interés (2016-17) and The place of the Thing (2017), Flam (2019), ENA (2020), Desnonissea (2021), PIM PAM(2021) or Terra Baixa (2022). Roger Bernat utilises theatrical instruments to built collective dramatisations in which, like every community, the public is the one which has the difficult job of getting themselves in action. These parcititatory dramatisations confuse the roles of the actor and spectator and present the public with an experience of doubt. While his projects have been presented predominantly in theatrical contexts, in the last decade his pieces have been produced by institutions like Documenta Kassel or the Biennale di San Paolo.
Qui e Ora is a production company constituted by artists originating from diverse experiences but joined by the same poetic vision. It works on a autographic dramaturgy and loves confronting and collaborating with other artists to give life to the their works, in a crossbreeding of languages and outlooks. In 2007 on territory of the Bergamo province, along with the project Être – Esperienze Teatrali di Residenza was born, composition in national and international setting with production of shows, organisation or reviews, laboratory curations. Qui e Ora is the theatre that talks about the present, which tries to construct imaginary collectibles and give force to contradictions with an ironic look. Since 2012 in the Bergamo province Qui e Ora realises an artistic and cultural project which brings the territory and its citizens – through laboratories, inquiries, reviews and theatre festivals – at the centre of the artistic experimentation and the creation of cultural products. In 2015 he founds the Granaio, a hospitality project in artist residences beside an ex restructured barn. In 2018 Qui e Ora is recognised by MIBAC as “theatrical innovatory production business”.
Event inserted in the schedule of
Eléctrico 28 (ES/AT)
Urban performance with headphones | in English and Italian, duration 45 min
in the Sarpi neighbourhood
The exact location of the performance will be communicated to the public only via mail.
Inspired by the observation of all that surrounds us which Georges Perec wrote about, with the urban performance [The Frame] the Austrian/Catalan collective Elétrico 28 invites us to accommodate ourselves in a pop up theatre situated in a calm city street to observe life flowing, to think about it, calculate it, determine it and share it. $ characters, trained in the observation and organisation of space, of things and living beings, immerse themselves in the vertigo of the present and translate, with poetic simplicity, what happens through letters, the letters in words and the words in phrases. For a short lapse of time, everything becomes a big theatre play which never ends. A comedy with no plot which stays in equilibrium on the edge of banality of the things which take place through the theatre’s magnifying glass. [The Frame] is an invitation to open eyes and heart to discover the irrelevant, insignificant, the things in life. [The Frame] is a great opportunity to stop and observe. A drastic exercise. A pacific rebellion against dominant thought.
Creation by Daniela Poch, Josep Cosials, Jordi Solé and Alina Stockinger outside eye Claudia Mirambell Adroher, Sergi Esebanell production Elétrico Express & Aranu Vinós sound and music Jakob Rüdisser costumes Sarah Sternat photos Eva Freixa / Clemens Nestroy video Raúl Moreno coproduction Feneralitat de Catalunya (Departament de Cultura) ICEC & theaterland steiermark & Fira Tàrrega with the support of Graz Kultur, Land Steiermark Kultur, Escena Poblenou, Can Allà, CC Can Felipa, das andere theater, FITCarrer Vila-real, Sinksen Festival Kortrijk, Institut Ramon Llull
Eléctrico28, is an Associate artist of IN SITU, the European platform for artistic creation in public space, in the frame of the project (UN)COMMON SPACES, co-funded by the Creative Europe Programme of the European Union. The Associate artist programme is supported by Artopolis Association (HU), Atelier 231 (FR), Čtyři Dny / Four Days (CZ), FiraTàrrega (ES), Flynn Center (USA), Freedom Festival (UK), La Strada (AT), Lieux publics (FR), Metropolis (DK), Norfolk & Norwich Festival (UK), Oerol Festival (NL), Østfold Internasjonale Teater (NO), Oda Teatri (XK), Provinciaal Domein Dommelhof (BE), Scène Nationale De L’Essonne (FR) and a consortium of 3 Italian partners: ZONA K, Indisciplinarte, Teatro Stabile Di Sardegna.”
with the contribution of
Eléctrico 28 is a collective of austrian and catalan artists that dedicates its work to the public space and its inhabitants. They love the surprises of the streets, the cinematographic images which can be created on this vast stage in continuing evolution and the visual memory which remains when we go. They love exploring the gray areas between reality and fiction, putting in discussion the social and theatrical conventions and rethink the role of the public. Humorism and filanthropy are the principal driving forces of their wor
Miriam Selima Fieno/ Nicola Di Chio (IT)
Multimedia participatory show | duration 75 min
at ZONA K
To participate it is required to request the 2023 card at least 24 hours before the show
Do it instantly, click HERE
Through a dialogue which oscillates between the theatre and the document, where live narration founds itself on audiovisual narration, two adolescents confront themselves: Giorgia, an Italian 14 year old girl, speaks of her everyday life as a European which lives in a flourishing time of peace, in which however lies the pain of a family war; Abdo a young Syrian refugee approaches Giorgia to the knowledge of another war: the one made of bombs, missiles and explosions under which from 11 years live thousands of his compatriots in Syria.
The spectators are invited to delicately enter a private and lacerating world in together with the protagonists who, through electronic devices and personal materials, accept to expose a live elaboration of their biography and the privileged and painful aspects which have marked their stories up to this day. The show goes after the search of a balance between a personal story and a epochal story, in an intensely emotive fresco where technology enlarges like a magnifying glass our present and opens gashes on worlds after all not so far, reveals the faces of war, enters inside homes and shows their fragments, memories and possible futures.
Concept and direction Nicola di Chio, Miriam Selima Fieno on stage Abdo Al Naseef Alnoeme, Giorgia Possekel dramaturgy Miriam Selima Fieno virtual scenography and light design Maria Elena Fusacchia videomaking Nicola Di Chio, Miriam Selima Fieno, Abdo Al Naseef Alnoeme, Giorgia Possekel archive video Hazem Alhamwy miniature realisations Ilenia Lella Fieno sonorous space Antonello Ruzzini production Tieffe Teatro Menotti, Bottega degli Apocrifi with the support of CSS Teatro Stabile di Innovazione del FVG / Dialoghi – Residenze delle Arti Performative a Villa Manin 2022_2024, Qui e Ora Residenza Teatrale, L’ Arboreto Teatro Dimora di Mondaino, Teatro Giovani Teatro Pirata / AMAT, Zona K in collaborazione con Mishwar Ong.Vincitore Premio YOUNG&KIDS 2022 FIT Festival Lugano Menzione Premio Scenario Infanzia 2020 Vincitore Bando Alte Marche Creative 2021
Nicola di Chio and Miriam Selima Fieno are actors, directors and authors. They graduate from Civica Academia d’Arte Dramatic “Nico Pepe” di Udine. Together they work since 2011 in the area of performing arts creating contemporary dramaturgical pieces which space from fiction to non fiction. The realise the shows “Lybia. Back home”, “Human Animal”, “RealItaly”, “Cantare all’amore”, “La protesta”. They win the Bando Ora! of the Compagnia di San Paolo, the Premio Scintille, the Bando Funder35 of Cariplo, the Bando Hangar Creatività di Regione Piemont, the Bando Next, the Premio In-Box. Through the years they receive important recognitions, realise reviews and festivals, conduct formative courses. From 2018 they conduct their work towards documentary theatre defining a new road of real cinema, facing topics linked to geopolitics, human rights, West and Middle East relations. They work with actors, musicians, children, refugees, journalists, and creat pieces which intercept not only different disciplines like theatre, cinema and music, but also distant artistic and cultural identities. With new documentary shows “Fuga dal’Egitto” and “From Syria: is this a child?” They win the bando IntercettAzioni, the Bando Movin’upm the prize Young&Kids at the Fit Festival di Lugano, the mention at the Premio Scenario Infanzia, the bando Alte Marche Creative. Currently they are busy with the realisation Syrian director Hazem Alhamwi’s new film in the writing of their first feature film.
Mammalian Diving Reflex/Darren O’Donnell (CA)
– NATIONAL PREMIERE –
A ZONA K and Triennale Teatro Milano project
Participatory multimedia performance with the use of 3D visuals for 30 spectators | duration 90 min | the performance is characterised by an intense presence of smoke
at ZONA K
With nostalgia we watch that little red dot in the night sky and we stupidly dream of restarting, as if problems on earth are resolved more easily at -65º and with the help of high doses of cosmic radiation. Combining live and virtual reality performance, The Last Minutes Before Mars invites us in to enter the world of a group of youngsters to meet their families and friends and spend some time in spaces precious in their lives. This acts as a background to the meetings with the other strangers present in the room, in a collective experience which reflects on the recognition of everyone being part of the same journey, in motion towards the same direction – independent of what happens to us -; now, hundreds of years in the past and beyond, in a future to terrifying and attractive to imagine.
Ideation and direction: Darren O’Donnell co-direciton: Chiara Prodi co-ideation team: Darren O’Donnell, Konstantin Bock, Alice Fleming, Tina France, Sorcha Gibson, Thule Can Den Dam, Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Morena Marra, Craig McCorquendale, Genny De Leon, Elisa Fasiello, Mervin Kyle Fajardo, Fi Nicholson, Gianluca Benvenuti with: Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Elisa Fasiello, Mervin Kyle Fajardo executive producers: Alice Fleming, Ryan Lewis, Virginia Antonipillai associate producers: Craig McCuorquodale music: Isola Music thanks to: Stephen O’Connell, Letizia Gozzini (ITAS Giulio Natta).
The last Minutes Before Mars was originally co-comissioned a coproduced by ZONA K and Triennale Milano Teatro, in collaboration with the ITAS Giulio Natta di Milano and with the support of the Canada Council of the Arts, the Ontario Arts Council e the Ambasciata del Canada in Italia.
Guided by Darren O’Donnell, Mammalian Diving Reflex is a company founded in Toronto in 1993. After having distanced itself from a more traditional theatrical setting to move towards more socially engaging practices focused on performance. Creating shows to research the contradictions to transform into aesthetically brilliant experiences, the Mammalian always look to overtake themselves and the public with ideas and sensations, leaving intuition to lead the way.
Darren O’Donnell is a novelist, essayist, dramaturge, filmmaker, performance director, artistic director and founder of Mammalian Diving Reflex. His mission is the one to give life to a social tissue which deeply integrates culture and cultural institutions, increasing their capacity for social response. In 2000 he won the Pauline McGibbon Awards for direcion and was nominatod for numerous Dora Awards of Toronto for writing, direction and acting, winning, alongside Naomi Campbell, for the project While Mice. His work with the Mammalian company entered in the top 100 of the Yerba Beuna Culture Centre in 2016. He has been nominated twice for the german BKM Preis Kulturelle Bildung and New York’s Ellen Stewart inagrual prize.
Photos © Paul Blakemore
Silke Huysmans & Hannes Dereere (BE)
– Season preview 2023 –
multimedia performance with English and Italian subtitles | duration 60 min
A meeting with the company will be held at the end of the performance on Friday 24 February.
c/o Out Off Theatre, via Mac Mahon 16
‘We know more about the surface of the moon than we do about the bottom of the ocean.’ This statement is often heard when talking about the deep sea. Worldwide, only 10 percent of the ocean floor has been mapped and explored. At a moment in history when the planet we live on seems to have been explored extensively, some places remain unstudied and untouched.
After their acclaimed performances Mining Stories and Pleasant Island, Silke Huysmans and Hannes Dereere present the final part of their trilogy on mining. This time, they focus on a completely new industry: deep sea mining. With resources on land becoming increasingly scarce and overexploited, mining companies turn towards the ocean. In the spring of 2021, three ships gather on a remote patch of the Pacific Ocean. One of them belongs to the Belgian dredging company Deme-Gsr. Four kilometres below the sea surface, their mining robot is scraping the seabed in search of metals. On another ship, an international team of marine biologists and geologists keep a close watch on the operation. A third ship completes the fleet: on board of the infamous Rainbow Warrior, Greenpeace activists protest against this potential future industry.
From their small apartment in Brussels, Silke and Hannes connect with the three ships through satellite. Each of the ships represents one pillar of the public debate: industry, science and activism. Through a series of interviews and conversations, an intimate portrait of this new industry emerges. The piece is an attempt to capture a potentially pivotal moment in the history of the earth. How much deeper can mining companies dig, and what are we as humankind actually digging towards? What are the challenges and risks? What opportunities potentially lay ahead?
by & with Silke Huysmans & Hannes Dereere dramaturgy Dries Douibi sound mix Lieven Dousselaere outside eye Pol Heyvaert technique Korneel Coessens, Piet Depoortere, Koen Goossens & Babette Poncelet production CAMPO coproduction Bunker (Ljubljana), De Brakke Grond (Amsterdam), Noorderzon – Festival of Performing Arts and Society (Groningen), Zürcher Theater Spektakel (Zürich), Beursschouwburg & Kunstenfestivaldesarts (Brussels), PACT Zollverein (Essen), Théâtre de la Ville (Paris) & Festival d’Automne à Paris (Paris) residencies Kunstenwerkplaats, Pilar, Bara142 (Toestand), De Grote Post, 30CC, GC De Markten & GC Felix Sohie special thanks to John Childs, Henko De Stigter, Patricia Esquete, Iason-Zois Gazis, Jolien Goossens, Matthias Haeckel, An Lambrechts, Ted Nordhaus, Maureen Penjueli, Surabhi Ranganathan, Duygu Sevilgen, Joey Tau, Saskia Van Aalst, Kris Van Nijen, Vincent Van Quickenborne & Annemiek Vink thanks to all conversation partners & the people who helped with the transcriptions
Silke Huysmans studied acting at the KASK School of Arts Ghent and Hannes Dereere theatre science at the University of Ghent. With their performances, the two Brussels-based artists investigate the use of journalistic and documentary elements within theatre. Underlying their work is extensive field research, which they use to shape their projects. Since 2016, they have been working on a trilogy involving long-term research on mining. For the first part entitled Mining Stories (2016), Silke and Hannes returned to where she grew up in Brazil. In 2015, a dam explosion flooded this place with toxic mining waste, causing one of the biggest ecological mining disasters in recent history. Mining Stories received the main prize at the Zürcher Theaterspektakel 2018 (Switzerland). From 2019 is the second part, Pleasant Island. In this performance, the tiny island state Nauru holds a mirror up to the whole world. Nauru was once a paradise in the Pacific. After decades of colonisation and mining, this island finds itself in grave danger, literally up to its neck in rising sea levels. Out of the Blue concludes the trilogy and premiered at the Kunstenfestivaldesarts in May 2022.
Babilonia teatri (IT)
– Season preview 2023 –
show-concert | duration 75 min
c/o Out Off Theatre, via Mac Mahon 16
On 25 January 2011, the Egyptian revolution began, which within a few days led to the ousting of Mubarak. One of the triggers was the killing of Khalid Said by two policemen, who was guilty of asking the reason for a sudden search of him inside an internet café. Khalid Said was beaten savagely and then taken to the barracks where he was tortured and killed. His body will be found lifeless in the middle of a street.
On 25 January 2011 in Tahrir Square was Ramy Essam, known in Egypt today as the voice of the revolution. Ramy in the square was singing for Khalid Said, for all the Khalid Saids, who before and after Khalid Said suffered the same fate. Ramy sang to depose Mubarak and, to this day, has never stopped singing against the successive regimes in Egypt.
Since 2014 Ramy has been living in exile, he can no longer set foot in Egypt, an arrest warrant for terrorism hangs over his head. The arrest warrant makes no reference to his art or the content of his songs, but it is clear that the Egyptian regime does not in any way welcome the call for freedom and justice for his people that he sings endlessly, and that the accusation of terrorism is completely unfounded.
Ramy’s songs, in Egypt and beyond, everyone knows them, his videos reach 10 million views, but he, for his people, cannot sing.
Not one note. Not a word. His mouth must remain shut. He can only connect with those who follow him through a screen.
Ramy has opened our eyes. Every day Ramy asks us questions and demands answers.
Questions that alone we did not have the words to formulate, but which today, working on stage side by side with Ramy become deeply concrete, deeply human, deeply political, deeply authentic.
With this performance we want to give voice to these questions.
What does the state mean. What justice means. What power means. What police means. What is process. What legality means. What constitutes incarceration. What means torture. What public opinion means. What journalism and freedom of information means. What responsibility, humanity, strength means.
To tell it, with us, will be the voice of those who, like Ramy, live every day on their skin what dictatorship means. Ramy will sing and shout it with the grace, poetry, anger and nostalgia of those who pay a high price every day, exile, for their choices.
We want to expose the hypocrisy of certain politics. We want to tell how and to what extent the reason of state is ready to trample underfoot the inviolable rights of man, repeatedly enshrined in international conventions that, in practice, remain a dead letter. We want to question ourselves on our weakness. About the weakness of a state that does not know how to give transparent answers. We want to tell how our being free citizens in a free state encounters and clashes with the dynamics of victim and executioner. With dynamics that harm, offend and play with people’s dignity. We believe that this is never acceptable and that it is always worth repeating with strength and determination.
In order not to stop being free citizens in a free state.
by Valeria Raimondi and Enrico Castellani with Ramy Essam, Enrico Castellani, Valeria Raimondi, Amani Sadat, Luca Scotton lights design Babilonia Teatri/Luca Scotton stage direction and video design Luca Scotton
production Teatro Metastasio di Prato
Babilonia Teatri is a group that has entered the contemporary theatre scene with a decisive step, distinguishing itself for a language that has been defined as pop, rock, punk. The founders of the group, Enrico Castellani and Valeria Raimondi, compose dramaturgies with a unique pace, a sort of litany carved out of the contradictions of today, brought to the stage with a rebellious attitude. They have investigated different angles of provincial life, crystallising it as a microcosm of a universal pain, tackled with desecrating courage. Courage that earned the group the prestigious Silver Lion at the Venice Biennale. Babilonia Teatri is characterised by its irreverent and divergent gaze on today's uncovered nerves. For an unconventional style that understands theatre as a mirror of society and reality. Through the use of new visual and linguistic codes it expresses the need and urgency of questioning, to bring out conflicts and tensions, with irony and cynicism, affection and indignation.
UNA PANCHINA TUTTA PER NOI
laboratorio di teatro e fotografia alla ricerca della libertà espressiva
Quanti modi ci sono per sedersi su una panchina?
Quanti modi per raccontarla e raccontarci con un’immagine?
Seduti sulla stessa panchina pubblica – comodi o scomodi – esploriamoli insieme giocando col teatro e con la fotografia.
Laboratorio ispirato dal lavoro “Ricerca della comodità in una poltrona scomoda” di Bruno Munari.
A cura di ZONA K con Elisa Canfora
partecipazione gratuita ・prenotazione obbligatoria ・ numero partecipanti limitato ・
organizzazione@zonak.it – 393. 8767162
Installazioni per Audio Ibrida di Veronika Tzekova
In residenza dal 17 – 23 ottobre e dal 2 – 7 dicembre 2022
Nella sua pratica artistica Veronika Tzekova si occupa principalmente di intervento, appropriazione e partecipazione; si concentra sul ripensamento e sulla trasformazione di oggetti, situazioni e sistemi. Negli ultimi anni ha realizzato numerosi progetti nello spazio pubblico ed è entrata come artista della piattaforma In-Situ. Nel periodo di residenza Tzekova intende concentrarsi sullo studio di alcuni luoghi e spazi di Milano, conosciuti come spazi ibridi. Si tratta di spazi con vocazione socioculturale, con forte radicamento nel territorio e dislocati in varie zone della città. A partire dallo studio e dalla conoscenza di questi luoghi, Tzekova ha immaginato di creare un collante, una visione artistica che li unisca e che concretizzerà in una restituzione aperta al pubblico contemporaneamente alla fruizione di un’audioguida dedicata agli spazi.
Ho cercato l’essenza degli spazi ibridi. Ho cercato un’essenza da trasporre a parole. E dopo ci ho guardato dentro. L’ho guardata attraverso la lente di ingrandimento della teoria degli insiemi.
L’ho decostruita per costruirla nuovamente, così da portare alla luce ciò che avevo visto nascosto in essa.
Lavoro con la costruzione visiva e la percezione del linguaggio per creare piccole scene che nel 90% dei casi contengono solo due parole e celebrano la sorpresa e la fascinazione che il linguaggio suscita.
Un approccio che ho usato è tratto dalla mia serie “CDoupbles” (parola passe-partout che include “couples” e “doubles”). Tipicamente, in CDoupble c’è una parola principale che ne contiene o un’altra o altre, che decisamente non fanno da radice e appaiono in maniera diversa, a seconda dell’oggetto, dell’installazione, del formato e del carattere. Ci sono molte di queste simbiosi di parole, ma io sono interessata a quelle che offrono terreno da gioco per la creazione di scene interessanti, speculazioni, associazioni, domande e via dicendo.
Un’altro approccio che ho usato è stato quello di “syllaBLEndings”, versi corti che fondono due (raramente più di due) parole, sistemate in tre righe; l’ultima sillaba della prima parola è la prima sillaba della seconda e di solito è sistemata nella riga centrale. Le due parole presenti in syllaBLEndings condividono, hanno qualcosa in commune, si appartengono, sono connesse, si mescolano, si amalgamano, si incontrano, si accavallano, si scontrano, si penetrano a vicenda. Sono insomma gemelle siamesi: l’una sviluppa e fa crescere l’altra, la fine di una è l’inizio dell’altra, esistono in simbiosi, si completano a vicenda. Il syllaBLEnding è un processo.
In entrambi gli approci che ho menzionato il senso è prodotto attraverso la coesistenza delle parole nell’immaginario degli spettatori e dipende dalle associazioni che esse provocano in loro.
Naturalmente, ho colto questa opportunità e ho affrontato la sfida di uscire dalla mia zona franca e sperimentare alcuni diversi modus-operandi, dedicandomi a un uso nuovo degli effetti tipografici del linguaggio, al fine di dissezionarlo per ricavare e restiruire significati.
Miro a ritratti concettuali degli spazi ibridi che ho ricercato, i quali siano intelletualmente e poeticamente sfidanti. Ritratti che mettano in evidenza con una chiave di lettura l’essenza di ognuno di loro.
Veronika Tzekova
Graz
15 novembre 2022
BEE GENERATION [gLocale]
L’emergenza climatica, il disastro ecologico, il futuro, il tempo che avanza, la responsabilità, le scelte e le azioni possibili: Bee Generation è una performance urbana che affronta questi temi dal punto di vista dei giovani, una generazione “bee” (ape), che come le api è preziosa e difficile da intercettare ma che ha un ruolo fondamentale per il futuro del pianeta.
Il suo futuro però – come quello delle api- è a rischio.
Bee Generation è un ronzio che diventa suono e poi voce: si fa strada tra slogan e aspettative, paure e indifferenza. E’ un rumore che può pungere come una domanda, una provocazione, una messa in discussione dei ruoli.
La performance si svolge in cuffia e prevede un meccanismo di azione partecipata, in cui un coro di ragazzi si mette in gioco e guida il pubblico costringendolo a fare delle scelte. Fino a che punto sei disposto a lottare per salvare il pianeta? Quali contraddizioni ci sono in mezzo agli slogan ambientalisti che sentiamo ogni giorno? A cosa saresti disposto a rinunciare? E se non fosse abbastanza? Nessuna scelta sarà indolore, nessun’ azione sarà senza conseguenze.
Bee Generation è il capitolo 2 del progetto “Generazione gLocale” che nasce per dare voce alle nuove generazioni per promuovere pratiche di convivenza e dialogo e favorire integrazione e inclusione: è uno spazio creativo in cui i ragazzi si pongono come cittadini e costruttori di futuro, un format che ogni volta viene replicato in contesti diversi e arricchito dagli interventi dei ragazzi che partecipano.
Il progetto è stato realizzato in seguito a un laboratorio teatrale presso l’ex Convitto del Trotter, con i ragazzi della scuola secondaria di primo grado I.C. Francesco Cappelli (un grazie speciale per il supporto al prof. Luigi Metropoli) e grazie al supporto dell’associazione Project for People.
c/o mosso – ex Convitto Parco Trotter – Via Mosso 3, – ang. Via Padova (quartiere Turro)
Info: performance teatrale urbana itinerante e interattiva • in cuffia • durata 40 min. ca • consigliata dagli 8 anni in su
Ingresso gratuito con prenotazione obbligatoria: 02.97378443 / 393.8767162
biglietti@zonak.it
Un progetto di ZONA K; drammaturgia, editing audio e regia di Federica Di Rosa e Davide Stecconi; creazione collettiva Cibele, Doa, Fatima, Malak, Ruben, Sara, Sarai, Youssef; laboratorio di street art per la realizzazione di elementi scenici a cura di Christian Gangitano; assistente allo spettacolo Leda Peccatori; con la partecipazione straordinaria di Flora Green People e Atelier Spazio Xpò’
BEE GENERATION fa parte del palinsesto di
SUPERABILE
Uno spettacolo per l’inclusione sociale, un fumetto teatrale
Superabile parla del mondo, di quel mondo che non si ferma alla prima occhiata, ma supera lo stereotipo della definizione. Racconta la disabilità, partendo dalla conoscenza intima delle persone, tutte così diverse e complesse. Superabile oltrepassa le barriere fisiche e culturali, e per questo fa riferimento al “super” che è il contrario di “dis”. Uno spettacolo dove un regista disegnatore dotato di lavagna magica creerà per il pubblico un mondo fatto disegni all’interno del quale gli attori della compagnia saranno immersi come in una sorta di fumetto vivente.
“E voi che ci guardate, come ci vedete?” chiedono i cinque attori, di cui due in carrozzina, che si raccontano, portando idealmente nel viaggio lo spettatore. Il loro quotidiano è lo spazio che racchiude i sogni, le gioie, ma anche gli sguardi degli altri, la necessità di essere accompagnati, la mancanza di intimità, la perdita di autonomia che è quindi la perdita di un privato. Si sorride e ci si commuove, con leggerezza e ironia, grazie alla possibilità data da questi ragazzi di fare entrare gli spettatori nelle loro vite, di aprire al loro mondo, con uno sguardo capace anche di irridere l’asprezza della realtà.
c/o e in collaborazione con Olinda onlus / TeatroLaCucina, ex. Ospedale psichiatrico Paolo Pini, via Ippocrate 45 – M3 Affori FN
Spettacolo rivolto alle scuole secondarie di I grado, ingresso gratuito
regia Michele Eynard; con Mathias Dallinger, Melanie Goldner, Paolo Grossi e Jason De Majo; rumorista Rocco Ventura; consulenza artistica Paola Guerra; in collaborazione con Lebenshilfe Südtirol; foto Marzia Rizzo
SUPERABILE fa parte del palinsesto di
Dialoghi tra i Rami
Laboratorio di scrittura creativa ed espressività vocale per over 60!
Cosa ci raccontano gli alberi? Costruiamo insieme frammenti di storie da ascoltare e diamo voce ai personaggi nascosti nella natura.
Il workshop prevede un lavoro di scrittura e di espressività vocale volta alla realizzazione di un racconto audio che verrà poi inviato ai partecipanti.
In collaborazione e presso BAM Biblioteca degli Alberi – Milano ideato e condotto da Federica Di Rosa per la giornata di festa BAM! Il parco si fa Isola
Partecipazione gratuita con prenotazione obbligatoria.
Per partecipare compila il modulo che trovi ➡︎ QUI
Jens Hillje, Alessandro Renda (DE/IT)
Un progetto di ZONA K
Una chiamata pubblica, decine di lavoratrici e lavoratori che rispondono. È l’inizio del progetto che si è concretizzato nell’ultimo anno con incontri, laboratori teatrali, ricerca, video documentari, canzoni di protesta, cortei, un pretesto (America di Kafka), tre attori, un regista e un dramaturg.
Il “lavoro” come fil rouge. Il lavoro come aspirazione, come scelta obbligata, come fonte di sostentamento, ma soprattutto come motore che delinea le traiettorie, definisce autostima e convinzioni personali, rischia di plasmare i nostri valori e determina dove e con chi trascorriamo la maggior parte del tempo.
Ma il lavoro definisce veramente chi siamo? Quanto risponde alle nostre aspettative? Quanto peso ha nella nostra vita e nelle scelte che facciamo? Può oggi rappresentare un punto di osservazione sullo stato di salute della società, soprattutto dopo la fase acuta dell’emergenza sanitaria?
Non siamo niente, saremo tutto è la traduzione letterale di un verso de L’internazionale scritto dal poeta e rivoluzionario Eugène Pottier 150 anni fa. Non siamo niente, saremo tutto è anche il progetto teatrale prodotto da ZONA K, in cui Jens Hillje e Alessandro Renda hanno coinvolto lavoratrici e lavoratori di diversi settori, per esplorare storie individuali e affrontare il tema da differenti prospettive: possiamo specchiarci nelle storie lavorative altrui per sentirci più interconnessi? Quanto condiziona le nostre esistenze il rispetto di una volontà o di una vocazione? Comprendere felicità o insoddisfazioni individuali ci aiuta a valutare il benessere collettivo? Il concatenamento di storie diventa uno strumento di indagine per trasformare l’esperienza collettiva in una narrazione condivisa, un coro pensato come opera d’arte totale e scultura sociale per riabbracciare un desiderio di comunità e, attraverso il teatro, trovare nuove forme di rappresentazione della realtà.
info spettacolo e biglietti: Biglietteria Teatro degli Impavidi +393464026006 (anche su WhatsApp)
teatroimpavidi@associazionescarti.it
c/o e in collaborazione con Teatro degli Impavidi di Sarzana (SP)
regia: Alessandro Renda; dramaturg: Jens Hillje; con: Roberto Corradino, Milena Costanzo, Matteo Gatta, i cittadini e le cittadine della chiamata pubblica di La Spezia e Milano e con i cori Four Steps Choir, Coro F.de André, Batebalengo, diretti da Gloria Clemente e Pietro Sinigaglia; scenografia: Denise Carnini e Francesca Pedrocchi; disegno luci: Mario Loprevite; editing e visual effect video: Francesco Tedde (Antropotopia); foto: Luca Del Pia; produzione ZONA K (MI); co-produzione: Pergine Festival (TN), Associazione 47|04 (GO); produzione esecutiva Valentina Picariello e Renata Viola; organizzazione Federica Bruscaglioni; con il sostegno e la collaborazione di Fuori Luogo La Spezia/Gli Scarti; in collaborazione con Olinda onlus, Project For People, Stratagemmi Prospettive Teatrali
Il progetto è realizzato con il sostegno della Fondazione Compagnia di San Paolo nell’ambito di Art Waves Produzioni di cultura contemporanea e con il sostegno di Fondazione Cariplo e del Comune di Milano
Alessandro Renda è attore, regista e filmmaker nel Teatro delle Albe di Ravenna. Si avvicina alla compagnia fin da adolescente partecipando ai laboratori della non-scuola, pratica teatral-pedagogica antiaccademica creata da Marco Martinelli. Nel 1998 viene scelto per interpretare uno dei dodici “palotini” dello spettacolo I Polacchi, testo e regia di Martinelli e da allora è attore e regista della compagnia. Dal 2001 è guida nei laboratori non-scuola. Dal 2003 si occupa di video, realizzando proiezioni per la scena o “traduzioni” in video di molti spettacoli del Teatro delle Albe e documentari su esperienze teatrali in giro per il mondo della compagnia.
Jens Hillje (Germania, 1968) dal 1989 al 1995 studia Arti applicate all’Università di Perugia, studi che prosegue a Hildesheim e a Berlino. Dal 1990 lavora nella scena del teatro indipendente tedesco come attore, autore e regista. Nel 1996 ha fondato insieme a Thomas Ostermeier lo spazio ‘Barracke’ al Deutsches Theater. Dal 1999 fino al 2009 è Chief-dramaturg e membro della direzione artistica della Schaubühne di Berlino con Thomas Ostermeier e la coreografa Sasha Waltz: con loro crea un ensemble permanente di danza e prosa di rilievo internazionale. In qualità di dramaturg lavora con i maggiori esponenti del teatro europeo: oltre a Ostermeier, Yael Ronen, Falk Richter, Luk Perceval, Sebastian Nübling, Nurkan Erpulat. Durante il suo periodo alla Schaubühne, Jens Hillje ha creato il F.I.N.D Festival nel 2000. Il festival per la drammaturgia internazionale e contemporanea ha presentato autori emergenti della scena teatrale e oggi è uno dei più rinomati festival in Germania. Dalla stagione 2013/14, Jens Hillje è co-direttore artistico e Chief-dramaturg del Gorki, insieme a Shermin Langhoff. Dal 2021 è free dramaturg. Nell’estate 2019 è stato insignito del Leone d’Oro alla carriera alla Biennale di Venezia.
A cosa servono, ancora, i miti greci?
Ateatro e Bolzano29
in collaborazione con
Engramma, Teatro dei Borgia e ZONA K
presentano
A cosa servono, ancora, i miti greci?
in occasione della pubblicazione del numero 194 della rivista “Engramma”
c/o Bolzano29, via Bolzano 29A, Milano (Metro M1 Rovereto)
Intervengono:
Monica Centanni (direttore di “Engramma” e professore ordinario di Lingua e Letteratura greca, Università Iuav di Venezia e Università di Catania),
Maddalena Giovannelli (docente Storia del Teatro presso USI-Università della Svizzera Italiana, Lugano),
Daniela Sacco (ricercatrice e docente presso l’Università Iuav di Venezia), Gianpiero Borgia (Regista).
Conduce Oliviero Ponte di Pino (presidente di Ateatro).
“What’s Hecuba to him?”
Che cos’è Ecuba per lui, cos’è lui per Ecuba? Perché dovrebbe piangere per lei?
Fa chiedere Shakespeare ad Amleto.
Questo numero della rivista “Engramma”, incentrato sull’esperienza teorica e pratica di Teatro dei Borgia, è nato per tentare di rispondere a una domanda: “A cosa servono, ancora, i miti greci?”.
Rilanciamo la domanda di Amleto: “Cosa sono Medea, Filottete, Eracle per noi?”.
“Perché dobbiamo piangere per loro? Servono ancora i nomi, le storie, le figure del mito? Possono i miti greci dire il nostro presente?”.
La stessa domanda che dà il titolo al Seminario di studi che si è tenuto a Trani il 21 e il 22 maggio 2022 per iniziativa di Teatro dei Borgia e della rivista “Engramma”.
Vai alla trilogia LA CITTA’ DEI MITI di Teatro dei Borgia
CHIAMATA PUBBLICA
TEATRO PARTECIPATO
NON SIAMO NIENTE, SAREMO TUTTO
ZONA K lancia un grande progetto internazionale di teatro partecipato in collaborazione con Gli Scarti/Fuori Luogo di La Spezia.
Una “chiamata” alla cittadinanza di Milano per partecipare direttamente e in prima persona:
“Abbiamo bisogno di persone del territorio, di lavoratori e lavoratrici di alcuni settori che abbiano voglia di essere coinvolte all’interno di un percorso di indagine e di testimonianza che porterà ad una grande performance finale e che vuole coinvolgere direttamente le comunità cittadine sul tema del lavoro e dei suoi cambiamenti dopo l’esperienza della pandemia”.
La direzione artistica è di Jens Hillje (dramaturg berlinese, Leone d’oro alla Biennale 2019) e di Alessandro Renda (Teatro delle Albe di Ravenna) ideato e prodotto da ZONA K.
A CHI è rivolta la call?
– Lavoratrici/lavoratori del mondo della SCUOLA E ISTRUZIONE (insegnanti, personale ata, studenti/studentesse)
– Lavoratrici/lavoratori del mondo della SANITA’ e ASSISTENZA SOCIALE (infermieri/e, farmacisti/e, OSS, medici, caregivers etc)
– Lavoratrici/lavoratori del mondo FOOD/DRINK, DELIVERY e COMMERCIO (ristoratori/trici, baristi/e, camerieri/e, riders, commessi/e di supermercato)
Oltre alle persone appartenenti alle suddette categorie possono partecipare anche coloro che abbiano voglia di condividere testimonianze indirette e la propria esperienza rispetto alle tematiche del progetto.
*NON è richiesta alcuna preparazione o esperienza teatrale pregressa e la partecipazione è gratuita
Domenica 22 maggio 2022 ore 18.30 – 20.30 ci troveremo a ZONA K (Via Spalato 11, vicino ple Lagosta, quartiere Isola) per raccontare il progetto e le differenti modalità di partecipazione:
- Semplice raccolta di testimonianze (anche video)
- Partecipazione ai successivi incontri del 30 maggio e 6 giugno (ore 18.30 – 20.30)
- Partecipazione performance finale (in autunno, data da definire)
Con noi ci sarà il regista Alessandro Renda.
Per partecipare o chiedere informazioni scrivi a stagione@zonak.it.
Deadline adesioni di partecipazione venerdì 20 maggio 2022.
IL PROGETTO
Soprattutto in questi ultimi 30 anni di libero mercato e privatizzazioni sono state deluse molte possibilità di una società più giusta e la competizione è diventata la condizione che definisce le relazioni umane, trasformando i cittadini in consumatori, frantumando il tessuto sociale e le identità individuali. L’esperienza della pandemia ha messo fortemente in discussione l’idea di economia e società neoliberista. Ma se da un lato questa fase ha ulteriormente evidenziato gli squilibri sociali e provocato sofferenze e contrasti tra lavoratori, dall’altro ha sviluppato e fatto riemergere desideri di solidarietà, promuovendo la ricerca di buone pratiche. Come raccontare questa fase così confusa? Il teatro ci consente di evitare le strettoie del quotidiano, sprofondando storie, volti e esperienze in mondi “altri” capaci di leggere la realtà in tutta la sua complessità.
Il coro è alle origini del teatro, da rito a vero e proprio personaggio collettivo. Il coro nel teatro greco antico ha fondato il teatro europeo, rappresentando la cittadinanza della polis. Attraverso il coro possiamo manifestarci nella nostra individualità ma anche nello spirito più profondo di appartenenza a un gruppo.
Non siamo niente, saremo tutto è un progetto teatrale prodotto da ZONA K che si svilupperà tra il territorio di La Spezia e altre località italiane tra cui Milano, Pergine, Ravenna. L’idea è quella di lavorare con cori di non professionisti appartenenti a alcune categorie specifiche di lavoratori. Per affrontare le storture dei meccanismi lavorativi e lo sfruttamento alla base di tanti processi economici e non solo della nostra società, si è deciso di scegliere gruppi di lavoratori in grado di riflettere lo smantellamento delle politiche welfare avvenuto in maniera sostanziale negli ultimi decenni. Non si tratta di raccontare questi lavoratori lasciandoli nelle loro categorie di appartenenza, ma di esplorare delle storie individuali per affrontare il tema da una differente prospettiva: quanto siamo consapevoli degli effetti delle nostre scelte? Delle nostre responsabilità? Quanto siamo coinvolti nei processi che spesso condanniamo? Il coro diventa strumento di indagine che permette di trasformare l’esperienza collettiva in una narrazione condivisa, un coro pensato come opera d’arte totale e scultura sociale. Un ensemble vivo che unirà le esperienze lavorative contemporanee, mentre l’Internazionale, l’inno di emancipazione e liberazione, depositario di memorie ed esperienze di 150 anni di lotta per il giusto riconoscimento economico e politico del lavoro, sarà un puntello per verificare l’attualità di quei versi.
POSTCARDS
Campus video e rap
E’ arrivata l’estate: mandami una cartolina… dalla città! Scegli un luogo del quartiere, immagina una scena, il testo di un rap e poi… si gira!
POSTCARDS – Campus video con cartoline rap dalla città è un campus estivo dove puoi trasformare la tua città con la musica e l’immaginazione e realizzare un video da inventare tutti insieme.
Una giornata tipo al campus:
| ore 9.00 – 9.30 | Giochi di accoglienza |
| ore 9.30 – 10.30 | Rap ritmo e parole. Inventa una canzone e prova a rappare |
| ore 10.30 – 11.00 | Merenda al sacco |
| ore 11.00 – 12.30 | Video, ideazione contenuti, ricerca location |
| ore 12.30 – 14.00 | Pranzo al sacco e gioco libero |
| ore 14.00 – 15.00 | Visione video musicali |
| ore 15.00 – 16.30 | Rap & Video: registrazione audio e/o riprese video |
| ore 16.30 | Uscita |
Merende e pranzo al sacco sono a carico delle famiglie.
Se il meteo lo consente, merenda e pranzo al sacco verranno consumati all’aperto, in uno dei parchi cittadini vicini a ZONA K (via Confalonieri, via De Castillia)
Il campus prevede la realizzazione di un videoclip musicale girato in quartiere che verrà proiettato a ZONA K dopo le vacanze estive.
Il campus:
– è a numero chiuso, si attiva al raggiungimento del numero minimo di iscritti richiesto
– le iscrizioni si chiudono il giorno 24 maggio o al raggiungimento del numero massimo di iscritti previsto
– prevede la realizzazione e il montaggio di un video che verrà inviato alle/ai partecipanti nelle settimane successive la proiezione di settembre a ZONA K
Costo: € 200,00.
Agevolazioni: sconto 10% per secondogeniti
CLICCA QUI PER COMPILARE IL MODULO D’ISCRIZIONE
Per informazioni più generali, contattaci all’indirizzo organizzazione@zonak.it
CHIAMATA PUBBLICA PER SUPERMEN OVER 60
ZONA K e Casa degli Artisti Milano annunciano una
CHIAMATA PUBBLICA PER OVER 60 per partecipare a
“BLUE TIRED HEROES” DI MASSIMO FURLAN
performance urbana fuori dal comune intorno all’immagine del supereroe
termine invio candidature: 10 maggio 2022
E se Superman fosse invecchiato?
Massimo Furlan è un artista svizzero multidisciplinare che ama creare immagini, quadri viventi, in cui l’occhio vaga, osservando la composizione, l’equilibrio, i colori e la stravaganza.
Questo suo lavoro, presentato all’interno della stagione teatrale di ZONA K, mostra con grande umorismo e ironia corpi invecchiati che interpretano un Superman che finalmente può vivere la sua età reale, in contrasto con l’immagine di eterna giovinezza tipica dei supereroi.
Blue Tired Heroes è una performance urbana in cui un gruppo di anziani supereroi gioca con l’immobilità e le azioni quotidiane: cammina lentamente tra le strade di Milano, si siede sulle panchine, entra nei supermercati, si appoggia agli alberi dei parchi, attende il tram alla fermata…
CERCHIAMO 11 PERSONE tra i 60 e i 70 anni CHE VOGLIONO CONDIVIDERE UN’ESPERIENZA DIVERTENTE E INTENSA.
NON È RICHIESTA NESSUNA QUALITÀ PARTICOLARE NELL’INTERPRETAZIONE.
OCCORRE SOLO ESSERE SE STESSI E POSSEDERE UNA BUONA DOSE DI AUTOIRONIA E SENSO DELL’UMORISMO.
UNICA CARATTERISTICA RICHIESTA: AVERE PIU’ DI 60 ANNI (SUPERMAN È DEL 1934!)
Vuoi partecipare e diventare un Superman? Ecco cosa fare!
Manda la tua candidatura scrivendo una mail a stagione@zonak.it allegando una tua foto a figura intera e il tuo numero di cellulare entro e non oltre il 10 maggio 2022.
È richiesta la presenza su tutti e 3 i giorni del progetto, 27, 28 e 29 maggio 2022.
La partecipazione si svolge su base volontaria. Verranno rimborsate eventuali spese di trasporto di A/R per e dal luogo delle prove e della performance.
LE PROVE SI SVOLGERANNO NEL POMERIGGIO DI VENERDÌ 27 MAGGIO
Ci troveremo presso Casa degli Artisti (zona Garibaldi) per conoscerci e incontrare il regista Massimo Furlan. Cammineremo lungo il percorso individuato (3 km circa tra Garibaldi e Sarpi), provando le pose da supereroe suggerite dai luoghi che incontreremo lungo il tragitto.
Durata dell’impegno, 4 ore circa.
LA PERFORMANCE SI TERRA’ SABATO 28 E DOMENICA 29 MAGGIO, NEL POMERIGGIO
Si va in scena! Si indossano i costumi da Superman e si percorre il tragitto compiendo le azioni e le pose provate. Il pubblico sarà formato da passanti, abitanti delle vie delle zone Garibaldi e Sarpi, e ovviamente da tutti gli amici che vorranno assistere alla performance.
Durata impegno, 3 ore circa al giorno.
IL PROGRAMMA IN BREVE
Venerdì 27 maggio ore 15.00 – 19.00 (indicativo): incontro e prove con il regista, ritrovo c/o Casa degli Artisti, Corso Garibaldi 89/A, angolo via Tommaso da Cazzaniga – M2 Moscova –
Sabato 28 e Domenica 29 maggio ore 16.30 – 19.30 (indicativo): 1 passeggiata di circa 1h30 al giorno in città, ritrovo c/o Casa degli Artisti.
Durata dell’impegno, 3 ore circa al giorno.
Domenica 29 maggio, dopo lo spettacolo, festeggeremo insieme con un bell’aperitivo!
Lisandro Rodríguez (AR)
In order to enter, in addition to booking, it is compulsory to send the membership application/renewal for the year 2022 at least 24 hours before the performance.
For this event the fee of € 2,00 is not due. Send the request
– COLLABORATIONS SECTION –
Extremophile (‘extreme’ with the suffix -philos, from the Greek philéô, to love) is the adjective assigned to those organisms capable of growing and thriving in extreme conditions, i.e. in hostile environments, due to high temperature, acidity or salt concentration. They are therefore those who, as ‘lovers’ of extreme habitats, live differently from the rest of the living.
This is what happens to the protagonists of Alexandra Badea’s work – as the title suggests – which traverses three (or more) stories of love and restlessness. A ministry chief of staff falls in love with a left-wing militant, while a teacher blows himself up in front of a school; a marine biologist is torn between working as a researcher and working for a powerful multinational corporation that devastates the seabed; an Israeli soldier, who pilots drones from a distance, watches his enemies make love on the terraces of their homes.
Rodríguez stages the text by bringing into dialogue the faults and the forgotten dreams, the intimate and the political, and says: “when these characters talk about their work and link it to love, in some way they are also talking about a world that is becoming unbearable”.
At the end of the first performance on 19 May, the company and the director will meet the audience.
a project by Piccolo Teatro di Milano – Teatro d’Europa, presented in the festival “Presente Indicativo”
show ● national premiere ● in Spanish ● duration 80 min.
free entrance ● Sold Out
In order to enter, in addition to booking, it is compulsory to send the membership application/renewal for the year 2022 at least 24 hours before the performance.
For this event the fee of € 2,00 is not due. Send the request, click here
by Alexandra Badea directed by Lisandro Rodríguez with Ariel Bar-On, Anabela Brogioli, Zoilo Garcés, Lisandro Rodríguez music “Mundo cruel”: Guillermo Rodríguez lights Matías Sendón production Débora Staiff, Estudio Los Vidrios in collaboration with ZONA K. Thanks to the Instituto Cervantes for their collaboration.
Post, il tempo delle domande
Media partner of POST, the theatre season, could only be Q code Magazine, an independent magazine that prefers multimedia. It is geopoetic, that is, it tells geopolitics through stories, it is an open place for those who have passion, competence and ability to say it, it is a quarterly paper magazine to return to a slow and thoughtful reading. It is resistant, stubborn and abrasive. It believes in collaboration and sharing between sister organizations. It is edited by Angelo Miotto and Christian Elia, and in its nine years of life has hosted hundreds of signatures from all over the world.
Post, il tempo delle domande is the name of the Q Code podcast for ZONA K .
We have chosen keywords, related to the shows of the season.
The audio essays are by Angelo Miotto.
Listen to the podcasts by clicking HERE
POST
What define POST?
Etymologically the answer is easy, something that comes later in time or conceptual terms. The society we live in seems to be an endless catalogue of posts. We are in a post-democracy, citizens are post-materialist, capitalism has become post-capitalism, not to go into the more complex and philosophical definitions of post-structuralism, post-modernism and deconstructionism. Even the very concept of truth can no longer be separated from post-truth, voted by the Oxford Dictionary as word of the year for 2016. Everything is questioned, reconsidered, studied in its continuous evolution. It is as if certain principles and doctrines, which formed the basis of a certain culture in the second half of the 20th century, can no longer keep up with the times without having made room for a new political, cultural and social sensibility. Is it fair to ask whether a new progressive culture is possible for the 21st century? Is politics capable of formulating a new, compelling vision that (re)brings people together and is not just an expression of power?
We are not in a position to give answers, for us POST is still the time of questions that every change brings. It is the moment we find ourselves living. The ‘after’ of which the contours are not yet clear. It is not the criticism or the overcoming of what we have done and experienced so far, it is the time of uncertainty, of the need to reconsider positions and choices made so far without fully seeing the next step. It is more than a season’s headline, a well-crafted claim by a good copywriter. It is our present that we continue to look at with an artistic and political eye. It is looking for a new position, finding a new balance between creativity and proximity, between artistic research and audience engagement, between relationships and growth. POST is the start of a new path of openness, a broader view, reflections and comparisons. It is a stimulus for other thoughts, not necessarily our own.
And in this reservoir of suggestions, we started to measure ourselves with new possibilities, parallel actions, not substituting but complementary to the presentation of a theatre season. The first step was to call Jens Hillje as visiting dramaturg. A leading figure of European theatre, Golden Lion for Lifetime Achievement in 2019, Hillje has accompanied months of reflection and will be dramaturg of the new production of ZONA K that will be staged in November.
Therefore, the necessary awareness has matured – this is political and social – not to give up the centrality of people, whether they are spectators, artists, non-professionals, workers, students. Participatory and urban shows, productions and co-productions that arise from the direct involvement of citizens, training of younger targets, storytelling of artistic processes, meetings with artists, networks with other theatres thanks to common visions and synergic work, are all elements of the same puzzle that will be built in future years.
In this outlined framework, enclosed in the POST hat, Gob Squad and their latest production find their place 1984: Back to No Future, a nostalgic and pop look at the past and the future; the shouted words of Pasolini brought to the stage by Anagoor, the old men in tights of Massimo Furlan‘s “Superman”, Mats Staub with the delicacy of his interviews; the urban shows of Elisabetta Consonni and Teatro dei Borgia; the new production Non siamo niente, saremo tutto by Jens Hillje and Alessandro Renda on the distortions of society that brings a chorus of workers on stage, to close with a participatory performance on contemporary activism by Dreams Come True, Hichmoul Pilon, anthropie, collettivo Siamo ovunque. Eight shows, eight complex projects to present and narrate.
To close POST is also – much more simply – “a communication tool, a textual message with the function of opinion, comment or intervention”.
Mariano Pensotti/Grupo Marea (AR)
– COLLABORATIONS SECTION–
El Público (Buenos Aires), The Audience (Athens) and The Public/Het Publiek (Brussels) are three films about a theatre audience and the city they live in. They are also three plays that we only know through the narration of the spectators. The starting point of the three films is the same: there is an audience going to see a performance in a theatre. The audience takes their seats before the performance starts, they read the programme, they chat.
The show starts but we do not see it.
There is an ellipsis. We see the audience leaving the theatre immediately after the end of the performance. Apparently the play they saw was incredible, an extremely complex performance about a real story hidden in the recent history of the city. All the spectators are moved by what they saw.
We follow some people leaving the theatre. We will see the stories of these 11 people during the 24 hours after they have seen the performance and to what extent what they have seen has influenced their lives. Each story is a short film.
The personal stories of the audience are very different and have a variety of conflicts, there are some stories with a strong plot and others that are more focused on everyday life. But at some point everyone talks to another person about the play they have seen and we have not. They all tell a different scene from the play. By following their stories and listening to their narration of the play, the real audience can reconstruct the play that the fictitious audience has seen.
What are the stories of the people who go together to see a play? How much are their lives transformed by that experience? To what extent is what they have seen modified by their memories? What is it like to become a character in your own city? What is the effect of transforming the audience into protagonists?
projection:
12 May THE AUDIENCE – length 80 min
13 May EL PUBLICO – length 90 min
14 May HET PUBLIEK – length 80 min
in collaboration with Piccolo Teatro di Milano – Teatro d’Europa
film info ● in original language with subtitles
booking recommended: biglietti@zonak.it – 393.8767162
Written and Directed by Mariano Pensotti Art Director Mariana Tirantte Music Diego Vainer Cinematography/DOP María Soledad Rodríguez Artistic Production Florencia Wasser Assistant Director Agustín Gagliardi.
THE AUDIENCE was commissioned and produced by Onassis Stegi.
EL PUBLICO is a co-production between Festival Internacional de Buenos Aires and Grupo Marea.
HET PUBLIEK was commissioned by Kunstenfestivaldesarts in co-production with Wrong Men, Théâtre des Martyrs and Shelter prod.
Mariano Pensotti (Buenos Aires, 1973) studied cinema, visual arts and theatre. His performances have been presented in Argentina and in major international festivals around the world. He has received numerous prizes and awards including: the Rozenmacher, Clarin and F Prizes; and grants from Unesco-Aschberg, Rockefeller Foundation, Fundación Antorchas and Casa de América de Madrid. He founded Grupo Marea together with set designer Mariana Tirantte, musician Diego Vainer and producer Florencia Wasser.
Wundertruppe (IT)
ATTENTION: EVENING DEPARTURE TIME HAS BENNE BROUGHT FORWARD TO 19.00
– SECTION OUT OF MILAN –
It is a sound path with headphones that will take place in the town of Baranzate, a group walk, an experience at the same time personal and shared inhabited by voices, sounds, literary fragments and testimonies around the theme of loneliness. The performance crosses significant places in the city that are identified in the days leading up to it, thanks to the study of the topography and history of the city and (when possible) thanks to encounters with local people. Two figures accompany the public: the first is a point of reference, guiding the route; the other crosses the space, directs the gaze, gets lost, plays with the limit. The route follows the sun and its light.
The performance takes place at dawn and/or at dusk: at dawn the city wakes up, a few people inhabit it with their silent and solitary presence; at dusk, on the other hand, it can swarm with passers-by and within this collectivity a sense of solitude can arise, willingly or unwillingly. The reality of the landscape becomes part of the performance, resonates with the words in the headphones and allows the unexpected to manifest itself and become a story. One walks, at the same time, alone and in company to find oneself at the end in a temporary square and express a desire.
Baranzate was chosen by the collective because of the intense social activities born in the area over the years, and it is also a place of affection and growth for one of the members of the collective.
in collaboration with Associazione Quarantasettezeroquattro in Gorizia
info urban headphone performance
c/o Municipality of Baranzate (Mi)
departure at 6.30 a.m. Meeting point piazza Giovanni Falcone – Baranzate
departure at 20.00 meeting point via Gorizia, 61 – Baranzate
BASIC INFORMATION TO PARTICIPATE:
A document will be requested as a deposit for the use of the navigator.
As this is a route with obligatory stages, the departure time cannot be postponed. The walk takes about 80 minutes and will be done on foot. The place of arrival is 10 min. walk from the place of departure. It is recommended to wear comfortable shoes and a waterproof jacket in case of light rain; in case of heavy rain the event will be cancelled.
Conceived and directed by Collettivo Wundertruppe: Natalie Norma Fella, Marie-Hélène Massy Emond and Giulia Tollis with the voices of Natalie Norma Fella Marie-Hélène Massy Emond and Giulia Tollis, Sandro Pivotti and people met in Italy, Canada and online original music Marie-Hélène Massy Emond sound design Renato Rinaldi special thanks to Luca Oldani, Riccardo Tabilio and Jonathan Zenti for their help on stage and in the studio production Wundertruppe in co-production with Petit Théâtre du Vieux Noranda (Rouyn Noranda, QC -Canada) / Associazione Quarantasettezeroquattro – Gorizia with the support of MOVIN’UP Performing Arts of MiBACT and GAI – Giovani Artisti Italiani / ARTEFICI – Residenze Creative FVG 2019 di Artisti Associati – Gorizia / Conseil des Arts du Canada (Canada) / Associazione IFOTES | ARTESS – Udine. Project supported with funds from the Otto per Mille della Chiesa Valdese
Wundertruppe is a person and a collective at the same time. Wundertruppe is the name under which, since 2016, Natalie Norma Fella has presented her projects. Each work makes use of the collaboration of artists, technicians, consultants, thinkers; the principle of this collective is to combine skills and interests according to the nature and needs of the various projects. The works of Wundertruppe are: “40 A.D. | Etiquette for an Earthquake”, “WK -Wunderkammer,” and “Piazza della Solitudine”.
photo Alvise Crovato
Dreams Come True, Hichmoul Pilon, anthropie, collettivo Siamo ovunque
A participatory performance in which the audience reads aloud the testimonies from anti-fascists, feminists, anti-capitalists, anti-racists, anti-specialists, hackers, and people fighting for the rights of migrants, against all forms of social oppression, for the rights of LGBTQIA+ people, against ecocides, for the rights of sex workers, against police violence, for the rights of undocumented immigrants, for self-determination and empowerment of all workers, against job insecurity, against the current prison system and for Zone to Defend.
The project was conceived during a tour in Hong Kong in 2019, where where one of the promoters of the project mets some protesters of the pro-democracy movement: within 20 years Hong Kong will be entirely Chinese and their freedom of expression is rapidly diminishing. From their stories came the desire to share aspects of political engagement: the act of courage, which gives the strength to fight your way out of an oppressive or precarious situation, and the tools, tactics and practical advice useful to all activists, here or elsewhere.
Siamo Ovunque is a collection of emotional and inspirational resources: activists’ stories, tactics, tools and strategies, recorded as written texts or transcribed from oral histories to form an archive of contemporary activism.
info participatory performance ● in Italian ● duration 120 min.
c/o ZONA K – admission with prior 2022 membership
A project conceived and produced by: Dreams Come True, Hichmoul Pilon, anthropie; with the contributions of: Many anonymous persons; Collettivo Bida; Jupiter; Raffa; Rete appenninica femminista; Samba; Asia Usb – Associazione inquilini e abitanti – Unione sindacale di base; Una militante del collettivo R con documenti svizzeri; Craaazi – Centro di ricerca e archivio autonomo transfemministaqueer°; “Alessandro Zijno”; D(i)ritti alla Città – Rete per gli spazi pubblici dismessi ; Debs; Elena & Rina; Franco Sicilia; Flores Magón; Centro di documentazione dei movimenti “Francesco Lorusso – Carlo Giuliani”; Csi – Centro di salute internazionale e interculturale; Osa* – Opposizione studentesca d’alternativa; Viola; Militant* di Extinction Rebellion in Svizzera; El.; Vincenza Perilli; Mars on Pluto; Mujeres libres Bologna; Vivaietto; Collettiva Elettronika; Mattia Robertiello (on going); Administrative Direction Creative Production, Touring: Marine Magnin; Communication: Charlotte Terrapon; Tour Production: Colette Raess; Publishing house: Abrüpt; Coproduction: Le Grütli, Geneva ; République Ephémère, Geneva ; l’Abri, Geneva ; Aargauer Kunsthaus, Aarau ; Santarcangelo Festival; With the support of: Pro Helvetia – Swiss Art Council, Office fédéral de la culture and République et Canton de Genève; Ville de Genève ; Loterie Romande; Fondation Ernst Göhner ; Migros pour-cent culturel; Fondation Jan Michalski pour l’écriture et la littérature ; Fondation suisse des artistes interprètes SIS ; CORODIS.
AA.VV.
Since 2021 ZONA K is among the partners who joined the Call for Digital Residencies conceived and promoted by Centro di Residenza della Toscana (Armunia – CapoTrave/Kilowatt), in partnership with Associazione Marchigiana Attività Teatrali AMAT, Cooperativa Anghiari Dance Hub, ATCL Lazio for Spazio Rossellini, the Emilia-Romagna Residency Centre (L’Arboreto Teatro Dimora di Mondaino – La Corte Ospitale), the Fondazione Luzzati Teatro della Tosse in Genoa, joined this year by Fondazione Piemonte dal Vivo – Lavanderia a Vapore and Fondazione Romaeuropa.
Now in its third edition, the call aims at stimulating performing arts artists to explore the digital space, as a further or different declination of their authorial research.
The selected artistic projects will be presented to the public during the Digital Residencies Week at the end of November.
Jens Hillje, Alessandro Renda (DE/IT)
A ZONA K project
A public call, dozens of workers responding. This is the beginning of the project that has taken shape over the past year with meetings, theatre workshops, research, video documentaries, protest songs, marches, a pretext (Kafka’s America), three actors, a director and a dramaturg.
Work’ as a fil rouge. Work as an aspiration, as a compulsory choice, as a source of livelihood, but above all as an engine that delineates trajectories, defines self-esteem and personal convictions, risks shaping our values and determines where and with whom we spend most of our time.
But does work really define who we are? How well does it meet our expectations? How much weight does it have in our lives and in the choices we make? Can it today represent a point of observation on the state of health of society, especially after the acute phase of the health emergency?
Non siamo niente, saremo tutto (We are nothing, we will be everything) is the literal translation of a line from L’Internationale written by poet and revolutionary Eugène Pottier 150 years ago. A text that may be dated, sometimes still sung as a workers’ hymn, but now has almost no relevance to today and the state of the world of work. We are nothing, we will be everything is also the theatrical project produced by ZONA K, in which Jens Hillje and Alessandro Renda involved workers from different sectors, to explore individual stories and approach the theme from different perspectives: can we mirror ourselves in the work stories of others to feel more interconnected? How much does the realisation of a will or vocation condition our lives? Does understanding individual happiness or dissatisfaction help us to assess collective well-being? Are we still able to see ourselves as a collection of people striving for a common good or are we a sum of individuals, monads in our own right? The concatenation of stories becomes an investigative tool to transform the collective experience into a shared narrative, a chorus conceived as a total work of art and social sculpture to re-embrace the desire for community and, through theatre, find new forms of representation of reality.
show ● in Italian ● running time 90 min.
c/o and in collaboration with Olinda onlus, ex. Osp. Psic. Paolo Pini, via Ippocrate 45 Milano – M3 Affori FN
IMPORTANT
Show up at least 15 min. before the performance to collect tickets c/o Bar Jodok, via Ippocrate 47 Milano – M3 Affori FN (via Ciccotti exit)
Maximum punctuality is required. Access is not guaranteed once the show has started.
direction: Alessandro Renda; dramaturg: Jens Hillje; with: Roberto Corradino, Milena Costanzo, Matteo Gatta and with the citizens of a public call from Milan and La Spezia and with the Micene chorus from Milan; lighting design: Mario Loprevite; scenographic elements Denise Carnini and Francesca Pedrocchi
editing and visual effect video: Francesco Tedde and Alessandro Tedde (Anthropotopia); photos: Luca Del Pia; production: ZONA K (MI); co-production: Pergine Festival (TN), Association 47|04 (GO); executive production: Valentina Picariello and Renata Viola; organisation: Federica Bruscaglioni; with the support and collaboration of Fuori Luogo La Spezia/Gli Scarti; in collaboration Project For People, Stratagemmi Prospettive Teatrali, Olinda onlus
The project is realized with the support of Fondazione Compagnia di San Paolo in the context of Art Waves Produzioni di cultura contemporanea and with the support of Fondazione Cariplo and the Municipality of Milan and presented within STOP project presented for Milano è Viva
Alessandro Renda is an actor, director and filmmaker. Since 1998 he has been a member of Teatro delle Albe in Ravenna. He has taken part in numerous shows of the company, from I Polacchi (1998) to L’isola di Alcina (2000), from Salmagundi (2004) to Stranieri (2008) from Inferno (2017) and Purgatorio (2019) among others. He has been staging the monologue written by Marco Martinelli Rumore di acque (2010) for over a decade, with several tours in Europe and the United States. Since 2001, he has been a ‘guide’ in the workshops of the non-school, an anti-academic theatrical-pedagogical practice of the Albe, with various experiences in Italy and abroad. Since 2003 he has been involved in video, making projections for the stage or video ‘translations’ of many of the company’s shows or documentaries around theatrical experiences.
Jens Hillje (Germany, 1968) has worked in the German independent theatre scene since 1990 as actor, author and director. In 1996 he founded the space ‘Barracke’ at the Deutsches Theater together with Thomas Ostermeier. From 1999 until 2009 he was chief dramaturg and member of the artistic direction of the Schaubühne in Berlin with Thomas Ostermeier and choreographer Sasha Waltz. As dramaturg, he works with the leading figures of European theatre. He created the F.I.N.D Festival in 2000 at the Schaubühne, one of the most renowned festivals in Germany. Since the 2013/14 season, Jens Hillje has been co-artistic director and Chief-dramaturg of the Gorki, together with Shermin Langhoff. Since 2021 he has been a free dramaturg. In summer 2019, he was awarded the Golden Lion for Lifetime Achievement at the Venice Biennale.
NON SIAMO NIENTE, SAREMO TUTTO is part of the schedule of
Anagoor (IT)
A poetic text by Pasolini, little known but with a disruptive expressive force, a non-finite in the author’s magmatic laboratory, a jumble of words and images, of sound and pain, an expression of power and the ways in which man succumbs to it, with the emblematic title: L’italiano è ladro (The Italian is a Thief). Here the voice and the poetic word, accompanied by the sound design of the staging, reach the public in their increasingly lacerating and at times disturbing symbolic significance.
In 1955, a fragment of Pier Paolo Pasolini’s L’Italiano è ladro (The Italian is a Thief) was published in a fascicle of the literary magazine “Nuova Corrente”, the only printed trace of a multi-lingual poem of long gestation composed between 1947 and the second half of the 1950s. Because of its openness to the representation of the popular classes and its tendency towards narrativity, this work, despite having passed almost unnoticed, is undoubtedly a representative witness to the poetic season of the 1950s and the cultural and literary political history in which it is embedded. Anagoor attempts to restore the fervour and complexity of a boiling writing, of a thought and a language that were then becoming a system and a vision, illuminating the theatrical virulence that seems to pulsate beneath the poetic verse. The company chooses to mediate this complexity by comparing the different versions of the text and illustrating the workshop of the Friulian poet, before leaving the language free to break the banks and overwhelm the ear like a torrent that drags along recent transformations and ancient pain.
info duration 80 min.
c/o Teatro Out Off, via Mac Mahon 16
Voices: Luca Altavilla, Marco Menegoni Mediation: Lisa Gasparotto Sound: Mauro Martinuz Direction: Simone Derai Production Anagoor 2016 Co-production Stanze 2016, Centrale Fies
The Anagoor company, which takes its name from Dino Buzzati’s short story Le mura di Anagoor (The Walls of Anagoor), was founded in 2000 in Castelfranco Veneto on the initiative of Simone Derai and Paola Dallan, who were later joined by Marco Menegoni, Moreno Callegari, Mauro Martinuz, Giulio Favotto, Silvia Bragagnolo and many others, making the experience a community project. Since 2008, Anagoor has been based in the Treviso countryside, at La Conigliera, a burrow farm converted by the company into its own atelier. With this choice, the desire to preserve the architecture of the place and the wish to keep a name that would reveal its history, Anagoor experiments with the possibility of stopping pieces of a changing civilization to graft them into a new vision. Anagoor’s theatre responds to an iconic aesthetic that precipitates into different final formats where the performing arts and the hypermedia scene enter into dialogue; it penetrates the territories of other artistic disciplines and yet forcefully claims, by virtue of the nature of this art, to remain theatre.
photo by Silvia Bragagnolo©
Massimo Furlan (CH)
Swiss-Italian multidisciplinary artist Massimo Furlan brings a new poetic and non-conformist performance to Milan. In Blue Tired Heroes, a group of “supermen seniors” roam the city to impose, in a series of tableaux as burlesque as they are delicate, the physical tests of ageing on this superhero figure trapped in his eternal youth… with “performer” inhabitants.
Superman was born in 1933. Since then, the character of Clark Kent has remained frozen in his eternal youth as a “superhero”, passing from one decade of glory to the next. But what if he finally assumed his true age? Wearing only pyjamas and blue trousers, red socks and a cape as accessories, Massimo Furlan answers the question by unleashing a strange commando of about fifteen elderly people from the city who take over the public space. Aged bodies and wrinkled faces shake our imagination to show, with humour, the evidence of the passage of time. Embodied by fifteen volunteer residents, these “tired blue heroes” play with humour and self-irony, their age and their image, which is far removed from the build of a bodybuilder.
In the continuum of a series of works experimented in the public space around the figure of Superman (Superman Cosmic Green, Love Story Superman), Blue Tired Heroes questions the notion of the heroic figure and the ghost of the superman accepted in the popular imagination, substituting a profoundly humanist incarnation of the passing of time. Funny, intense, tender, this extraordinary journey of ordinary men tells us a lot about the ability of the “superhero” to save the world, perhaps through a smile, a burst of laughter, a burlesque vision and a poetic and collective appropriation of public space?
in collaboration with Casa degli Artisti di Milano
itinerant urban performance
starting pointCasa degli Artisti di Milano – Via Tommaso da Cazzaniga, angolo, Corso Garibaldi, 89/A
Direction Massimo Furlan; Dramaturgy Claire de Ribaupierre; Costumes Severine Besson; Distribution and production Jérôme Pique; Administration Noémie Doutreleau; Production Numero23Prod.
After studying at the Ecole des Beaux-Arts in Lausanne, Swiss set designer and visual artist Massimo Furlan worked with various dance and theatre companies. In 2003, he founded his own company dedicated to the performing arts, Numéro23Prod., to question the act of representation outside the confines of genres. His multiple performances, essentially articulated around humour and contrast, question popular manifestations and the notion of the team, the themes of image, duration, childhood, memory and play.
photo ©Pierre Nydegger et Laure Cellier
Teatro Dei Borgia (IT)
The City of Myths is a metropolitan poetic dream. It is a trilogy composed of three stories, Eracle, l’invisibile Filottete dimenticato e Medea per strada, which can be seen individually or in succession.
In these stories Medea, Eracle and Filottete are three heroes of the contemporary world. However, they are not heroes from above, they are not descendants, they are not children of gods. On the contrary, they are heroes of the margins, of the periphery, who speak to us of their real tragedies: prostitution, the fall into poverty and abandonment. Elena Cotugno and Gianpiero Borgia have worked on this trilogy for a long time together with many people: social workers, doctors, health workers and psychologists. They have come a long way with them, until the road began to work on them. The result is a trilogy of performances in which the mythical figures of Eracle, Filottete and Medea are projected into the contemporary world and identified respectively with a separated parent, an incurably ill abandoned person and a foreign prostitute.
The trilogy is a political art action that crosses the city and accompanies spectators to places of marginalization, illuminating corners of the urban landscape through the cone of light of Myth.
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23 + 24 + 28 + 30 September + 1 + 2 October h. 16.45
ERACLE, L’INVISIBILE by Euripide
A disturbing parallelism between the classical hero, Heracles, divine in his proverbial strength, and a marginalised figure in contemporary society, the homeless. Christian Di Domenico plays the role of a separated parent and brings to the stage the economic, social and psychological hardships that have dragged him into the darkest despair. An immersive performance that, starting from myth and Euripides’ tragedy, comes straight to our days.
Duration 65 mins.
With Christian Di Domenico; Words by Fabrizio Sinisi; Project and direction Gianpiero Alighiero Borgia; Sociological advice Domenico Bizzarro; Production Teatro Dei Borgia; In co-production with Centro Teatrale Bresciano and Teatro Stabile del Friuli Venezia Giulia
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23 + 24 + 28 + 30 September + 1 + 2 October h. 18.15
FILOTTETE DIMENTICATO by Sofocle
In Sofocle’ tragedy, Ulisse returns after ten years to look for Filottete, left alone on the island of Lemnos after seriously injuring his leg. For the Teatro dei Borgia, the contemporary PhiloFilottetectetes we have to deal with is a sick person suffering from a neurodegenerative disease and left alone in a nursing home. Daniele Nuccetelli gives body and voice to the feelings of someone who, in a situation of great suffering, is left to his own devices, staging a delicate and complex theme that touches on the family realities of today.
Duration 60 mins.
With Daniele Nuccetelli; Words by Fabrizio Sinisi; Project and direction Gianpiero Alighiero Borgia; Clinical advice Laura Bonanni; Production Teatro Dei Borgia; In co-production with Centro Teatrale Bresciano and Teatro Stabile del Friuli Venezia Giulia
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20 + 21 + 27 + 28 September h. 19.30
23 + 24 + 30 September + 1 + 2 October in the Trilogy of Myths* formula
MEDEA PER STRADA by Euripide
This is the tragedy of the foreigner, reinterpreted through the strength of the myth of Medea interpreted by Elena Cotugno. The performance tells the story of a woman who escaped from her own country, arrived in Italy and ended up as a prostitute for the love of a man with whom she has two children. As with Medea, hope, love and faith in a better destiny are extinguished in an obsessive despair that culminates in a tragic epilogue.
Duration 70 mins.
With Elena Cotugno; Words by Fabrizio Sinisi and Elena Cotugno; Project and direction Gianpiero Alighiero Borgia; Production Teatro Dei Borgia; In co-production with Centro Teatrale Bresciano and Teatro Stabile del Friuli Venezia Giulia
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23 + 24 + 30 September + 1 + 2 October h. 15.15 and h. 16.45
TRILOGIA DEI MITI (Medea per strada + Eracle, l’invisibile + Filottete dimenticato)
On these dates the performances can be enjoyed in succession in the Trilogy formula.
The route, lasting a total of 3 hours and 30 minutes, is reserved for 7 spectators only.
To take part, reservations must be made at biglietti@zonak.it
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In order to participate in the CITTÀ DEI MITI, membership of ZONA K is compulsory. The request must be sent online simultaneously with the purchase of tickets. The membership card will be issued free of charge c/o Olinda onlus on the evening of the performance together with the tickets purchased.
The performances can be seen individually or in the Trilogy formula.
WHEN
Medea per strada
20 + 21 + 27 + 28 September h. 19.30
23 + 24 + 30 September + 1 + 2 October in the Trilogy of Myths* formula
23 + 24 + 28 + 30 September + 1 + 2 October h. 16.45
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Filottete dimenticato
23 + 24 + 28 + 30 September + 1 + 2 October h. 18.15
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*Triology of Myths (Medea per strada + Eracle, l’invisibile + Filottete dimenticato)
23 + 24 + 30 September + 1 + 2 October h. 15.15 and h. 16.45
Duration 3 hours 30 min. For 7 spectators only.
WHERE
c/o Olinda onlus, ex. Osp. Paolo Pini, via Ippocrate 47 Milano – M3 Affori FN
ONLINE TICKET OFFICE
Single show: full price ticket € 10,00 + € 1,00 pre-sale
Eracle, l’invisibile + Filottete dimenticato: € 7.50 + € 0.50 pre-sale, for each performance on the same evening
COMPULSORY BOOKING ON biglietti@zonak.it
Trilogy: € 24.00 to be paid in advance by bank transfer
IMPORTANT
Please arrive at Olinda onlus at least 15 min. before the performance to collect your tickets.
Punctuality is required. Access is not guaranteed once the performance has started.
Teatro dei Borgia is a theatre company founded by Gianpiero Alighiero Borgia and Elena Cotugno based in Barletta. Gianpiero Borgia is director, theatre actor and co-director of Teatro dei Borgia. Over the years, in addition to having signed numerous shows, he has worked as an acting coach and created and directed numerous workshops and cultural projects. Elena Cotugno is an actress, theatre author and co-director of the company. Her training is defined as nomadic and international: in 2007 she attended a course at the London Academy of Music and Dramatic Art (L.A.M.D.A.). Since then he has continued his training, researching with the masters Jurij Alschitz and Anatolij Vasil’ev and also beginning his first collaborations with Gianpiero Borgia. He is twice, in 2017 and 2019, a finalist for the Ubu Prize. In 2021 he received the Le Maschere del Teatro Award as best emerging actor/actress.
Mats Staub (CH)
A ZONA K/Mittelfest2022 production
Mats Staub’s artistic projects take us on a journey to the four corners of the world, inviting us to take time to listen and watch. Without resorting to facile spectacle, Mats Staub has over the years developed an exceptionally coherent poetry that gives us portraits of intense humanity. With refined delicacy and meticulous formal rigour, his works explore our most intimate and personal dimension, confronting us with the multilayered complexity of our time.
Which deaths and which births have influenced and changed my life so far? Who have I welcomed, who have I lost and said farewell to – and what has happened to me in the process?
The latest long-term project by Mats Staub asks about existential experiences. It approaches universal themes through individual experiences and in relation to local contexts. In every place it is presented it brings people together to talk to each other about their experiences of death and birth.
Death and Birth in My Life by Mats Staub is being made for the first time in Italy with the co-production of ZONA K and Mittelfest. The Italian version began with research work in Milan and Lombardia, and at the same time in Friuli Venezia Giulia: through the involvement of associations, specific categories of workers, and through more or less close contacts, about 30 people of different ages were identified who were willing to tell their personal stories. The aim of the research was to identify five possible pairs of interviewees who could discuss these issues by exchanging experiences, memories and considerations: people who did not know each other and who could meet for the first time on this occasion. This meeting gave rise to a free conversation, based on simple guidelines provided by the director: Gaia and Guido, Ambra and Fabrizio, Giovanna and Jana, Elisabetta and Elena, Massimo and Diego talked for a couple of hours, filmed by a video camera but in a situation made intimate by the lights and the two chairs placed opposite each other.
An immersive experience in which you will have the impression of being with them: a small group of strangers who meet to listen to stories, in a suspended time where you can allow yourself to reflect on death and birth.
From 23 to 31 July 2022, the video installation will be presented at Mittelfest2022.
info video installation for 20 viewers
Sunday and Monday off ● in Italian and original language with subtitles ● duration 120 min. with a break
c/o ZONA K – entry with 2022 membership
Idea, Concept, Direction: Mats Staub; With Sharon & Hlengiwe, Ahmed & Basso, Erika & Charlotte, Avril & Eric, Giovanna & Jana, Fabrizio & Ambra, Elena & Elisabetta, Massimo & Diego; Camera: Benno Seidel, Matthias Stickel; Scenography: Monika Schori; Dramaturgical Associate: Simone von Büren, Elisabeth Schack; Collaboration Milan: Cinzia Schincariol; Research: Tim Harrison (Manchester), Maia Marie (Magaliesburg), Patrick Mudekereza (Lubumbashi), Dada Kahindo (Kinshasa), Marcus Rehberger (Basel), Nele Beinborn (Frankfurt), Wolfram Sander (Hannover), Leo Saftic (Perg), Celya Larré (Paris), Justin Murphy (Dublin), Federica Di Rosa (Milan); Technical Direction: Hanno Sons, Stefan Göbel; Postproduction: Benno Seidel; Translation, Subtitles: Simona Weber, Cinzia Schincariol, Matthias Stickel, Benno Seidel; Interpreter for Milan: Laura Canonica; Production Management: Barbara Simsa, Elisabeth Schack; Production: zwischen_produktionen; Co-production: Kaserne Basel, SICK! Festival Manchester, Künstlerhaus Mousonturm Frankfurt, Festival Theaterformen Hannover, Festival der Regionen, Spielart Festival Munich, Centre culturel suisse Paris, Migros-Kulturprozent, Dublin Theatre Festival, zona_k Milan, Mittelfest2022; Funding: Fachausschuss Tanz und Theater BS/BL, Pro Helvetia Swiss Arts Council, Christoph Merian Stiftung, Ernst Göhner Stiftung, con il sostegno di Fondazione Cariplo
Azione performativa inserita in “IntercettAzioni” – Centro di Residenza Artistica della Lombardia: un progetto di Circuito CLAPS e ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire, con il contributo di Regione Lombardia, MiBACT e Fondazione Cariplo.
Mats Staub (1972) was born and educated in Switzerland but now lives and works in Berlin. He studied theatre, journalism and religious studies in Bern, Fribourg and Berlin. He worked as a journalist for various publications (1996-2001) and as a dramaturgical consultant at the Neumarkt Theater in Zurich (2002-2004). Since 2004 he has been developing his own artistic projects that combine the codes of theatre and art, literature and science. The ever-expanding audio installation My Grandparents | Memory Bureau (2008) was presented among others at the Wiener Festwochen in Vienna (2009) and the Historisches Museum in Frankfurt (2012). The video installation 21 – Memories of Growing Up also grows as it travels from city to city and is continuously presented in new forms, for example at the Künstlerhaus Mousonturm in Frankfurt (2012), the Museum of Communication in Bern (2013), the Wiener Festwochen in Vienna (2015), the Adelaide Festival (2018) and the Edinburgh Festival Fringe (2019). In 2020 he is honoured with the Swiss Theatre Award.
photo ©Tanja Dorendorf / T+T Fotografie
Elisabetta Consonni (IT)
“The first man who, having fenced in a piece of land, thought to say ‘this is mine’ and found people stupid enough to believe him, was the true founder of civil society. How many crimes, how many wars, how many murders, how much misery and error would mankind have been spared if, tearing out the pegs or filling in the ditch, he had shouted to his fellows: ‘Beware of listening to this impostor! If you forget that the fruits belong to everyone and the earth belongs to no one, you are lost!'” (J.J. Rousseau , Origin of Inequality, 1754)
Ti voglio un bene pubblico is an urban game that reflects on dividing infrastructures such as gates, walls, fences. So much of what surrounds us is made up of walls and fences; understanding their meaning, from time to time, is a necessary civic practice. It is significant to note that the article of the civil code that regulates the construction of fences on land to define private property is called ‘ius escludendi alios’: to determine one’s own by excluding the other. When does a wall stop protecting and start dividing, segregating and excluding? And when a public space is fenced off and access to it is restricted, how much of that public space remains? When a wall is put up, how much of what is behind it can we not know?
In collaboration with Farout_Festival
urban performance ● in Italian ● duration 120 min. ● in the event of heavy rain the event will be cancelled
c/o Barona district Polisportiva Le Lumache A.D.S. Via Bari, 20/1, 20143 Milano MI
A project by Elisabetta Consonni for BASE Milano in collaboration with and ZONA K.
Concept and direction: Elisabetta Consonni, in collaboration with Sara Catellani, sociological consultancy: Adriano Cancellieri, artistic consultancy: Cristina Pancini, organisation: Chiara Panceri.
Co-production: BASE Milano, Fattoria Vittadini and ZONA K
Project winner OPEN /// CONTEMPORARY [URBAN] CREATION 2019. It has been produced and realized by: Pergine Festival 2019 // Gorizia, In/visible Cities 2019// Terni, Indisciplinarte, 2019 // Milan, Zona K, 2019 // Padua, La Città che Verrà 2020 // 2020 PIA| Palazzina Indiano Arte-Florence: Exhibition. TVUBP- Esposizione Attraversabile di Materiali // Quartiere Celadina- Bergamo. Orlando Festival 2021 // Modena, Villaggio artigiano, Periferico Festival 2021.
Elisabetta Consonni received a writing grant from IN SITU, the European platform for artistic creation in public space, in the framework of the (UN)COMMON SPACES project, co-funded by the Creative Europe programme of the European Union.
Elisabetta Consonni choreographs everything, human and inhuman beings, mobile and immobile objects, maps, interstices and spatial holiday groups. She weaves networks of relationships, subtle and strong, like sugar glass.Graduated in Communication with a final thesis on the social construction of the body in dance and graduated from The Place-London, Elisabetta Consonni then deepened her research in performing art living in Holland (2004-2009) and Poland (2013-2015). Her works aim to expand the practice of choreography by looking for performative devices to incorporate social dynamics and issues. Her activism in the social and civic sphere, takes the artistic form of a research process (documented in ergonomicaproject.wordpress.com) that since 2013 investigates the use and social meaning of public space and the declination of choreographic skills in community practices.
Photo by Samantha Cinquini
Gob Squad (GB/DE)
“Who controls the past controls the future. Who controls the present controls the past.”
George Orwell: “Nineteen Eighty-Four”
Gob Squad travel back to 1984, back to the good old analogue days when life was simple and there were only three channels on TV. It’s a perilous journey: they might get lost in music, lost in nostalgia or both. But once they arrive, they discover their younger selves: caught up in the Cold War, fearful of nuclear catastrophe, trying to shape who they might become.
As they sift through the fragments of their teenage bedrooms, they reconstruct their own personal past, and the music drags them into a psychedelic virtual world of disembodied avatars. Under surveillance and under pressure, they fight, dance, build a nuclear shelter and try to dismantle what may have been written into their programming codes. Were these teenagers in control of their bodies, their fate and their ability to change things? Or were they following ready-made templates, part of a larger plan? Can they re-programme their own story, and influence the currents of history? Or at least see it through different eyes? As Gob Squad warp time and go back to a past which saw ‘No Future’, are they able to shed light on the present, and gain a perspective on what lies ahead?
The new production follows in the tradition of other works by Gob Squad, which reimagine and recast YouTube videos, Hollywood films and Andy Warhol art movies. The project brings to a head the company’s ongoing examination of the mechanisms of power inherent in our image-saturated world and the relationship of personal experience to political reality. In Gob Squad’s work, everyday life and magic, banality and utopia, reality and entertainment are all set on a collision course. The audience is invited into a world of light and shadow to bear witness to an experiment in performative science-fiction and imaginary time-travel. Nothing less than the future itself is at stake…
info in English and Italian – duration 90 min.
c/o Teatro Out Off, via Mac Mahon 16
Concept and Direction Gob Squad; Performance Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Bastian Trost, Simon Will, Damian Rebgetz and Tatiana Saphir; Sound Design
Sebastian Bark, Catalina Fernandez; Sound Mix Isabel Gonzalez Toro; Video Design Miles Chalcraft, Noam Gorbat; Costume Design Ingken Benesch; Set Design Amina Nouns; Lighting Design and Technical Management
Chris Umney, Max Wegner; Dramaturgy and Production Management Christina Runge; VR Consultancy, Development and Design Joris Weijdom; Artistic Collaboration Mat Hand; Directing Assistant Valeria Germain; Costume Assistant Simon Kernen; Set Design Assistant Stella Nikisch; VR Assistant Diede Tap; Directing Intern Rodrigo Zorzanelli Cavalcanti; Gob Squad Management Eva Hartmann; PR/Communications Alexandra Lauck; UK Producer Ayla Suveren.
A production by Gob Squad. In co-production with HAU Hebbel am Ufer Berlin, The Public Theater NY (USA), Schauspiel Leipzig, Anuja Ghosalkar / Drama Queen & Goethe-Institut/Max Mueller Bhavan Mumbai (India), HELLERAU – European Center for the Arts Dresden, Sort / Hvid Copenhagen and Teater Momentum Odense (Denmark).
GOB SQUAD is a bisexual, binational and bilingual (English/German) art collective. They have been devising, directing and performing together since 1994, working where theatre meets art, media and real life. Gob Squad have been looking for new ways to combine media and performance, producing theatre, video installations, radio plays, interactive live films and urban interventions.
Founded in Nottingham in 1994, while its members were still at Nottingham Trent and Giessen Universities, Berlin has been the group’s creative home since 1999. The main members are Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Bastian Trost and Simon Will. Other artists are invited to collaborate on particular projects. The group is managed by Eva Hartmann.
under the patronage of
with the contribution of
Gob Squad (DE/GB)
This is a workshop aimed at anyone who wants to present themselves on stage:
performers, actors, dancers and also visual artists or writers
who have an interest to be on stage but have not yet tried
A few years before Gob Squad was founded, almost 30 years ago, one of the performers auditioned for a place at drama school. During an audition they said to her:
“Have you ever actually been in a theatre? Because what you are doing here has nothing to do with acting – you’re just playing yourself!”. She didn’t get the place, and went on to found the company with other like-minded non-actors. In Gob Squad’s work, everyone always plays themselves. Roles are sometimes tried on or tried out briefly, but like a child in an ill-fitting mask, the real person is always visible behind it, with their hopes, desires and insecurities.
In this workshop, two members of the collective will share some methods for putting themselves into their work, blending the personal, political and performative. The session will explore Gob Squad’s approach to text, improvisation and game-play.
The workshop will take place
– at Teatro Out Off (via Mac Mahon 16 – Milan)
– in English language
– if reached the minimum number of participants
Cost € 60,00. Registration deadline 14 March 2022.
To apply fill in the form click HERE
GOB SQUAD is a bisexual, binational and bilingual (English/German) art collective. They have been devising, directing and performing together since 1994, working where theatre meets art, media and real life. Gob Squad have been looking for new ways to combine media and performance, producing theatre, video installations, radio plays, interactive live films and urban interventions.
Founded in Nottingham in 1994, while its members were still at Nottingham Trent and Giessen Universities, Berlin has been the group’s creative home since 1999. The main members are Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Bastian Trost and Simon Will. Other artists are invited to collaborate on particular projects. The group is managed by Eva Hartmann.
pic. Garrett Davis / Capture Imaging
Bozkurt, Campara, Oglialoro, Tabilio, Venturi con Rimini Protokoll
Due to the Covid19 emergency, replays are suspended from 28 October 2020.
A project by ZONA K and Casa degli Artisti
The pandemic emergency led to a division of the social components into systemically relevant and not relevant. For many it was also a psychological polarization: between what is essential and what is superfluous. The artistic professions are not among those socially necessary.
Should we think of a world in which art will no longer play a role? Can we imagine a reality that cancels the existence of art and of those who work there? What relationship can art have with each of us in this state of crisis? Is something that has long since gotten stale about to end? Can such a profound crisis be an opportunity?
FASE NOVE || Assolo Urbano invites us to ask ourselves these questions in the context of the city. Nine important places for art in Milan – some iconic, others unusual – become the stage for nine audio installations which, through interviews with various experts, are confronted with a provocative question: why does art exist and not nothing?
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opening hours: Wednesday to Friday from h. 13.30 to 16.30 every 10 minutes, Saturday from h. 10.00 to 13.00 every 10 minutes
departure Casa degli Artisti, Corso Garibaldi, 89/A – via Tommaso da Cazzaniga -M2 Moscova-.
Info: urban walk for 1 person – in Italian – closed on Monday
Tickets can be picked up on the day of the walk 15 minutes before the start at Casa degli Artisti, Corso Garibaldi, 89/A – via Tommaso da Cazzaniga -M2 Moscova-.
BASIC INFORMATION FOR PARTICIPATING
A document will be requested as a deposit for the use of the navigator.
As this is a route with mandatory stops, the departure time cannot be postponed. The walk takes about 120 minutes and will be covered on foot. The place of arrival is close to the place of departure. It is recommended to wear comfortable and waterproof shoes in case of light rain; in case of heavy rain the event will be canceled.
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** Performative action included in “IntercettAzioni” – Artistic Residence Center of Lombardy: a project by Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire, with the contribution of the Lombardy Region, MiBACT and Fondazione Cariplo. **
Artists Ekin Bozkurt, Chiara Campara, Giulia Oglialoro, Riccardo Tabilio and Francesco Venturi Artistic supervision Aljoscha Begrich and Jörg Karrenbauer (Rimini Protokoll) Project management Valentina Kastlunger (ZONA K) Audio coordination and mixing William Geroli Multimedia implementation Stripes Digitus Lab In collaboration with Eataly Smeraldo, Goethe-Institut Milano, Fondazione Giangiacomo Feltrinelli, Giardini in Transito – Giardino Comunitario Lea Garofalo, Anteo Palazzo del Cinema, Piccolo Teatro di Milano Main partner Casa degli Artisti BNP Paribas Thanks to Feltrinelli bookshop in viale Pasubio, Il Barettino in via Solferino, Armonium Galvan Photo Luca Del Pia WithGiuliana Bonifati, Christian Gangitano, Laura Pugno, David Bidussa, Marta Alessandri, Mauro Ferraresi, Silvia Vizzardelli, Wu Ming 2, Palma Rivetti (Mina), Roberta Carpani
BIO
Ekin Bozkurt (sound designer), Chiara Campara (filmmaker), Giulia Oglialoro (author, journalist), Riccardo Tabilio (author and dramaturg) and Francesco Venturi (composer) are the artists that the second open call of Casa degli Artisti on the theme “Work” Selected in March 2020 for the artistic project shared with the German collective Rimini Protokoll.
The work, coordinated and followed by Jörg Karrenbauer and Aljoscha Begrich of Rimini Protokoll in the role of mentors, was completely rethought during the months of lockdown. The theme of work remained central, but he decided to focus in particular on work in the world of culture and art, a theme made even more urgent by the crisis caused by the pandemic. It was decided to work precisely on contingency, considering it an opportunity, investigating the changing perception of spaces and cultural operators.
Rimini Protokoll was founded in 2000 by Stefan Kaegi, Helgard Haug and Daniel Wetzel and over the years has collaborated with various constellations of artists. The goal is to expand the means of the theater in order to create new perspectives on reality. Rimini Protokoll avails itself of the collaboration of experts, whose knowledge and skills go beyond the theater, to produce shows, radio productions and urban interventions that often translate urban spaces and social structures into theatrical formats.
Generazione gLocale al Municipio9
Uno spazio pubblico, un gruppo di persone,
una voce in cuffia che pone domande, istruzioni, suggerimenti.
Chi sono oggi le tribù globali e locali delle città? Dove sono ora mentre tu sei qui?
Pubblico e Attori si muovono nello spazio.
Una squadra è il riflesso dell’altra. Uno specchio, uno scontro, una differenza.
Una battaglia d’identità. Una lotta di classe generazionale.
Azioni senza parole, gesti e movimenti. Una linea che divide.
Ora tocca a te, che fai?
Generazione gLocale è una performance urbana e partecipata, specchio della società globale di oggi.
In quale contesto viviamo? Siamo a Milano, a Toronto o a Manila? Ci riconosciamo e differenziamo per la provenienza o per come abitiamo le città? Come si difende la propria appartenenza locale in un mondo senza confini?
Pubblico e Attori si guardano, si muovono nello spazio, seguono le istruzioni di una voce in cuffia.
80 persone che avanzano e indietreggiano fino a mescolarsi o ad allontanarsi sempre più.
E’ una questione generazionale?
Produzione artistica di ZONA K, Generazione gLocale pone interrogativi sull’identità delle società di oggi nel tentativo di svelare falsificazioni, mistificazioni, paure, ideologie insite in ognuno di noi.
Una visione gLocale che si appropria del termine introdotto dal sociologo Bauman per indicare i fenomeni derivanti dall’impatto della globalizzazione sulle realtà locali e viceversa e che racconta il dialogo tra piccole comunità e sistemi via via sempre più complessi.
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c/o palestra istituto comprensivo “Sandro Pertini” via Thomas Mann 8 – Milano
Info: performance teatrale urbana e interattiva • durata 40 min. ca • in cuffia
Ingresso gratuito con prenotazione obbligatoria: 02.97378443 / 393.8767162
biglietti@zonak.it
Per partecipare è necessario essere in possesso di Green Pass nominativo in formato digitale e/o cartaceo (decreto legge 23/07/21 n. 105)
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progetto ZONA K regia Andrea Ciommiento workshop realizzato in collaborazione con Federica Di Rosa e Davide Stecconi creazione collettiva Anna, Angela, Kirollos, Marco, Martina, Nicole, Riccardo con Anna, Angela, Kirollos, Marco, Martina, Nicole, Riccardo coordinamento Coop. Diapason contributo Municipio 9 del Comune di Milano
Falk Richter
patria – che cos’è per te?
dov’è che ti senti a casa?
cosa c’è di particolare nel posto dove sei cresciuto?
che cosa lo caratterizza?
cos’è lì che ti metteva a disagio?
puoi descrivermi questo posto?
[…] se torni oggi nel posto dove sei diventato grande, ti ci senti ancora al sicuro?
la tua relazione per te è una casa?
[….] la patria è davvero collegata a un posto, è un sentimento, un ricordo, un odore, un sapore, un rumore, un’immagine, una serie di avvenimenti, una vaga sensazione che tutto sia alla tua portata, che non ci sia niente che ti confonde, che stai tenendo ogni cosa sotto controllo, che hai tutto a vista, che NON HAI PAURA?
che cos’è personalmente per te: la patria? qualcosa che un tempo avevi e ora si è rotto? è qualcosa che vai cercando? è un concetto a cui possiamo rinunciare?
che cos’è: la tua patria? […]
[Dall’incipit sul concetto di “patria” del testo di Falk Richter]
Paura del diverso, paura dello straniero, paura di scomparire, paura di venire rimpiazzati. La paura dilaga in Germania già da qualche tempo, in particolare da quando i flussi migratori verso l’Europa si sono nettamente intensificati. Durante le manifestazioni dei partiti Pegida e AfD (Alternative für Deutschland) si urlano slogan razzisti. La paura dello straniero si mischia alla paura del diverso in toto, gli slogan xenofobi si alternano a slogan omofobi.
Con Fear Richter si propone di ritrarre una paura che fuori controllo si tramuta in odio, xenofobia e sciovinismo. Bersaglio delle critiche mosse da Richter sono innanzitutto due donne della scena politica tedesca attuale, Beatrix von Storch e Hedwig von Beverfoerde, rispettivamente vicepresidentessa di AfD e organizzatrice della manifestazione cattolica Demo für alle.
La messa in scena (2016) è valsa a Richter una serie denunce da parte delle due politiche in questione per lesione dei diritti personali, oltre a proteste e minacce nei confronti del teatro Schaubühne. Il tribunale ha tuttavia dato ragione a Richter, respingendo le denunce: Fear continuerà ad andare in scena nella versione originale.
Al termine della rappresentazione Falk Richter, in collegamento diretto da Berlino, converserà con il regista e con il pubblico. L’intero evento verrà trasmesso contemporaneamente anche in diretta streaming sulle pagine FB di Goethe Institut di Milano e Zona K.
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c/o ZONA K
Info: lettura scenica + incontro con l’autore • durata 120 min. ca • in lingua italiana e tedesca con traduzione simultanea
Tessera associativa 2021 obbligatoria, RICHIEDI SUBITO
Ingresso libero su prenotazione 02 77691733 / progr-mailand@goethe.de
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Falk Richter, nato ad Amburgo nel 1969, è uno dei più importanti autori e registi contemporanei. Dal 1994 lavora per molti famosi teatri nazionali e internazionali, tra cui il Deutsches Schauspielhaus di Amburgo, il Schauspielhaus di Zurigo, il Schauspiel di Francoforte, la Schaubühne e il teatro Maxim Gorki di Berlino, l’Opera di Amburgo, l’Opera Nazionale di Oslo, il Toneelgroep di Amsterdam, il Teatro Nazionale di Bruxelles, il festival musicale Ruhrtriennale, il festival di Salisburgo e il festival di Avignone.
Tra i suoi testi più noti, ricordiamo Dieu est un DJ, Electronic City, Sous la glace e Trust. Le sue opere teatrali, specchio di una scottante attualità, sono tradotte in più di trenta lingue e messe in scena in tutto il mondo. Negli ultimi anni ha sviluppato un numero sempre crescente di progetti indipendenti, basati sulle sue stesse opere, in collaborazione con una compagnia di attori, musicisti e ballerini. Con la coreografa Anouk van Dijk, ha dato vita a una serie di progetti che mescolano la danza al teatro e che fondano una nuova estetica, collegando in modo originale testo, musica e danza. Nel 2013 ha vinto il premio Friedrich-Luft per il suo spettacolo For the disconnected child. Complexity of Belonging con la compagnia ChunkyMove/Melbourne Theater Company al Melbourne Theatre Festival in Australia; Never forever in collaborazione con il coreografo Nir de Volff alla Schaubühne di Berlino e presentato nel 2015 alla Biennale di Venezia. Zwei uhr nachts è progettato nello Schauspiel di Francoforte. Falk Richter insegna regia in qualità di professore ospite nella scuola di arte drammatica Ernst Busch di Berlino. Falk Richter è anche uno dei fondatori del movimento civile contro le destre: Wir sind viele – jede*r einzelne von uns / We are many * every single one of us.
Salvino Raco, Regista-Drammaturgo
Dopo un periodo di formazione alla Scuola del Piccolo Teatro di Milano diventa assistente alla regia/stagista al Piccolo Teatro di Milano con Carlo Battistoni e Giorgio Strehler e al Teatro dell’Odéon di Parigi, Teatro d’Europa con Lluis Pasqual. Ha alternato la sua attività di regista e di attore con Bob Wilson, studiando all’Università Sorbonne di Parigi, dove ha conseguito una laurea in Studi teatrali, e una Laurea all’Università di Nanterre a Paris10 in Regia e drammaturgia. Inizia la sua ricerca di regista con la performance “Da Auschwitz a Sarajevo” presentata in varie città d’Italia e a Parigi. I suoi spettacoli sono stati presentati in Italia alla Biennale di Venezia, Fabbrica Europa (Firenze), Festival Contemporanea Teatro Metastasio (Prato), Festival Da vicino nessuno è normale di Olinda (Milano), Ansaldo Milano, Triennale di Milano, Festival di Asti, Festival di Radicondoli, XXII International Exhibition Triennale di Milano, Piccolo Teatro di Milano, (Festival Tramedautore). A Parigi ha collaborato a un workshop con Giulia Lazzarini all’Arta Cartoucherie di Parigi. Nel giugno del 2019 ha presentato al Teatro La MaMa ETC di New York la performance “GG” per i cinquant’anni delle celebrazioni di Stonewall.
DI_segno nero: il Goethe-Institut Mailand in collaborazione con Fondazione Giangiacomo Feltrinelli, ha dato inizio a un confronto in tre tappe (da aprile 2021) con esperti, giornalisti, ricercatori, giuristi, attivisti e attori della società civile italiani e tedeschi, sull’estremismo di destra e il terrorismo neonazista. “Di_segno nero” è una delle iniziative del progetto internazionale del Goethe-Institut “Uncivil Society – Società incivile“. Sullo sfondo del manifestarsi in tutta Europa di populismi, discorsi di odio e razzismo, e in molti paesi anche di violenza e terrore di destra, i Goethe-Institut di Bruxelles, Budapest, Milano e Oslo hanno lanciato per il 2021 il progetto “Uncivil society”, per trovare risposte europee a un tema che spesso viene trattato solo in contesto nazionale.
Un evento di in collaborazione con
Muna Mussie (IT)
If I close my eyes and try to define my image, what do I see?
A blind mirror, a lack.
No one is master of their own image because it implies a co-relation.
What is immediate – my body, my image – is distant from me.
With Curva Cieca Muna Mussie represents this lack together with Filmon Yemane, a boy blind since the age of twelve. The fulcrum of the performance is the discovery of Muna’s mother tongue, in a dialogue between the word, sign, form and meaning. On stage, Filmon’s voice gives lessons in the Tigrigna language with the help of images from an alphabet book. The performer’s body will attempt to move within the sinuosity of this alphabet in a sort of dynamic mimesis, trying to cross the sign and incorporate it to extract another meaning.
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Info: performance – duration 40 min. – in Italian with English subtitles
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with Muna Mussie and words by Filmon Yemane video editing Lino Greco production Short Theatre, ZONA K, Santarcangelo Festival, Spazio Kor, City of Ebla with the support of Xing with the support of Fondazione Nuovi Mecenati and Teatro di Roma – Teatro Nazionale
**Performance included in “IntercettAzioni” – Centro di Residenza Artistica della Lombardia: a project by Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire, with the contribution of Regione Lombardia, MiBACT and Fondazione Cariplo.
BIO
Muna Mussie (Eritrea 1978) began her artistic career in 1998, training and working as an actress-performer with Teatrino Clandestino until 2001. In 2002 she attends the European Course of high formation for the actor, conducted by Cesare Ronconi of Teatro Valdoca and continues the collaboration as actress until 2010. From 2001 to 2005 she was a founding member of the research collective Open, where, following the performance “opentolikemunamussie” (2005), she began to develop a desire to investigate stage modes. Muna Mussie’s work, between gesture, vision and words, investigates the languages of the stage and the performing arts to give form to the tension that arises between different expressive poles. Her productions include: Più che piccola, media (2007), Con Permesso (2008), site-specific project Galata Perform Istanbul, Ti ho sognato, ma non eri il protagonista (2010). Together with Flavio Favelli she is the author of the FFMM clothing collection (2007-2009). Among her international projects: Monkey See, Monkey Do (Chapter I-II, 2011-2012); followed by the installation and performance Milite Ignoto (2015) and the performance Oasi (2018), which investigate ghostly apparitions and minor history. Among her object-based interventions, the project Punteggiatura (2018) based on the practice of sewing, which sees language as a political-affective space, is noteworthy. Curva (2019), Curva Cieca (2021), Bologna St.173 (2021), Bientôt l’été (2021), Oblio (2021).
Her work has been presented at Art Fall/PAC Ferrara, Xing Raum and Live Arts Week Bologna, Fondazione Sandretto Re Rebaudengo Torino, Museo Marino Marini Firenze, Workspace Brussels, MAMbo Bologna, Màntica Cesena, proprio dello stare in Santarcangelo Festival, Viafarini Milano, Ipercorpo Festival, Museion Bolzano, Festival Pergine Spettacolo, Sale Docks Venezia, ERT Bologna, Biennale Atlas of Transitions, Vie Festival Modena, Artcity Bologna, Manifesta 2020 Marsiglia, Archive Books Milano, SAVVY Contemporary, Short Theatre.
Filmon Yemane has been living in Bologna since 2008 and holds a degree in International and Diplomatic Sciences. He also took part in several cultural activities and artistic projects, such as a docu-film with the ZimmerFrei collective within the project Atlas of Transitions.
Corps Citoyen (IT/TN)
An audition.
An actor alone in a western scene.
Rehearsing, singing, training.
Rehearsing for the role of the hero.
But the role is not written for him.
The Others لخرین is an acid dialogue, a light and ironic work on the perception of the Other than us that moves in a hybrid territory: banal, vulgar and direct images and songs alternate with stories rooted deep in our western mentality and identity.
In a subtle balance between fiction and reality, it exposes the power device underlying the Orientalist representation of the Other, starting from the representation par excellence, stage fiction. An off-screen voice comments, gives instructions, reminds of limits and modalities. The audience is an integral part of the game. Crossing different genres, from cinema to docu-fiction, from classical theatre to advertising, Corps Citoyen reveals colonial paternalism hidden in disguise while reaffirming the right to its presence on stage of a different possible narration.
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Info: performance – duration 45 min. – in Italian and Tunisian language
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With Rabii Brahim, Marko Bukaqeja, Anja Dimitrijevic Voice-off Marko Bukaqeja, Carmelo Crusafulli, Anja Dimitrijevic, Giacomo Martini, Anna Serlenga, Chiara Stoppa, Ilaria Zanotti Performers on video Wassim Ghrioui, Alesa Herero, Nidhal S’hili, Nour Zrafi Scenic space Manuel D’Onofrio and Paola Villani Lights and video Manuel D’Onofrio Dramaturgy Bruna Bonanno Costumes Salah Barka Cultural advisor Viviana Gravano Organisation and promotion Vittoria Lombardi / cultureandprojects Set photos Luca Centola, Matteo Ceschi, Federico Garibaldi Direction Anna Serlenga With the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia, mare culturale urbano/ Qui e Ora residenza teatrale / COX 18 Crowdfounders Roberta Bruzzechesse, Ferdinando Brunetti, Giada Cipollone, Aurora Diotti, Chiara Giubilaro, Erica Grossi, Virginia Martinez Ojosnegros, Anna Kasten, Marta Paoletti, Letizia Paoletti, Carla Tulipano
**Performance included in “IntercettAzioni” – Centro di Residenza Artistica della Lombardia: a project by Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire, with the contribution of Regione Lombardia, MiBACT and Fondazione Cariplo**.
BIO
Corps Citoyen is a multidisciplinary artistic collective based in Tunis and Milan. The collective’s practice is composed of different disciplinary tools (dance, theatre, poetry, video, animation, writing and anthropological research) to create new contemporary narratives. The aim of the group is to strengthen the values of citizenship through artistic practice, training, research and the active participation of civil society in order to promote political and social change. Corps Citoyen because the main objective of the group is to activate social reflection through the expressive potential of art and the body in particular, the territory of a biopolitical battle and space for creative resistance.
Marilyne Grimmer (FR)
Marilyne Grimmer is a French photographer and visual artist living in Brussels (Belgium).
Saluti da… (Greetings from…) is a participatory photographic project that investigates the relationship of each and every one of us with the here and the elsewhere.
Grimmer met with the inhabitants of Pergine Valsugana, Milan, Modena, Gradisca and Campsirago (Lecco), immortalising them in public space and teleporting them to memories of the past or places of dreams through photo montage.
The result is an exhibition of images that can be admired in the foyer of ZONA K and a series of surreal postcards to collect.
Tiziana Freti, Maria Luisa Galelli, Melitta Manca and the legendary Michele Giammello were photographed for the Milan stage.
***People-specific creation for OPEN CONTEMPORARY CREATION***
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Vernissage: Wednesday, 20 October, 19.00 hrs.
Exhibition opening times: from 10.00 to 13.00 and from 15.00 to 20.00 – closed on Mondays
Admission to the exhibition is limited and free of charge, reservation is mandatory on biglietti@zonak.it
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Photo Marilyne Grimmer
BIO
Marilyne Grimmer is a French visual artist living in Brussels, Belgium. She alternates between personal projects as a photographer, participatory projects with diverse audiences, collaboration as a scenographer for theatre companies, installations and performances with the Repondeur automatik collective. The construction of mental and physical space and the issues of participation, collaboration and accessibility to all audiences have an important place in her work.
La Settimana delle
Residenze Digitali
After a year of work carried out in close contact with the project tutors, Laura Gemini, Anna Maria Monteverdi and Federica Patti, experts in digital creation, the winning artists of the 2021 Digital Residencies call Chiara Taviani, Lilliú – ØNAR – Lapis Niger, Jan Voxel, Lorenzo Montanini with Simona Di Maio and Isabel Albertini, Margherita Landi and Agnese Lanza, fuse*, Mara Oscar Cassiani, open their creative process to the audience.
Buy tickets on the Digital Residencies website no later than 3 p.m. on the day of the event
From Monday 22 to Sunday 28 November, one episode per day, 4 p.m.
Lorenzo Montanini, Simona Di Maio, Isabel Albertini
Into The Woods – la finta nonna
duration: 10 min per episode
Project for the younger generation, aged 7 and over
With a single ticket you can access all the episodes which, once published, will remain available on the following days until 28 November.
From Monday 22 to Sunday 28 November, one episode a day, at 6 p.m.
Chiara Taviani
Whatever Happens in a Screen Stays in a Screen
duration: 8 min per episode
With a single ticket you can access all the episodes which, once published, will remain available on the following days until 28 November.
Monday 22 November, 7 pm
Margherita Landi and Agnese Lanza
Dealing with Absence
duration: 20 min
The content will remain accessible until Sunday 28 November.
Wednesday 24 November, 21:00
Jan Voxel (Lorenzo Belardinelli, Cinzia Pietribiasi and Lidia Zanelli)
Olga legge i critters
extract from the project “The critters room
duration: 30 min
in collaboration with Mikroradio
Thursday 25th November, 8:30 pm
fuse*
Sàl / Rite studio 0.2
duration: 75 min
Friday 26 and Saturday 27 November, 6:30 pm
Giacomo Lilliù, Lapis Niger, ØNAR Collective, MALTE
WOE – Wastage of Events
duration: 40 min
Sunday 28 November, 18:00
Mara Oscar Cassiani
I Am Dancing in a Room _ La Fauna 2k21
duration: 45 min
Talk
Tuesday 23 November, 19:00 (free access)
“Dust and data: cosa sappiamo delle polveri sottili”
on You Tube and social channels of Jan Voxel and AMAT
Wednesday 24 November, 18:00 (free access)
“La realtà come relazione: Sàl | Studio 0.2”
on the social channels of Armunia and La Corte Ospitale
Thursday 25th November, 19:00 (free access)
“Occuparsi dell’aria: l’attivismo ambientale nell’Antropocene”
on You Tube and social channels of Jan Voxel and AMAT
Friday 26 November, 21:00 (free access)
“I am dancing in a room, La Fauna 2k21; Wi-Fi performance, memestetica e Tik Tok liveness”
on You Tube and social channels of Teatro della Tosse
The Digital Residencies project was born in 2020 from an idea of the Centro di Residenza della Toscana (Armunia, CapoTrave/Kilowatt), which since then has extended the partnership to Cooperativa Anghiari Dance Hub, Associazione Marchigiana Attività Teatrali AMAT, ATCL Associazione Teatrale dei Comuni del Lazio per Spazio Rossellini, Centro di Residenza dell’Emilia-Romagna (L’Arboreto – Teatro Dimora di Mondaino, La Corte Ospitale di Rubiera), Fondazione Luzzati Teatro della Tosse di Genova, Associazione ZONA K di Milano.
The aim is to stimulate performing arts artists to explore the digital space, as a further or different declination of their authorial research.
CHIARA TAVIANI: DIARIO DI BORDO
MARGHERITA LANDI E AGNESE LANZA: DIARIO DI BORDO
GIACOMO LILLIÙ, LAPIS NIGER, COLLETTIVO ØNAR, MALTE: DIARIO DI BORDO
FUSE*: DIARIO DI BORDO
JAN VOXEL (Lorenzo Belardinelli, Cinzia Pietribiasi e Lidia Zanelli): DIARI DI BORDO
Anna Rispoli / Martina Angelotti (IT)
Launched as a research project on sharing and mutualized practices, A Certain Value immerses itself in the radical, artistic and human experiences of four European collectives of different practices: a group of inmates in the women’s prison, families of migrants and unaccompanied minors living in an occupied building, art who share a single bank account, eco-activist children from public schools or home schooling projects, worried about the fate of the planet… All these new voices collected in Rennes, Marseille, Brussels or Budapest have given birth to a hybrid form, where real conversations are edited into a fictional dialogue between the different collectives, inviting the public to slip into the shoes of the protagonists in a interactive script.
By reading out loud the protagonists of A Certain Value, the audience will have the opportunity to hear the plurality of forms that mutual aid can take, to ask themselves key questions about sharing and possibly to borrow the point for an evening of view of this “unknown” who lives the urgency to build a radical alternative to individualistic solitude, or this other that reinvents the powerful meaning of sharing every day.
ACV was created by Anna Rispoli, an artist and activist, and Martina Angelotti, an art curator, then converted into a dramaturgical text with the help of Celine Estenne, an author and performer.
The performance lands in Milan thanks to the design relationship between ZONA K and BASE Milano.
Info: participatory performance for a maximum of 30 people – duration 90 min. – in Italian
A project by ZONE K and BASE Milan
In collaboration with and c/o BASE Milan, Via Bergognone, 34
concept and research: Anna Rispoli and Martina Angelotti with the testimonies of the inhabitants of Squat 59 St-Just, of the Common Wallet group, of the inmates of the Centre Pénitentiaire pour Femmes de Rennes, of the Italian Community of Genk, of the children of the Pirmaria School °°° and of the Mars Program Private Learning Group of Budapest writing: Anna Rispoli and Céline Estenne dramaturgy: Céline Estenne scenography Canedicoda design: Luca Coppola/AUT Design Collective producer and tour manager: Marine Thévenet executive production: CIFAS residency partners: C-TAKT Dommelhof/Genk, Lieux Publics/Marseille, Les Tombées de la Nuit/ Rennes, CIFAS/Brussels, PLACC/Budapest co-producers: Atelier 231 (FR), Festival di Terni (IT), Freedom Festival (UK), La Strada Graz (AT), Lieux publics, pôle européen et centre national de créa- tion en espace public (FR), Norfolk & Norwich Fes- tival (UK), Østfold kulturutvikling (NO), Oerol Festival (NL), Theater op de Markt (BE), UZ Arts (UK).
A pilot project of the IN SITU platform, A certain value received support for creation within the ACT project, co-financed by the Creative Europe Programme of the European Union.
Anna Rispoli: Italian artist, lives in Brussels, works on the border between artistic practice and activism, exploring through performance the triangulation between human beings – city – identity.
Martina Angelotti: curator and art critic, she works on interdisciplinary art projects, between public and participatory art, moving image and performance, in Italy and all over Europe.
Céline Estenne: actress, playwright, co-author, assistant director and performer. She is conducting a research cycle on the issue of work entitled Travail Passion, the first part of which, “We had good teeth”, is a transgenerational participatory project.
COME IN UN VIDEOGIOCO
Campus multidisciplinare in lingua tedesca per bambini dai 6 agli 11 anni
Andiamo alla ricerca della nostra isola!
Inventiamo insieme un gioco interattivo: guardiamo il mondo da un punto di vista diverso e creiamo l’isola dei nostri desideri!
Costruisci le ambientazioni con materiali e immagini, trasformati nel tuo avatar e scegli i tuoi superpoteri!
Il protagonista di questo gioco sei tu!
Libera l’immaginazione e decidi tu che strada percorrere: puoi utilizzare il video, l’arte, l’interpretazione, trovare ispirazione per realizzare le tue idee in teatro o al parco. Per raggiungere l’isola che desideri, sperimenta tutte le attività: costruzione, scrittura, regia, video, recitazione… ma attenzione: funziona solo se parli in tedesco!
In questo campus multidisciplinare puoi muoverti come in un videogioco ed esercitare il tedesco divertendoti! Ti aspettiamo!
Questo il programma della giornata tipo:
| ore 9.00 | Accoglienza |
| ore 9.30 – 10.30 | Giochiamo con il Video o l’Arte |
| ore 10.30 | Merenda all’aperto |
| ore 11.00 – 12.30 | Giochiamo con l’Arte o il Video |
| ore 12.30 – 14.00 | Pranzo al sacco all’aperto e giochi |
| ore 14.00 – 16.00 | Giochiamo con il Teatro |
| ore 16.30 | Uscita |
Il campus:
– è a numero chiuso, si attiva al raggiungimento del numero minimo di iscritti richiesto
– le iscrizioni si chiudono il giorno 23 giugno o al raggiungimento del numero massimo di iscritti previsto
– è organizzato in modo da rendere felice e piacevole l’esperienza a tutte le bambine e tutti i bambini e da rispondere alle normative nazionali in relazione all’attuale emergenza sanitaria
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Costo: € 190,00
Sconto del 10% a partire dal/la secondo/a iscritto/a
N.B. Merenda e pranzo sono al sacco
Il campus è a numero chiuso, si attiva al raggiungimento nel numero minimo di iscritti richiesto.
Le iscrizioni si chiudono il giorno 23 giugno o al raggiungimento del numero massimo di iscritti previsto.
CLICCA QUI E COMPILA SUBITO IL MODULO D’ISCRIZIONE
IMPORTANTE: IL MODULO VA COMPILATO PER OGNI ISCRITTO/A E CORREDATO DI PRESA IN CARICO DEL BONIFICO
Per informazioni più generali, contattaci all’indirizzo organizzazione@zonak.it
Videogame oder Realität? Auf der Suche nach unserer Insel
Zusammen entwickeln wir ein interaktives Spiel: wir betrachten die Welt aus einem neuen Blickwinkel und entwerfen unsere Wunschinsel!
Baue die Räumlichkeiten aus verschiedenen Materialien und Bildern, verwandle dich in deinen Avatar und wähle deine Superkräfte. Du allein bist der Protagonist dieses Spiels!
Nutze deine Fantasie und entscheide dich für einen Weg: ob Video, Kunst oder Interpretation, sammle Inspirationen in unserem Theater oder draussen im Park.
Teste alle Aktivitäten bevor du auf deine Insel gelangst: Konstruktion, Schrift, Regie, Video, Theater… aber Achtung! Es funktioniert nur auf Deutsch!
Du kannst diese Ferienfreizeit wie ein Videospiel erleben und nebenbei spielend die deutsche Sprache trainieren. Wir erwarten dich!
Die Teilnehmerzahl
– ist begrenzt, die Ferienfreizeit findet statt, wenn die erforderliche Mindestanzahl erreicht ist
– anmeldeschluss ist der 23. Juni oder bei Erreichen der maximalen Teilnehmerzahl.
– die Freizeit ist so organisiert, dass sie zum spannenden Erlebnis für Mädchen und Jungen wird, zudem entspricht sie den nationalen Vorschriften in Bezug auf den aktuellen Gesundheitsnotfall
Foto di Francesco Ungaro da Pexels
CODICEFIONDA (IT) dram. cons. Agrupación Señor Serrano (ES)
One button. A player. A screen.
Here are the new barbarians. Incomprehensible to the eyes of the adult world. Teenagers, hyper-connected and fragile, terrified and attracted by the image of themselves on “social media”, experts in “sexting”, “video-games” and “binge drinking”, owners of Smartphones as an extension of their body. But what do we know about today’s teenagers?
A narrative short circuit from the origins of the video game to the origins of the iGeneration. An immersive experience in which to meet today’s teenagers through the use of new technologies. A path of creation that tells our identities – real and virtual – thanks to the comparison between generations.
In this performance the audience will find himself in relation to them. You can choose whether to confirm or question your expectations, fears and prejudices. The ultimate goal will be a “performative game” to generate an unprecedented and intimate encounter. PLAY ME (ORIGINS PROJECT) is the result of a work on the biographies of young people met in the stage of research and dramaturgical development between Turin and Milan.
What the sociologist Morin defines as “cinema of total authenticity”.
ZONA K presents a new production: PLAY ME (Origins Project). It continues the direction already taken with Generazione gLocale in 2017 with the involvement of children, the use of new stage devices and the creative and dramaturgical support of important names in the international scene, for this project the award-winning Catalan collective Agrupación Señor Serrano.
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Info: single viewer multimedia performance with VR use – audience aged 15 and over – duration 30 min. – entrance every 15 min – in Italian
TURIN c/o POLO DEL ‘900
Palazzo San Celso – Corso Valdocco 4/A Torino
details: Wednesday, Thursday, Friday 3.00 p.m. – 6.00 p.m., Saturday 11.00 a.m. – 4.00 p.m.
Free admission with compulsory reservation
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Project direction and creation Andrea Ciommiento, creation and multimedia reference Simone Rosset, dramaturgical consultancy Álex Serrano and Pau Palacios, executive production Valentina Picariello and Valentina Kastlunger, organisation and communication Silvia Orlandi and Federica Bruscaglioni, VR application programming Luigi Sorbilli and Giuliano Poretti, creation assistent Kausar El Allam, Shady Mostafa, Imane Mouslim, Jaouher Brahim, Mattia Ghezzi, Anes Fettar, Matteo Coppola, Momo Moukett, Filippo Farina, Lorenzo Bregant, Federica Bruscaglioni, David Benvenuto. Production ZONA K (Milan), creation of Codicefionda (Turin), dramaturgical consultancy Agrupación Señor Serrano (Barcelona), in collaboration with Fuori Luogo Festival (La Spezia), Polo del ‘900 (Turin), Human Rights Festival (Milan), Instituto Professionale Albe Steiner (Turin), Yepp Italia (Turin) and Collettivo gLocale (Milan), With the support of IntercettAzioni – Center of Artistic Residence of Lombardy and of the Municipality of Milan and Dialogues – Residences of the performing arts at Villa Manin “(CSS FVG stable innovation theatre). Thanks to ITAS Giulio Natta and Hotel San Guido in Milan and Digital Digital Storytelling Lab – Università degli studi di Udine.
The project was carried out with the support of the Compagnia di San Paolo within ORA! Contemporary culture productions.
Visit oracompagniadisanpaolo.it
L’ISOLA PER NOI
Campus video
La prima video guida creativa del quartiere Isola realizzata dai bambini… per i bambini!
Piccoli reporter si aggirano per l’Isola di Milano pronti a scoprire gli angoli più segreti del quartiere, le storie più strampalate, i personaggi più incredibili. Con videocamera, microfono, mappa del quartiere e tante domande, durante il campus video perlustreranno la zona per realizzare la prima video guida dell’Isola creata dai bambini… per i bambini!
Un documentario per ritornare a vivere gli spazi all’aperto, esplorarne i cambiamenti e raccontarne le caratteristiche tra realtà e immaginazione.
Siete pronti a entrare a far parte della squadra? Vi aspettiamo!
Una giornata al campus “L’isola per noi”
| ore 9.00 – 9.30 | Benvenuti piccoli reporter! Giochi di accoglienza |
| ore 9.30 – 10.30 | Inventiamo la nostra video guida: mappe, idee, spunti e appunti |
| ore 10.30 – 11.00 | Merenda al sacco |
| ore 11.00 – 12.30 | Si gira! Sopralluoghi in quartiere e riprese |
| ore 12.30 – 14.00 | Pranzo al sacco e gioco libero |
| ore 14.00 – 15.00 | Come si costruisce una video guida: visione film e analisi del linguaggio video |
| ore 15.00 – 16.00 | Davanti alla videocamera: giochi teatrali e improvvisazioni |
| ore 16.00 – 16.30 | Riunione di redazione: a che punto siamo e cosa faremo domani |
| ore 16.30 | Uscita |
Se il meteo lo consente, merenda e pranzo al sacco, verranno consumati all’aperto, in uno dei parchi cittadini vicini a ZONA K (via Confalonieri, via De Castillia)
Il campus:
– è a numero chiuso, si attiva al raggiungimento del numero minimo di iscritti richiesto
– le iscrizioni si chiudono il giorno 17 giugno o al raggiungimento del numero massimo di iscritti previsto
– è organizzato in modo da rendere felice e piacevole l’esperienza a tutte le bambine e tutti i bambini e da rispondere alle normative nazionali in relazione all’attuale emergenza sanitaria
– prevede la realizzazione e il montaggio di un video che verrà inviato ai partecipanti nelle settimane successive
Costo: € 180,00
CLICCA QUI PER COMPILARE IL MODULO D’ISCRIZIONE
Per informazioni più generali, contattaci all’indirizzo organizzazione@zonak.it
PROJECT AND DEVICE
traces of a multimedia theatre.
This year, for the Human Rights Festival, we have decided to propose a program entitled PROJECT AND DEVICE – traces of a multimedia theatre in which we present three different examples of how theatre questions the crisis of democracy, the role of the media in shaping reality, and the new digital roads. In this sense, theatre is once again an instrument of civil reflection, not only for its contents but also for the devices used.
Valentina Kastlunger and Valentina Picariello, artistic directors of ZONA K, will introduce the meetings.
21 April, 16:30 – 17:00
THEATRE | Art, Algorithm and Automation. The journey of _Phase Nine with the Rimini Protokolls
with Riccardo Tabilio and Chiara Campara, artists of the collective work FASE NOVE // Assolo Urbano
The pandemic emergency has led to a division of social components into relevant and non-relevant. Artistic professions have not been included among the socially necessary. Should we think of a world without art and those who work in it? Can such a deep crisis be an opportunity? FASE NOVE // Assolo Urbano is an urban walk through the most important places for art in Milan, which become the stage for audio installations that, through interviews with various experts, confront the provocative question: Why does art exist?
22 April, 16:30 – 17:00
THEATRE | Play me: technological devices between gaming and live performance
with Andrea Ciommiento, creative director for Play Me (ZONE K)
Teenagers, hyper-connected and fragile, terrified and attracted by the image of themselves on social media, experts in sexting, video-gaming and binge drinking, owners of SmartPhones as an extension of their bodies. Do we really know them? In this performance the spectator will relate to them in an immersive experience. PLAY ME (ORIGINS PROJECT) is the result of work on the stories of young people encountered during the dramaturgical research phase in Turin and Milan. Production ZONA K, conceptual and dramaturgical support Agrupación Señor Serrano.
23 April, 16:30 – 17:00
THEATRE | The Mountain. Does the truth exist?
with Pau Palacios of Agrupación Señor Serrano
Climbing a mountain means overcoming difficulties to reach the top and see the world “as it is”. But often, when you look down from above, you see clouds and fog covering everything and the landscape is constantly changing. What is the world like then? What is the truth like? Does it exist? In The Mountain, the latest show by the award-winning Catalan company, the first Everest expedition with an uncertain outcome, Orson Welles with the War of the Worlds, a fake news website, a drone scanning the audience, snow, fragmented images and Vladimir Putin speaking contentedly about trust and truth converge.
Incontri online di danza di comunità
Trasforma un racconto e un’opera d’arte in un gesto.
Attraverso l’esplorazione personale e l’improvvisazione, creiamo insieme una sequenza di gesti che ci divengono cari e arriviamo alla composizione di una sequenza da restituire al gruppo.
Il movimento creativo diventa stimolo per l’immaginazione: mente e corpo, riflessione e azione, da soli ma in gruppo anche a distanza, per risvegliare la creatività, scoprire possibilità e recuperare un po’ di tempo per sé.
CHIUSO 24 aprile primo incontro – dalla Letteratura alla Danza
partendo da un paio di brani tratti dal “Colibrì” di Sandro Veronesi, ognuno darà movimento alle immagini ricevute; rifletteremo sulle azioni agite spontaneamente dal corpo, sulle pause, sulle forme assunte. Attraverso il tramite dello schermo, cercheremo la relazione con gli altri partecipanti e accoglieremo le idee che questa produrrà. Infine, selezionati i movimenti per noi più significativi, li collegheremo tra loro e sulla musica in una composizione da ripetere e perfezionare.
Ed ecco: una danza, un atto artistico che offriamo allo sguardo dell’altro, che racconterà qualcosa di noi.
15 maggio secondo incontro – dall’Arte alla Danza
l’osservazione di un paio di sculture (la “Nike di Samotracia” e “Forme uniche della continuità nello spazio” di Umberto Boccioni) ci offrirà spunti di riflessione sul movimento e la stasi: si può rendere il dinamismo attraverso una forma fissa? Cosa ci invita al movimento e cosa invece ci chiede la pausa, ci trattiene? Cosa succede al nostro corpo, alla pelle e all’interno, quando ci muoviamo? Cosa rappresenta il movimento per noi? Dove vorremmo andare? A quale velocità? Ognuno risponderà con la propria danza a queste e ad altre domande, cercherà una propria forma simbolica e la perfezionerà in funzione della sua resa estetica ed espressiva.
Ogni schermo collegato al laboratorio diverrà così una vetrina espositiva all’interno di un moderno Museo di sculture viventi.
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Costo € 30,00 per 1 incontro
Costo € 60,00 per 2 incontri
Per informazioni e iscrizioni:
organizzazione@zonak.it
02.97378443 – 393.8767162
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Se invece vuoi procedere direttamente all’iscrizione clicca QUI
Il percorso si svolgerà su piattaforma Zoom. Prevede la partecipazione esclusivamente ai due incontri e si attiverà al raggiungimento del numero minimo di partecipanti.
Per l’incontro del 15 maggio l’iscrizione deve pervenire entro e non oltre mercoledì 12 maggio.
Monica Galassi – Danzeducatore®: dopo uno scorcio di vita da ballerina presso diversi teatri italiani e una decina d’anni da giornalista e comunicatrice in ambito culturale, sto vivendo la mia “terza giovinezza” professionale nell’educazione: non insegno a futuri danzatori, ma a persone che attraverso la danza imparano a sentirsi creative, belle, apprezzabili, capaci e integrate. Dal settembre 2013 tengo laboratori di danza educativa e di comunità rivolti a bambini e ragazzi, sia nelle scuole di Milano e provincia (dal nido alla secondaria di secondo grado), sia in strutture pubbliche e private in orario pomeridiano. Ho collaborato con l’Accademia del Teatro alla Scala, Lilopera, Le voci della città, Reggio Children; attualmente lavoro per ZonaK, Civita, Gallerie d’Italia.
Photo by Olivia Bauso on Unsplash
Corso online di sceneggiatura cinematografica
Qual è il metodo migliore per scrivere la sceneggiatura di un film?
Come dare vita ai personaggi?
Dalla creazione dell’idea di base alla costruzione della struttura e allo sviluppo del paradigma della narrazione, il corso propone un viaggio teorico e pratico sul cinema contemporaneo, attraverso nozioni tecniche sulla scrittura di una sceneggiatura e sulla fotografia.
FADE IN prevede un breve excursus sui manuali di sceneggiatura di Syd Field e di Linda Seger, sulle suggestioni critiche sul cinema di André Bazin, padre della Nouvelle Vague ed elementi di teoria dei film di Thomas Elsaesser e Malte Hagener integrati con le idee innovative di Marco Bertozzi sul documentario come riuso, performance, autobiografia.
I temi affrontati durante gli incontri:
1. come scrivere una grande sceneggiatura
2. la crescita del personaggio è il lievito del film
3. il soggetto del film in tre frasi. Il soggetto del film in 4 pagine
4. lo sviluppo dell’idea
5. la struttura della storia: la struttura in tre atti
6. cosa sono i subplot?
7. lo sviluppo del personaggio
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Costo € 120,00 per 7 lezioni.
Per informazioni e iscrizioni:
organizzazione@zonak.it
02.97378443 – 393.8767162
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Se invece vuoi procedere l’iscrizione clicca QUI
Il percorso si attiverà al raggiungimento del numero minimo di partecipanti.
NINA DI MAJO
Regista, sceneggiatrice, attrice, videoartista, produttrice.
Lungometraggi
2020 – Regista sceneggiatrice del documentario collettivo Instant Corona, prodotto da Mir Cinematografica.
2016/17 – Regista , produttrice, autrice e direttore della fotografia del documentario Hans Werner Henze: la musica, l’amicizia, il gioco”, distribuito dall’Istituto Luce.
2010 – Regista e sceneggiatrice del film Matrimoni e altri disastri con Margherita Buy, Fabio Volo, Luciana Littizzetto, Marisa Berenson, Massimo De Francovich, Francesca Inaudi. Distribuito dalla 01.
2002 – Regista, soggettista e sceneggiatrice del film L’Inverno, con Valeria Bruni Tedeschi, Valeria Golino, Fabrizio Gifuni e Yorgo Voyagis. Presentato nella sezione “Panorama” alla Berlinale. Candidatura italiana all’European Howard all’Hollywood film festival. Vincitore del Globo d’oro per il miglior attore protagonista Fabrizio Gifuni e vincitore del Premio Internazionale della Fotografia. In competizione al Chicago Film Festival nella categoria New Directors.
1998 – Regista, attrice protagonista, autrice del soggetto e della sceneggiatura del film “Autunno”(1998). Con Elisabetta Piccolomini , Marco Mario De Notaris e Moni Ovadia, presentato al Festival di Venezia nella sezione Cinema del presente. Selezionato ufficialmente al Festival Venezia-Hollywood (LA), al Nice Film Festival (NY, San Francisco, Marocco, Mosca), al Festival di Amburgo.
1997 – Regista e autrice del soggetto e della sceneggiatura del cortometraggio ”Spalle al muro” (1997). Vincitore del Sacher d’oro e d’argento. Vincitore del David di Donatello come miglior cortometraggio Italiano .
Mediometraggi-Documentari /Performance video
2006 – Regista del documentario Marsyas, installazione di Anish Kapoor per la Turbine Hall, Tate Modern, London.
2005 – Regista del documentario U92 sull’installazione di Peter Greenaway “Children of Uranium”
2004 – Regista e direttore della fotografia della performance audiovisiva AFO 4, presentata al Roma Europa Festival.
2002 – Regista del documentario Merci, opere di Natalie Silva, presentato al Festival Artecinema, teatro Mercadante, Napoli.
Libri
L’inverno. L’Ancora del Mediterraneo.
Saggi e dialoghi sul cinema. Meltemi Edizioni.
Beniamino o le cose dell’altro mondo. Aracne Edizioni.
Percorso online per lavorare con la performance
In quest’anno di clausura The Momentary Now, School of performance a cura di Marcella Vanzo triplica, in attesa di passare dal mondo virtuale a quello reale.
Vi proponiamo tre mini moduli di 6 incontri ciascuno: una introduzione virtuosa alla performance, un approfondimento “tosto” e poi, con l’ultimo modulo, ci auguriamo di incontrare i nostri studenti dal vivo. Potete seguire il vostro modulo preferito 1 o 2 o 3, o tutti e 3, a voi la scelta.
#1. FARE L’IMPOSSIBILE
6 Lezioni online di Resistenza
Gruppo A (chiuso) 20 gennaio – 24 febbraio 2021
ogni mercoledì dalle 19.00 alle 20.45 (con pausa di 15’)
Gruppo B (chiuso) 16 febbraio – 23 marzo 2021
ogni martedì dalle 20.00 alle 21.45 (con pausa di 15’)
Un corso per chi vuole fare e per chi vuole capire la performance, aperto a tutti.
PROGRAMMA
Mercoledì 20 gennaio/Martedì 16 febbraio: il corpo e lo spazio
Mercoledì 27 gennaio/Martedì 23 febbraio: quello che non si può non sapere
Mercoledì 3 febbraio/Martedì 2 marzo: io e l’altro
Mercoledì 10 febbraio/Martedì 9 marzo: performance e foto-performance e video
Mercoledì 17 febbraio/Martedì 16 marzo: e adesso esci
Mercoledì 24 febbraio/Martedì 23 marzo: il tuo gesto
Le lezioni si svolgeranno su piattaforma Zoom, facile da installare su computer
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Costo € 100,00 per 6 lezioni.
Per informazioni e iscrizioni:
organizzazione@zonak.it
02.97378443 – 393.8767162
___________________
Il percorso si attiverà al raggiungimento del numero minimo di partecipanti.
“Fare l’impossibile” può essere considerato come il modulo nr.1 di un percorso in 3 tappe ma può essere anche frequentato autonomamente.
#2. VENTIMILA LEGHE SOTTO I MARI:
6 Lezioni online in Profondità
3 marzo – 7 aprile 2021
ogni mercoledì dalle 19.00 alle 20.45 (con pausa di 15’)
Lavorare con la performance, corso per studenti d’arte, artisti e chi la performance la conosce già, o ha frequentato il primo modulo.
I partecipanti sperimentano la performance in modo autonomo, accanto a nozioni dettagliate di storia e produzione a cura di Matteo Bergamini [Exibart] e Paola Clerico [Case Chiuse] e a una incursione nello studio di Fabio Mauri.Le lezioni si svolgeranno su piattaforma Zoom, facile da installare su computer
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Costo € 100,00 per 6 lezioni.
Per informazioni e iscrizioni:
organizzazione@zonak.it
02.97378443 – 393.8767162
___________________
Il percorso si attiverà al raggiungimento del numero minimo di partecipanti.
“Ventimila leghe sotto i mari” può essere considerato come il modulo nr.2 di un percorso in 3 tappe ma può essere anche frequentato autonomamente.
#3. DAL VIVO!
SOSPESO, date da definirsi
ogni mercoledì dalle 19.00 alle 22.00 (con pausa di 15’)
Ci proviamo? 6 tuffi del corpo nello spazio per chi ha voglia di sperimentare di persona che cos’è una performance. Aperto a tutti.Le lezioni si svolgeranno presso lo sala principale di ZONA K
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Costo € 150,00 per 6 lezioni in presenza.
Per informazioni e iscrizioni:
organizzazione@zonak.it
02.97378443 – 393.8767162
___________________
Il percorso si attiverà al raggiungimento del numero minimo di partecipanti.
“Dal Vivo!” può essere considerato come il modulo nr.3 di un percorso in 3 tappe ma può essere anche frequentato autonomamente.
MARCELLA VANZO
Formatasi sia come antropologa che come artista, Marcella Vanzo vive e lavora a Milano. Tramite video, performance, foto e installazioni indaga le diverse dimensioni dell’essere umano, da quella sociale a quella mitica, da quella emotiva a quella politica. Nel suo lavoro realtà e finzione si fondono in una trama fitta che mette in discussione la rappresentazione della realtà.
Nell’ottobre 19 ha fondato The Momentary Now Performance School da ZONA K a Milano e da quest’anno insegna Performance all’Accademia Carrara di Bergamo. Ha ideato un progetto di arte partecipata per i bambini in quarantena durante il Covid19: #squola_pubblica, fatto di laboratori d’arte online interattivi e gratuiti, ospitato anche da Hangar Bicocca con cui continua la collaborazione: #fareinsiemesquola_pubblica è il corso di formazione per insegnanti della scuola primaria che sta avendo luogo ora.
Scrive per Exibart e Artedossier.
Vanzo partecipa regolarmente a mostre collettive e personali in Italia e all’estero, ultimamente: Radical, Fondazione Berengo, Venezia 2019; Festival del paesaggio di Anacapri, 2018; Biennale di Jakarta, 2017; Manifesta11, Zürich, 2016; Nel Mezzo del Mezzo, Palazzo Riso, 2015; Perspectif cinema, Centre Pompidou, 2015. Ha vinto il Premio New York e il premio Acacia Artisti Emergenti.
Un corso di ZONA K con la media partnership di
Percorso di teatro e movimento
60+ LABIRINTI
Corsi e percorsi per non perdere il filo
Tre percorsi indipendenti dedicati agli Over60 tra scrittura, video, teatro e movimento.
- Percorso di teatro e movimento
PER FILO E PER SEGNO
data da definirsi
tutti i lunedì dalle 14.15 alle 15.30
Costruiamo una performance teatrale fatti di segni, una drammaturgia di movimenti e parole che possa trasformare il nostro labirinto in un’azione teatrale collettiva.
Ci incontreremo finalmente dal vivo nella bellissima, e sicura, sala di ZONA K per lavorare sulle azioni fisiche, la voce, il movimento ritmico e i gesti simbolici.
10 incontri in presenza di 75 minuti cad.
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Costo € 140,00
Compila subito il modulo d’iscrizione cliccando QUI
Agevolazioni: sconto del 10% se hai frequentato almeno uno dei percorsi precedenti
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Il percorso si attiverà al raggiungimento del numero minimo di partecipanti.
“Per filo e per segno” può essere considerato come il modulo nr.3 di un percorso in 3 tappe ma può essere anche frequentato autonomamente.
GIA’ FATTO:
- Percorso online di scrittura ad alta voce
IL FILO DEL DISCORSO
28 dicembre 2020 – 1 febbraio 2021
tutti i lunedì dalle 14.15 alle 15.30
Vuoi imparare a scrivere una storia che possa vivere non solo sulla carta ma soprattutto attraverso azione e interpretazione? Partendo dal mito del labirinto, costruiamo un percorso di parole, dialoghi, immagini per inventare storie straordinarie da raccontare ad alta voce.
6 incontri online di 75 minuti cad. su piattaforma Zoom, facile da installare su computer
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Per informazioni e iscrizioni:
segreteria aperta lu-ven ore 15.00 – 19.00
organizzazione@zonak.it
02.97378443 – 393.8767162
oppure compila direttamente il modulo d’iscrizione cliccando QUI
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Il percorso si attiverà al raggiungimento del numero minimo di partecipanti.
“Il filo del discorso” può essere considerato come il modulo nr.1 di un percorso in 3 tappe ma può essere anche frequentato autonomamente.
Il percorso è tenuto da Federica Di Rosa, diplomata in Drammaturgia alla Scuola d’Arte Drammatica “Paolo Grassi” di Milano, lavora con diverse realtà teatrali alla scrittura di testi per spettacoli ed eventi. Ha coordinato e realizzato progetti di formazione con: Teatro della Tosse, Teatro Coccia, Eniscuola, Formattart, Alice in Città, Teatro Franco Parenti. E’ autrice e regista di spettacoli di teatro ragazzi.
Dal 2015 è responsabile della didattica per ZONA K.
Leggi l’esito del percorso: ENTRA, TI STAVO ASPETTANDO
Le partecipanti hanno scritto ognuna un testo, pensato per essere detto “ad alta voce” e hanno poi lavorato insieme alla scrittura della cornice narrativa che lega come un filo le diverse storie.
- Percorso online per raccontare con il video
A DOPPIO FILO
posticipato! 15 febbraio – 22 marzo 2021
tutti i lunedì dalle 14.15 alle 15.30
Vuoi creare una video storia utilizzando uno smartphone o un tablet? Impara con noi a scegliere il punto di vista, l’inquadratura, la luce, la musica e le parole.
Sei incontri online teorici e pratici per scoprire come strutturare e produrre un racconto per immagini sul tema del labirinto.
6 incontri online di 75 minuti cad. su piattaforma Zoom, facile da installare su computer
_____________________
Per informazioni e iscrizioni:
segreteria aperta lu-ven ore 15.00 – 19.00
organizzazione@zonak.it
02.97378443 – 393.8767162
Compila subito il modulo d’iscrizione cliccando QUI
Agevolazioni: sconto del 10% se hai frequentato il percorso precedente
_____________________
Il percorso si attiverà al raggiungimento del numero minimo di partecipanti.
“A doppio filo” può essere considerato come il modulo nr.2 di un percorso in 3 tappe ma può essere anche frequentato autonomamente.
Il percorso è tenuto da Davide Stecconi, diplomato alla Civica Scuola d’Arte Drammatica Paolo Grassi 1999 (corso Drammaturgia). Dal 2000, alternandosi come sceneggiatore e regista, ha scritto e diretto cortometraggi e lungometraggi e alcune fiction per la TV fra cui la serie Piloti – Rai2 -.
Più recentemente collabora alla realizzazione di spot per il web e documentari come filmaker.
Fratini, Gabrielli, Barile: author writings with ENA
3 playwrights were called to interact with ENA Nomen Nescio, a bot imitating human conversation.
Introduced by the Catalan director Roger Bernat, creator of the online performance, and Valentina Kastlunger, artistic director of ZONA K, Roberto Fratini, Renato Gabrielli and Magdalena Barile, they will take part in the writing of an oceanic play directly on the homepage of this site.
– 20 November at 9.00 p.m. – 9.30 p.m.
– 21 November at 9.00 p.m. – 9.30 p.m.
– 22 November at 9.00 p.m. – 9.30 p.m.
The interventions can be followed live on FACEBOOK of ZONA K
BIO
Magdalena Barile lives and works in Milan. Author, playwright and screenwriter, she teaches Theatre Writing at the Civica Scuola di Teatro Paolo Grassi and at the Scuola Belleville and Screenplay at the IED – Istituto Europeo di Design. Her theatre texts, many of which have been translated into several languages, are the most recent: Raffiche (2016); Il divorzio, adaptation of the film Divorzio all’italiana by Pietro Germi (2016); Rosa Conchiglia. Anaïs Nin e i giorni del porno ( (2017); Cosa beveva Janis Joplin (2018); Api Regine. Commedia fantascientifica sull’eliminazione del maschio (2018). She collaborates permanently as author and screenwriter with Swiss Radiotelevision (RSI) and has participated in the writing of several drama and comedy programmes for Italian television (Albero Azzurro, Camera Cafè, Bye Bye Cindarella).
Roberto Fratini Serafide (Milan, 1972), playwright and dance theorist, is a lecturer at the Conservatori Superior de Danza (Istituto del Teatro) in Barcelona, and has held courses and lectures at other European universities. He collaborates with several international contemporary dance and theatre companies (among them Caterina Sagna Company, La Veronal, Roger Bernat FFF, Taiat Dansa, Germana Civera, Aerites Dance Company, Alexandra Waierstall, Sol Picó, Philippe Saire) and has given dramaturgy workshops at different masters and theatre institutions. His book A Contracuento. La danza y las derivas del narrar was published in 2012. In 2013 he received the FAD Sebastià Gasch Prize for his artistic and intellectual trajectory.
Renato Gabrielli, playwright and screenwriter, teaches at the “Paolo Grassi” and the “Luchino Visconti” School of Cinema in Milan. He is the author of the guide Scrivere per il teatro (Carocci, 2015). Among his most recent theatre works: Combattenti (“Hystrio” XXIX-3, 2014), La donna che legge (Cue Press, 2015), Redenzione (2017), Spin (2018), Fammi un’ altra domanda and Nessun miracolo a Milano (2020). In 2008 he won the Hystrio Prize for Dramaturgy. In 2020, with Procedura, he won the Premio InediTo Colline di Torino – Sezione Teatro.
Meetings by Sara Chiappori & Renata Viola
The relationship with reality presses the performing arts, interrogates them and inhabits them, both object and habitat of an investigation that mixes grammar and semantics of the languages of the scene, re-discussing the concept of author and interpreter, reformulating the criteria of fruition and appropriation of space, definitively clearing the new technologies, opening explicit connections with sociology, urban planning, statistics, political discourse, economics.
ZONA K has given account of all this in the last few seasons, pointing out the critical points of reflection, ethics before aesthetics, around and within the contemporary. Hence, the need to open a theoretical window to try a further investigation that leaves room for doubts rather than certainties.
Designed for a diverse audience, spectators, operators, university students, curious and restless citizens, REALITY? has the ambition to make the languages of the scene react like in a chemical experiment with the alphabets of other disciplines, comparing artists who have worked with ZONA K and theorists who have deepened the same themes, but from the point of view of their skills.
The meetings will be published simultaneously on 
e 
di ZONA K
- Monday 23 November, 6.00 p.m.
PROLOGUE: POLITIK DER BLICKE/THE POLITICS OF LOOKS
meeting with JENS HILLJE (artistic co-director and chief dramturg at the Maxim Gorki Theater in Berlin, Golden Lion for Lifetime Achievement Biennale Teatro 2019)
Then, four keywords for four dialogues
- Tuesday 24th November, 6.00 p.m.
LANDSCAPE: dialogue between VITTORIO LINGIARDI and DOM- (IT): because it feeds new dramaturgies of the space that cross the places, putting in crisis the very notion of look. Because our relationship with the landscape involves the whole body and is always a question of relationships, with others, with the world, with rules, with time, with borders.
- Wednesday 25th November, 6.00 p.m.
CRISIS dialogue between SALVATORE NATOLI and AGRUPACION SEÑOR SERRANO (ES): because “the crisis” in which we live has become a permanent and structural condition. Today, more than ever, we live in a state of emergency that forces us to reformulate new future scenarios. We are called to radically rethink everything we gave for certain and for acquired. Can all this really be considered an opportunity like the media storytelling suggests or are we on the threshold of a sort of “human revolution”?
- Thursday 26 November, 6.00 p.m.
POLITICS dialogue between JUSEPPE GENNA and VALTERS SĪLIS (LV): because we have all decreed its death, or at least embarrassment and impoverishment, but we cannot do without it. So let’s go and find it where it manifests itself in its worst forms, the fascist sovereignist populist drifts, the last temptation of a West orphaned of an alternative thought to 20th century ideologies.
- Friday 27 November, 6.00 p.m.
GAME/PARTICIPATION dialogue between STEFANO BARTEZZAGHI and ROGER BERNAT (ES): because the playful approach can be the key, but also the trap. If contemporary performance has accustomed us to enjoy the theatrical fact as a game, are we willing to give up in terms of attention, concentration, intellectual effort? The game, however, is not only a deresponsible escape, it can also be a very serious business.
Roger Bernat (ES)
with the collaboration of Mar Canet and Varvara Guljajeva
and the live Facebook participation of
– Roberto Fratini 20 November at 9.00 p.m. – 9.30 p.m.
– Renato Gabrielli 21st November at 9.00 – 9.30 p.m.
– Magdalena Barile 22 November at 9.00 – 9.30 p.m.
Special guest ROGER BERNAT
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From 18 to 28 November, 24 hours a day, the Catalan director Roger Bernat, who generally creates performances without performers, offers us the opportunity to write an oceanic play directly from the ZONA K website.
Luis Buñuel and Jean-Claude Carrière locked themselves in a room and, embodying their characters, wrote the scripts for their future films. On the theater website, instead of conversing with Buñuel, Carrière or Shakespeare, the internet user converses with ENA, a bot that mimics human conversation. According to the Wikipedia definition, a bot is a sequence of computers that performs repetitive tasks that would be impossible or very burdensome for a human being. To learn how to write, ENA was shown 8 million documents.
The bots that answer the phone when we call big companies, those that affect social networks when elections are approaching or the bots we face in electronic games are brothers and sisters of ENA. But ENA doesn’t want to sell us anything, doesn’t want to inform us of any news (fake or real) and doesn’t even want to comfort us. ENA was conceived with the only purpose of pretending to be a human being, therefore to make theatre. ENA does not understand what she says or is told. For ENA, language is just a sequence of signs to which it responds with another sequence. Any dialogue with ENA will only make sense to the person participating in the conversation and to the audience reading the conversation on the theater’s website at the time. Having a dialogue with ENA is like playing squash with a wall that returns the ball to you. Keep in mind that, as a human being, you may be surprised or angry, or tired. ZONA K cannot be held responsible for messages sent by ENA which may be unpredictable.
CAUTION:
ENA learned to write with GPT-2 (OpenAI) and dialogues thanks to DialoGPT (Microsoft) of the Transformer (Google) database. For this reason, although he understands Italian, he answers only in English. Nobody’s perfect.
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Info: online collective writing • duration as desired • in Italian and English translated simultaneously
Participation: free, non-stop 24 hours a day on the zonak.it website
If you have spoken to ENA and want a copy of your dialogue, send an email to biglietti@zonak.it clearly indicating the nickname and day of your interview
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A project by Roger Bernat with the collaboration of Mar Canet and Varvara Guljajeva web design and programming Mar Canet and Varvara Guldjajeva graphics Marie-Klara González coordination Helena Febrés co-production FFF and Teatre Lliure thanks to Fabiano Cocozza
BIO
Magdalena Barile lives and works in Milan. Author, playwright and screenwriter, she teaches Theatre Writing at the Civica Scuola di Teatro Paolo Grassi and at the Scuola Belleville and Screenplay at the IED – Istituto Europeo di Design. Her theatre texts, many of which have been translated into several languages, are the most recent: Raffiche (2016); Il divorzio, adaptation of the film Divorzio all’italiana by Pietro Germi (2016); Rosa Conchiglia. Anaïs Nin e i giorni del porno ( (2017); Cosa beveva Janis Joplin (2018); Api Regine. Commedia fantascientifica sull’eliminazione del maschio (2018). She collaborates permanently as author and screenwriter with Swiss Radiotelevision (RSI) and has participated in the writing of several drama and comedy programmes for Italian television (Albero Azzurro, Camera Cafè, Bye Bye Cindarella).
Roberto Fratini Serafide (Milan, 1972), playwright and dance theorist, is a lecturer at the Conservatori Superior de Danza (Istituto del Teatro) in Barcelona, and has held courses and lectures at other European universities. He collaborates with several international contemporary dance and theatre companies (among them Caterina Sagna Company, La Veronal, Roger Bernat FFF, Taiat Dansa, Germana Civera, Aerites Dance Company, Alexandra Waierstall, Sol Picó, Philippe Saire) and has given dramaturgy workshops at different masters and theatre institutions. His book A Contracuento. La danza y las derivas del narrar was published in 2012. In 2013 he received the FAD Sebastià Gasch Prize for his artistic and intellectual trajectory.
Renato Gabrielli, playwright and screenwriter, teaches at the “Paolo Grassi” and the “Luchino Visconti” School of Cinema in Milan. He is the author of the guide Scrivere per il teatro (Carocci, 2015). Among his most recent theatre works: Combattenti (“Hystrio” XXIX-3, 2014), La donna che legge (Cue Press, 2015), Redenzione (2017), Spin (2018), Fammi un’ altra domanda and Nessun miracolo a Milano (2020). In 2008 he won the Hystrio Prize for Dramaturgy. In 2020, with Procedura, he won the Premio InediTo Colline di Torino – Sezione Teatro.
Michele Losi / Pleiadi (IT)
R 500 – Safari in the urban labyrinth. #Studio II is an urban walk that leads the public to explore nature, sometimes hidden from our eyes, and its complex relationship with urban architecture and inhabitants, within a narrow radius of 500 meters between ZONA K and Biblioteca degli Alberi.
This second stage of the research work, which began in October 2019, arises from two artistic residences of the Pleiadi collective in ZONA K and from the European format “Radius” of the Dutch artist Sjoerd Wagenaar: a method of artistic and scientific investigation of a narrow range of territory.
The Radius format invites people to look at the surrounding landscape with a new look, based on knowledge of the environment. The artists collect stories from the residents, consult scientists, architects, biologists, ‘digging’ and mapping the radius of the territory, returning the outcome of the investigation to the public through an urban walk.
Also this year there will be the contribution of the collective of architects Studio Pasta Madre.
Bozkurt, Campara, Oglialoro, Tabilio, Venturi
with Rimini Protokoll
A project by ZONA K and Casa degli Artisti
The pandemic emergency led to a division of the social components into systemically relevant and not relevant. For many it was also a psychological polarization: between what is essential and what is superfluous. The artistic professions are not among those socially necessary.
Should we think of a world in which art will no longer play a role? Can we imagine a reality that cancels the existence of art and of those who work there? What relationship can art have with each of us in this state of crisis? Is something that has long since gotten stale about to end? Can such a profound crisis be an opportunity?
PHASE NINE || Urban Solo invites us to ask ourselves these questions in the context of the city. Nine important places for art in Milan – some iconic, others unusual – become the stage for nine audio installations which, through interviews with various experts, are confronted with a provocative question: why does art exist and not nothing?
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departure Casa degli Artisti, Corso Garibaldi, 89/A – via Tommaso da Cazzaniga -M2 Moscova-.
Info: urban walk for 1 person – in Italian – closed on Monday
Tickets can be picked up on the day of the walk 15 minutes before the start at Casa degli Artisti, Corso Garibaldi, 89/A – via Tommaso da Cazzaniga -M2 Moscova-.
BASIC INFORMATION FOR PARTICIPATING
A document will be requested as a deposit for the use of the navigator.
As this is a route with mandatory stops, the departure time cannot be postponed. The walk takes about 120 minutes and will be covered on foot. The place of arrival is close to the place of departure. It is recommended to wear comfortable and waterproof shoes in case of light rain; in case of heavy rain the event will be canceled.
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** Performative action included in “IntercettAzioni” – Artistic Residence Center of Lombardy: a project by Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire, with the contribution of the Lombardy Region, MiBACT and Fondazione Cariplo. **
Artists Ekin Bozkurt, Chiara Campara, Giulia Oglialoro, Riccardo Tabilio and Francesco Venturi Artistic supervision Aljoscha Begrich and Jörg Karrenbauer (Rimini Protokoll) Project management Valentina Kastlunger (ZONA K) Audio coordination and mixing William Geroli Multimedia implementation Stripes Digitus Lab In collaboration with Eataly Smeraldo, Goethe-Institut Milano, Fondazione Giangiacomo Feltrinelli, Giardini in Transito – Giardino Comunitario Lea Garofalo, Anteo Palazzo del Cinema, Piccolo Teatro di Milano Main partner Casa degli Artisti BNP Paribas Thanks to Feltrinelli bookshop in viale Pasubio, Il Barettino in via Solferino, Armonium Galvan Photo Luca Del Pia WithGiuliana Bonifati, Christian Gangitano, Laura Pugno, David Bidussa, Marta Alessandri, Mauro Ferraresi, Silvia Vizzardelli, Wu Ming 2, Palma Rivetti (Mina), Roberta Carpani
BIO
Ekin Bozkurt (sound designer), Chiara Campara (filmmaker), Giulia Oglialoro (author, journalist), Riccardo Tabilio (author and dramaturg) and Francesco Venturi (composer) are the artists that the second open call of Casa degli Artisti on the theme “Work” Selected in March 2020 for the artistic project shared with the German collective Rimini Protokoll.
The work, coordinated and followed by Jörg Karrenbauer and Aljoscha Begrich of Rimini Protokoll in the role of mentors, was completely rethought during the months of lockdown. The theme of work remained central, but he decided to focus in particular on work in the world of culture and art, a theme made even more urgent by the crisis caused by the pandemic. It was decided to work precisely on contingency, considering it an opportunity, investigating the changing perception of spaces and cultural operators.
Rimini Protokoll was founded in 2000 by Stefan Kaegi, Helgard Haug and Daniel Wetzel and over the years has collaborated with various constellations of artists. The goal is to expand the means of the theater in order to create new perspectives on reality. Rimini Protokoll avails itself of the collaboration of experts, whose knowledge and skills go beyond the theater, to produce shows, radio productions and urban interventions that often translate urban spaces and social structures into theatrical formats.
Collettivo MMM (IT)
Radio Olimpia, Bomba libera tutt!, a playing field and mobile radio station hosted by a California camper, is coming to Milan.
On the playing field, set up in the new square in Via Toce in the Isola district, a series of competitions will take place in which the public, divided into teams, will challenge each other in an unprecedented form of contemporary performing Olympics.
All the games are inspired by performances by well-known and lesser-known artists.
The disciplines will be introduced live from the playing field, and the competitions will be accompanied and refereed. Each action will be commented on in the radio commentary and winners and losers will be presented.
There will be in-depth content on the performances of the artists mentioned and on the themes referred to in the games: public space, the moment of celebration, the game, non-productive time, in a succession of challenges, interviews with “special guests” and the participants who bring the frequencies in the squares of Radio Olimpia, Bomba Libera tutti, to life!
________________________
Team game|Performance – duration 100 min. – in Italian
c/o Piazza Aperta di via Toce, Milan [Tram 2, 4].
In case of rain the event will be cancelled.
________________________
Created, realized and performed by Collettivo MMM: Martino Ferro, Maria Caterina Frani, Maria Pecchioli Production Pergine Festival, in co-production with ZONA K Il Giardino delle Esperidi Festival, In\Visible Cities / Contaminazioni digitali and with the support of Indisciplinarte and Periferico Festival
Winner of Open_Contemporary Urban Creation. Ph. Giulia Lenzi
BIO
The MMM Collective (Maria Pecchioli, Martino Ferro and Maria Caterina Frani) has collaborated in the past in the activation of performative-radiophonic formats (Forever, Maria di Sant’Elena, MMFight), has co-directed with the Fosca association the Frau Frisör Fosca space dedicated to languages and artistic contaminations, proposing an interdisciplinary programme aimed at citizens.
The relationship with the context, the ability to involve and promote the individual and the group, the sharing of practices and visions are the basis of the common path. Maria Pecchioli is an artist and producer of cross-media platforms, performer and film maker. Martino Ferro is a writer and screenwriter for film and television. Maria Caterina Frani is an actress, performer, speaker and assistant director.
Gianmarco Maraviglia
ZONA K has always been attentive to the language of photography and how it represents reality. So we have decided to reopen our premises with a photographic exhibition that tells with clarity and modesty what has happened and that has upset our daily lives to better understand that question mark on our near future.
… … … … … … … … … … … … … … … … … … … … … … … … … … … … … …
It’s as if something jammed and then broke. Broken time, reality, habits. The sense of freedom, the lightness, a certain arrogance in taking life for granted, even. That life.
Then the day came when everything changed. The light-heartedness was wiped out, a typically Italian gesture was cancelled, the ‘normal’ flow of habits and days was swept away. We have discovered ourselves vulnerable, the universe to be conquered has shrunk to the point of entering our homes. Once the certainties had been pulverised, the scaffolding stripped away, we clung to the only certainties that were still solid.
We have waited, as if we were locked in a bunker, for another entity to give us the green light once again. Our existence has been entrusted first to a bulletin, then to technologies. The word ‘control’ took on the reassuring hues of a cloak of protection.
And finally the reopening. Hurrah. So here we all are in the streets, in a hurry and with the urgency to regain possession of the time that once was, the almost physical need to convince ourselves that it was all over, past, ready to be forgotten.
And yet. We pretended nothing had happened, we wanted nothing to happen. But something still doesn’t work. And it is only now, probably, now that the emotions are settling and sedimenting, that we have the courage and lucidity to understand how much that fracture of the normal has really fixed itself inside us irreversibly. Gianmarco Maraviglia wanted to tell ‘his’ covid, in a narrative somewhere between an intimate account and a photojournalistic investigation, while avoiding the more detailed dimension of the disease. But he too was faced with the dilemma of “misalignment”. How, then, to visually represent and synthesise the change in the sequence of reality that our lives have undergone? Thus was born the glitch, the system error. Images of “matrixian” suggestion that leave open a question about our near future.
Opening – 15 September 2020, 7 pm
On display – 15 to 24 September 2020
Tuesday – Sunday 17.00 – 21.00 Monday 17.00 – 19.00
Free entrance limited to max 20 people at the same time
DER MOND – LA LUNA
Un progetto di ZONA K, in collaborazione con BAM Biblioteca degli Alberi di Milano, inserito nel programma Milano Summer School – Comune di Milano
Prima di tornare finalmente a scuola, sei pront_ a partire per un viaggio sulla LUNA?
Cosa vuoi portare con te? Cosa scoprirai lassù?
Tra passeggiate lunari, creature immaginarie, parole, suoni e immagini, i bambini lavoreranno con un’artista/videomaker e con un esperto di arti circensi e teatrali. Con loro inventeranno un incredibile viaggio sulla LUNA utilizzando corpo, voce e immaginazione, supportati da strumenti audio e video.
Tutte le attività proposte sono volte a stimolare bambine e bambini a utilizzare la lingua tedesca in modo giocoso e creativo.
Il campus si svolgerà lungo l’arco della giornata e le attività saranno condotte sia all’interno di ZONA K sia all’aperto, nella bellissima BAM Biblioteca degli Alberi di Milano, in uno spazio riservato tutto per noi.
Si prevede la possibilità di organizzare un massimo di due gruppi di 7 bambini ciascuno, così come indicato dalle linee guida del Comune di Milano.
Questo il programma della giornata tipo:
|
ore 9.00 |
accoglienza Gruppo 1 |
|
ore 9.15 |
accoglienza Gruppo 2 |
|
ore 9.30 – 10.30 |
Gruppo 1: Audio – Gruppo 2: Movimento |
|
ore 10.30 |
Merenda all’aperto |
|
ore 11.00 – 12.30 |
Gruppo 1: Video – Gruppo 2: Teatro |
|
ore 12.30 – 14.00 |
Pranzo al sacco all’aperto e giochi |
|
ore 14.00 – 15.00 |
Gruppo 1: Movimento – Gruppo 2: Audio |
|
ore 15.00 – 16.00 |
Gruppo 1: Teatro – Gruppo 2: Video |
|
ore 16.00 |
Uscita Gruppo 1 |
| ore 16.15 |
Uscita Gruppo 2 |
Il campus è organizzato in modo da rendere felice e piacevole l’esperienza a tutte le bambine e tutti i bambini e di rispondere alle normative nazionali in relazione all’attuale emergenza sanitaria (DPCM del 17/05/2020 e del 11/06/2020 e Ordinanze della Regione Lombardia n. 547 del 17/05/2020 e n. 566 del 12/06/2020)
____________________________________
Costo: € 190,00
Sconto del 10% a partire dal/la secondo/a iscritto/a e per n. 1 BAM FRIENDS*.
I due sconti non sono cumulabili.
*Al primo incontro verrà chiesta visione della tessera relativa.
N.B. E’ richiesto il pranzo al sacco
Il campus è a numero chiuso, si attiva al raggiungimento nel numero minimo di iscritti richiesto.
Le iscrizioni si chiudono il giorno 21 agosto o al raggiungimento del numero massimo di iscritti previsto.
CLICCA QUI E COMPILA SUBITO IL MODULO D’ISCRIZIONE
IMPORTANTE: IL MODULO VA COMPILATO PER OGNI ISCRITTO/A E CORREDATO DI PRESA IN CARICO DEL BONIFICO
Per informazioni più generali, contattaci all’indirizzo organizzazione@zonak.it
DER MOND – LA LUNA
MULTIDISZIPLINARISCHER FERIENCAMPUS IN DEUTSCHER SPRACHE
FÜR KINDER VON 6 BIS 11 JAHREN
Vom 31. August bis 4. September
Seid ihr bereit, mit uns zum Mond zu fliegen? Was möchtet ihr mitnehmen?
Und was meint ihr könnt ihr dort oben entdecken?
Zwischen Mondspaziergängen, imaginären Kreaturen, Worten, Klängen und Bildern werden die Kinder mit einer Künstlerin und Videokünstlerin und einem Experten für Zirkus- und Theaterkunst arbeiten und ihre Reise zum Mond mit Körper, Stimme und Vorstellungskraft erfinden, unterstützt durch Audio- und Videoequipment.
Die vorgeschlagenen Aktivitäten zielen darauf ab, Kinder zum spielerischen und kreativen Gebrauch der deutschen Sprache anzuregen.
Der Campus findet von 9.00 bis 16.00 Uhr statt.
Die Aktivitäten werden sowohl drinnen in den Räumlichkeiten von ZONE K, als auch draußen in einem in der BAM für uns reservierten Bereich durchgeführt.
Gemäß den Richtlinien der Stadt Mailand können maximal zwei Gruppen von je 7 Kindern teilnehmen.
Beiden Gruppen werden voneinander getrennt das folgende Programm machen:
|
9.00 Empfang |
Gruppe 1 (Büros) |
|
9.15 Empfang |
Gruppe 2 (Haupteingang) |
|
9.30 – 10.30 |
Gruppe 1: Audio – Gruppe 2: Bewegung |
|
10.30 |
Imbiss im Freien |
|
11.00 – 12.30 |
Gruppe 1: Video – Gruppe 2: Theater |
|
12.30 – 14.00 |
Mittagessen und Spiele im Freien |
|
14.00 – 15.00 |
Gruppe 1: Bewegung – Gruppe 2: Audio |
|
15.00 – 16.00 |
Gruppe 1: Theater – Gruppe 2: Video |
|
16.00 Ausgang |
Gruppe 1: Büros |
| 16.15 Ausgang |
Gruppe 2: Haupteingang |
Wir möchten Sie darauf hinweisen, dass jedes Kind sein eigenes Lunchpaket mitbringen muss.
DIE UNTERWASSERWELT – IL MONDO SOTTOMARINO
Un progetto di ZONA K, in collaborazione con BAM Biblioteca degli Alberi di Milano, inserito nel programma Milano Summer School – Comune di Milano
Cosa c’è nel mondo sottomarino?
Andiamo a scoprirlo!
Pesci colorati e piante stranissime, sirene e tesori abbandonati dai pirati… e tanto altro ancora!
Giochiamo col corpo e con la musica, costruiamo oggetti e immagini, creiamo insieme il nostro mondo acquatico!
Tutte le attività proposte sono volte a stimolare bambine e bambini a utilizzare la lingua tedesca in modo giocoso e creativo.
Le attività saranno condotte sia all’interno di ZONA K sia all’aperto, nella bellissima BAM Biblioteca degli Alberi di Milano, in uno spazio riservato tutto per noi.
Il campus si svolgerà per mezza giornata con i seguenti orari:
I GRUPPO 8.30 – 12.00
II GRUPPO 14.00 – 17.30
Ogni gruppo sarà composto da un massimo di 5 bambini, così come indicato dalle linee guida del Comune di Milano.
Questo il programma della giornata tipo:
|
ore 8.30 |
Accoglienza Gruppo 1 |
|
ore 9.00 – 10.30 |
Movimento Gruppo 1 |
|
ore 10.30 – 11.00 |
Merenda all’aperto Gruppo 1 |
| ore 11.00 – 12.00 |
Arte Gruppo 1 |
|
ore 12.00 |
Uscita Gruppo 1 |
|
ore 14.00 |
Accoglienza Gruppo 2 |
|
ore 14.30 – 16.00 |
Movimento Gruppo 2 |
| ore 16.00 – 16.30 |
Merenda all’aperto Gruppo 2 |
|
ore 16.30 – 17.30 |
Arte Gruppo 2 |
| ore 17.30 |
Uscita Gruppo 2 |
Il campus è organizzato in modo da rendere felice e piacevole l’esperienza a tutte le bambine e tutti i bambini e di rispondere alle normative nazionali in relazione all’attuale emergenza sanitaria (DPCM del 17/05/2020 e del 11/06/2020 e Ordinanze della Regione Lombardia n. 547 del 17/05/2020 e n. 566 del 12/06/2020)
____________________________________
Costo: € 150,00
Sconto del 10% a partire dal/la secondo/a iscritto/a e per n.1 BAM FRIENDS*.
I due sconti non sono cumulabili.
*Al primo incontro verrà chiesta visione della tessera relativa.
Il campus è a numero chiuso, si attiva al raggiungimento nel numero minimo di iscritti richiesto.
Le iscrizioni si chiudono il giorno 21 agosto o al raggiungimento del numero massimo di iscritti previsto.
CLICCA QUI E COMPILA SUBITO IL MODULO D’ISCRIZIONE PER IL GRUPPO MATTINA
CLICCA QUI E COMPILA SUBITO IL MODULO D’ISCRIZIONE PER IL GRUPPO POMERIGGIO
IMPORTANTE: IL MODULO VA COMPILATO PER OGNI ISCRITTO/A E CORREDATO DI PRESA IN CARICO DEL BONIFICO
Per informazioni più generali, contattaci all’indirizzo organizzazione@zonak.it
Die Unterwasserwelt – Il mondo sottomarino
Ein kreativer Campus mit Bewegung in deutscher Sprache für Kindergartenkinder
Vom 31. August bis zum 4. September 2020.
Was gibt es alles unter Wasser? Finden wir es gemeinsam heraus !
Bunte Fische, die seltsamsten Pflanzen, Meerjungfrauen, vergessene Piratenschätze….
Wir spielen mit “Leib und Seele”, mit viel Musik, konstruieren Objekte und Bilder und erschaffen unsere eigene Unterwasserwelt.
Unsere vorgeschlagenen Aktivitäten sind darauf abgestimmt, alle Kinder auf spielerische und kreative Weise anzuregen, die deutsche Sprache zu benutzen.
Der Campus wird halbtags angeboten und alle Aktivitäten werden sowohl in unseren Räumlichkeiten von ZONA K als auch in einem für uns reservierten Gelände im Freien ( auf dem BAM: Biblioteca degli Alberi di Milano) stattfinden.
Unsere Aktivitäten werden zu folgenden Uhrzeiten stattfinden:
Gruppe 1 : 8.30 – 12.00
Gruppe 2 : 14.00 – 17.30
Jede Gruppe besteht aus höchstens 5 Kindern, so wie es die Richtlinien der Stadt Mailand vorsehen.
CIAK & RAP!
Un progetto di ZONA K, in collaborazione con BAM Biblioteca degli Alberi di Milano, inserito nel programma Milano Summer School – Comune di Milano
Inventiamo una canzone rap e giriamo insieme il videoclip musicale: azione, parole, musica e divertimento! Ciak… si rappa!
Guidati da un rapper scriveremo e canteremo insieme una canzone a tempo di beat!
Con un videomaker, realizzeremo il videoclip musicale, partecipando alle riprese e al montaggio!
Il campus si svolgerà lungo l’arco della giornata e le attività saranno condotte sia all’interno di ZONA K sia all’aperto, nella bellissima BAM Biblioteca degli Alberi di Milano, in uno spazio riservato tutto per noi.
Si prevede la possibilità di organizzare un massimo di due gruppi di 7 bambini ciascuno, così come indicato dalle linee guida del Comune di Milano.
Questo il programma della giornata tipo:
|
ore 9.00 |
accoglienza Gruppo 1 |
|
ore 9.15 |
accoglienza Gruppo 2 |
| ore 9.30 – 10.30 |
Gruppo 1: RAP scriviamo la canzone |
|
ore 10.30 |
Merenda all’aperto |
| ore 11.00 – 12.30 |
Gruppo 1: SING cantiamo la canzone |
|
ore 12.30 – 14.00 |
Pranzo al sacco all’aperto e giochi |
|
ore 14.00 – 15.00 |
Gruppo 1: VIDEO inventiamo il videoclip Gruppo 2: RAP scriviamo la canzone |
| ore 15.00 – 16.00 |
Gruppo 1: ACTING recitiamo nel videoclip |
| ore 16.00 |
Uscita Gruppo 1 |
| ore 16.15 |
Uscita Gruppo 2 |
Il campus è organizzato in modo da rendere felice e piacevole l’esperienza a tutte le bambine e tutti i bambini e di rispondere alle normative nazionali in relazione all’attuale emergenza sanitaria (DPCM del 17/05/2020 e del 11/06/2020 e Ordinanze della Regione Lombardia n. 547 del 17/05/2020 e n. 566 del 12/06/2020)
____________________________________
Costo: € 180,00
Sconto del 10% a partire dal/la secondo/a iscritto/a e per n. 1 BAM FRIENDS*.
I due sconti non sono cumulabili.
*Al primo incontro verrà chiesta visione della tessera relativa.
N.B. E’ richiesto il pranzo al sacco
Il campus è a numero chiuso, si attiva al raggiungimento nel numero minimo di iscritti richiesto.
Le iscrizioni si chiudono il giorno 28 agosto o al raggiungimento del numero massimo di iscritti previsto.
CLICCA QUI E COMPILA SUBITO IL MODULO D’ISCRIZIONE
IMPORTANTE: IL MODULO VA COMPILATO PER OGNI ISCRITTO/A E CORREDATO DI PRESA IN CARICO DEL BONIFICO
Per informazioni più generali, contattaci all’indirizzo organizzazione@zonak.it
PLAY DEUTSCH CAMPUS
Play Deutsch Campus si svolge dal lunedì al venerdì ed è organizzato per diverse fasce d’età:
4 – 5 anni dalle ore 9.30 alle ore 11.00
6 – 10 anni dalle ore 10.30 alle ore 13.00
11 – 14 anni dalle ore 14.30 alle ore 17.00
In città c’è un grande mistero da risolvere: abbiamo bisogno di detective, abbiamo bisogno di voi!
Indizi, prove da superare, ogni giorno scopriremo un elemento in più per arrivare alla soluzione del giallo dell’estate!
Un campus tutto in lingua tedesca per giocare con le parole, la musica e il video.
Riceverete un messaggio con i primi intricati indizi e con tutti gli strumenti necessari all’indagine. Incontrerete personaggi reali che vivono in stanze virtuali, che metteranno alla prova le vostre abilità di detective: vi chiederanno di cantare una canzone rap, inventare una coreografia, girare un video o scattare delle foto… Solo allora vi sveleranno importanti indizi sul caso!
Allora, siete pronti a svelare il giallo dell’estate?
Ogni settimana vi aspetta un’avventura diversa!
Play Campus è un’esperienza virtuale che prevede incontri online sulla piattaforma Zoom di 2h30 al giorno con insegnanti di madrelingua tedesca che guideranno bambin_ e ragazz_ attraverso giochi con musica, movimento, teatro. Il campus sarà condotto da un insegnante di teatro e video, affiancato da un rapper e da una danzatrice.
A bambin_ e ragazz_ potrà essere richiesto di scattare delle foto o raccogliere indizi anche all’esterno, mentre sono al parco o in città, per proseguire l’avventura.
Verranno realizzate dagli insegnanti delle video riprese con smartphone o tablet al fine di consegnare un video racconto dell’ esperienza da detective a tutti i partecipanti al campus.
____________________________________
Costo: € 120,00 una settimana
Sconto del 15% a partire dal/la secondo/a iscritto/a e dalla seconda settimana di campus.
I due sconti non sono cumulabili.
COMPILA DA QUI IL MODULO D’ISCRIZIONE
IMPORTANTE! IL MODULO VA COMPILATO PER OGNI ISCRITTO/A
Per rendere effettiva l’iscrizione la ricevuta di pagamento dovrà pervenire all’indirizzo organizzazione@zonak.it entro e non oltre 5gg dall’invio del modulo d’iscrizione.
Le iscrizioni verranno registrate in base all’ordine di arrivo delle ricevute di pagamento.
Il campus è a numero chiuso e si attiva con almeno 5 iscritti.
____________________________________
PLAY CAMPUS in Deutscher Sprache
Play Campus ist für verschiedene Altersgruppen konzipiert:
4 – 5 Jahre alt von Montag bis Freitag von 9.30 Uhr bis 11 Uhr
6 – 10 Jahre von Montag bis Freitag von 10.30 bis 13.00 Uhr
11 – 14 Jahre von Montag bis Freitag von 14.30 bis 17
In der Stadt gibt es ein großes Rätsel zu lösen: Und wir brauchen Euch als Detektive! Es gilt Hinweise zu finden und Aufgaben zu lösen. Jeden Tag werden wir einen weiteren Teil zur Lösung des Falls entdecken.
Ein deutschsprachiger Sommercampus in dem wir mit Worten, Musik und Video spielen werden. Zu Beginn erhaltet Ihr eine Nachricht mit den ersten Hinweisen und allen notwendigen Werkzeugen um den Fall zu lösen.
Ihr werdet Personen treffen, die in virtuellen Räumen leben und die Euch – bevor sie ein Geheimnis preisgeben – auffordern einen Rap-Song zu singen, eine Choreographie zu erfinden, ein Video zu drehen oder Fotos zu machen. Seid Ihr bereit den Fall zu lösen?
Play Campus ist eine virtuelle Erfahrung. Sie umfasst 5 Online-Meetings pro Woche, von jeweils 2h30 pro Tag mit muttersprachlichen Lehrern. Die Kinder werden durch verschiedene Kunstdisziplinen geführt –
machen Spiele mit Musik, Bewegung, Theater und Liedern und erstellen Videos auf ihrem Smartphone oder dem Tablet. Am Ende des Abenteuers erhalten die Kinder ein Video über ihre Erfahrungen als Detektive.
Die Kinder können aufgefordert werden, draußen im Park oder in der Stadt Fotos zu machen oder Hinweise zu sammeln, während sie sich im Park oder in der Stadt aufhalten, um das Abenteuer fortzusetzen. Der Campus wird von einem Schauspiel- und Video-Lehrer geleitet, der von einem Rapper und einer Tänzerin begleitet wird.
Jede Woche ein anderes Abenteuer!
PLAY CAMPUS
In città c’è un grande mistero da risolvere: abbiamo bisogno di detective, abbiamo bisogno di voi!
Indizi, prove da superare, ogni giorno scopriremo un elemento in più per arrivare alla soluzione del giallo dell’estate!
Riceverete un messaggio con i primi intricati indizi e con tutti gli strumenti necessari all’indagine. Incontrerete personaggi reali che vivono in stanze virtuali, che metteranno alla prova le vostre abilità di detective: vi chiederanno di cantare una canzone rap, inventare una coreografia, girare un video o scattare delle foto… Solo allora vi sveleranno importanti indizi sul caso!
Allora, siete pronti a svelare il giallo dell’estate?
Play Campus è un’esperienza virtuale che prevede incontri online sulla piattaforma Zoom di 2h30 al giorno con insegnanti di diverse discipline artistiche che guideranno i bambini e le bambine attraverso giochi con musica, movimento e teatro. Il campus sarà condotto da un insegnante di teatro e video, affiancato da un rapper e una danzatrice.
Ai bambini potrà essere richiesto di scattare delle foto o raccogliere indizi anche all’esterno, mentre sono al parco o in città, per proseguire l’avventura.
Verranno realizzate dagli insegnanti delle video riprese con smartphone o tablet al fine di consegnare un video racconto dell’ esperienza da detective a tutti i partecipanti al campus.
____________________________________
Costo: € 100,00
Sconto del 15% dal/la secondogenito/a
Le iscrizioni si chiudono il giorno 26 giugno 2020
Per rendere effettiva l’iscrizione la ricevuta di pagamento dovrà pervenire all’indirizzo organizzazione@zonak.it entro e non oltre 5gg dall’invio del modulo d’iscrizione.
Le iscrizioni verranno registrate in base all’ordine di arrivo delle ricevute di pagamento.
Il campus è a numero chiuso e si attiva con almeno 6 iscritti.