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.

Silke Huysmans & Hannes Dereere (BE)

– Season preview 2023 –

multimedia performance with English 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.

RESIDENZE DIGITALI 2023

Il 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 (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 lanciano il presente bando per la selezione di n° 4 progetti di Residenza Digitale da  svilupparsi nel corso dell’anno 2023.  

L’intento è quello di stimolare gli artisti delle performing arts all’esplorazione dello spazio digitale,  come ulteriore o diversa declinazione della loro ricerca autoriale.  

Dovrà trattarsi di progettualità artistiche legate ai linguaggi della scena contemporanea e della  performance, che nascano direttamente per l’ambiente digitale o che in esso trovino un ambito  funzionale ed efficace all’esplicitarsi dell’idea artistica. A titolo di esempio: non si tratta di presentare  percorsi di lettura o riprese video di testi o spettacoli esistenti o da farsi, bensì di concepire progetti  artistici che abbiano nello spazio web il loro habitat ideale, indicandone anche le modalità di fruizione  e interazione da parte dello spettatore, che può anche prevedere la compresenza di una dimensione  dal vivo, che affianchi quella digitale, che però deve restare prevalente. Gli artisti partecipanti  dovranno anche specificare se può risultare utile l’eventuale concessione di un periodo di residenza  dal vivo, negli spazi gestiti dai partner dell’azione, o durante il periodo di ricerca (per registrazioni di  materiali video, o altro), o nel periodo finale di allestimento. In ogni caso, tutti i progetti devono  prevedere una restituzione on-line aperta al pubblico, da tenersi nel corso del mese di  novembre 2023. 

Ciascuna delle 4 proposte vincitrici riceverà un contributo di residenza di 4.000 euro + iva +  messa a disposizione dell’alloggio e di uno spazio di lavoro per l’eventuale periodo di residenza in presenza. Il compenso sarà pagato dietro la presentazione di regolare fattura.  

I promotori del presente bando hanno individuato in Laura Gemini, Anna Maria Monteverdi e  Federica Patti tre esperte nell’ambito della creazione digitale che saranno le tutor degli artisti durante  lo sviluppo dei loro progetti: ciascuna di loro seguirà specificamente 2 dei 4 progetti vincitori.  

I lavori vincitori potranno avvalersi anche di altri contributi produttivi forniti da ulteriori soggetti dello  spettacolo, ovvero non si richiede loro alcun vincolo di esclusiva per ciò che riguarda la produzione  che resta nell’assoluta disponibilità gestionale degli artisti.  

Gli artisti interessati al partecipare alla selezione dovranno entrare nel portale www.ilsonar.itselezionare le pagine relative a bando Residenze Digitali e compilare i campi richiesti dal modulo  di partecipazione online. Verranno richiesti loro:  

1) una presentazione dell’artista o della compagnia (massimo 1.000 battute); 

2) una descrizione del progetto di Residenza Digitale che si intende realizzare, indicando anche se  sono necessari uno o più periodi di residenza dal vivo presso gli spazi gestiti dai partner  dell’azione (massimo 2.000 battute); 

3) l’indicazione di un partner tecnico (programmatore, webmaster, fornitore di specifico know-how)  e della piattaforma che supporti le necessità tecniche dell’opera; 

4 l’indicazione se sia o meno necessaria una residenza in presenza, presso uno degli spazi gestiti  dai partner dell’azione;

5) un allegato di tipo non testuale che possa illustrare le modalità di realizzazione on-line previste  e/o immaginate (video, audio, pdf, PowerPoint), che potrà essere caricato come allegato o fornito  come link esterno. 

I materiali sopra descritti dovranno essere caricati online entro le ore dodici (mezzogiorno) di  giovedì 16 febbraio 2023. 

É possibile che gli organizzatori invitino alcuni degli artisti a un colloquio conoscitivo, da realizzarsi  in videoconferenza, nel periodo 17-21 marzo, con i candidati che avranno superato la prima fase  della selezione.  

All’atto di invio dei propri materiali, gli artisti e le compagnie accettano implicitamente tutte le norme  contenute nel presente bando. 

Con il presente bando, il Centro di Residenza della Toscana (Armunia CapoTrave/Kilowatt), 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 (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 vogliono sviluppare un dialogo sempre più ampio e fruttuoso tra spettacolo dal vivo e  pensiero creativo applicato allo spazio digitale, esplorando un’opportunità di creazione che apre  nuove sfide formali e concettuali, produce contenuti artistici innovativi e affianca le forme consuete  di fruizione dello spettacolo dal vivo.