Gianluca De Col
the evening continues with AD2012.Progetto Nil admirari
by and with: Gianluca De Col
scenic dramaturgy: Gianluca De Col, Alessandra De Santis, Attilio Nicoli Cristiani
supervision: Alessandra De Santis, Attilio Nicoli Cristiani
technique: Monia Giannobili
sound: Luca Pagliano
played piano for the recording: Davide Dellino
Production De Col, Olinda and Teatro delle Moire
In Milan there is a neighbourhood, once called the Casbah of Porta Chica.
In the 80s and 90s it was famous for the presence of transsexuals and transvestites.
In the Casbah there was “the dolls’ palace”.
The house where transsexuals and transvestites – the dolls – lived.
Lola is one of those dolls.
Lola Polio is used to walking on glass.
Lola has the vocation of a poet and a specialisation in survival…
Lola tries to resist time and the indifference of the times.
Lola talks a lot just to give herself the impression of still being someone.
Gianluca De Col was born in Belluno in 1978. He lives and works in Milan. He graduated from the Carlo Goldoni School for Actors of the Teatro Stabile del Veneto (2000) and from the Dramaturgy Course of the Paolo Grassi School of Dramatic Art (2003). He works as an author, actor and performer, and has been working for several years on disguise as a theatrical craft (in the role of Cassandra Casbah, he plays the role of Serata Gaudenzia). In the 2011 edition of “From up close no one is normal” he presented Transfigurata, the spiritual testament of a drag queen. She collaborates with Teatro delle Moire and Milena Costanzo.
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The evening begins with LOLA POLIO. Poemetto borderline
with Floor Robert, Giacomo Bogani, Andrea Falcone, Francesco Michele Laterza
lyrics Andrea Falcone
musical project Giacomo Bogani
lighting design and technique Giulia Broggi
stylistic consultancy Maria Sole Vannetti
production inQuanto teatro
co-production Operaestate Festival Veneto
in collaboration with Kinkaleri, La Piccionaia
nil admirari | jury mention Premio Scenario 2011
Nil admirari is a research project started at the beginning of 2011. The project, presented at the Final of Premio Scenario, was awarded with the Special Mention of the Jury. “For the wit of a scenic game that involves the audience with intelligence and irony and for the creation of an original language that invents a parallel world populated by objects and governed by accumulation and non-sense”.
AD 2012 is a work about time, built on discrepancies and analogies between old and new gestures and discourses. It is a work against time. We respect every version of the facts based on a before, a now and an after, but that is not what interests us. We seek an awareness: where are we?
AD 2012 is a work out of time, bringing together characters from Sacred Representations and passages of recitar cantando with ephemeral scenes and artificial landscapes, with everyday objects that we cannot find normal. In contradiction, in error, that is where we find ourselves. This is a human portrait, perhaps that of a generation, more certainly that of a genre of people: romantics, one might say. In love with the elsewhere and the otherwise. Time has passed, we are told, but it is not true: time remains, it is we who are leaving.
inQuanto teatro is an artistic collective founded in 2010 in Florence by Andrea Falcone, Floor Robert and Giacomo Bogani. Part of a wider network of links and unions, extended in space and time, inQuanto teatro collaborates or has collaborated with Giulia Broggi (performance, graphics, video editing), Matteo Balbo (performance, graphics), Susanna Stigler (photography), Duccio Mauro (photography), Maria Sole Vannetti (costumes) and Francesco Michele Laterza (performance). Currently, inQuanto teatro is part of Officina Teatro, a project of Operaestate Festival Veneto for young companies, and receives the support of Kinkaleri and La Piccionaia – I Carrara, Teatro Stabile d’Innovazione di Vicenza. inQuanto teatro is a network of tense connections and understandings in the artistic field; a knitting with many hands, reusing plots and shreds from another time to weave the text of tomorrow.
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Mechanics for Dreamers
with Luca Valisi, Federico Bassi, Alessio De Meo, Daniele Napoli
machine construction by TanaCreatures and Piccolo Circo Volante
Pyrophons are organs that vibrate a ferrous body through the heat of the fire, producing a long, low sound that can be modulated using an electric motor system. Made exclusively from industrial waste materials, they are the main instruments used in the performance Pirofonia, which was born from the encounter between Federico Bassi’s TanaCreatures and Daniele Napoli’s Piccolo Circo Volante and musicians Luca Valisi, on bass and loop station, and Alessio de Meo, on mixer and effects.
From a future past, the four unusual characters, half argonauts and inventors of playful machines, take the audience on a journey through unknown and remote sounds. A journey under the skin, in the memory of the body, through sounds, noises, rhythms and melodies born from the primordial volcano, as well as from the industrial world. The result is a performance, as well as a sound one, strongly visual and of great scenic impact.
Mechanical-analogue sculptures built with discarded objects that produce sounds and awaken wonder. A live performance, an installation. A real forge of sounds and steampunk visions made real.
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The exhibition with aperitif is followed by GMGS_What The Hell Is Happiness?
5 – 6 March from 10.00 to 18.00 Collection of materials (neighbourhood streets)
8 – 10 March from 16.00 Installation (at ZONA K)
A survey on the theme of happiness in the streets of the Isola neighbourhood, directly involving citizens who are asked to answer a “simple” question: How should we live?
On 5 and 6 March, Code Ivan will move between the market, the bars during lunch breaks and the evening aperitifs of Milan’s Isola district, to photograph those who want to have their say on what “happiness” means.
The photos will form an installation that can be visited in ZONA K and will be given as a gift to those who have had their photo taken (…they will also get a reduced ticket for the show!).
Do you want to be part of this operation? Be ready!
This event is preceded by
THE CITY OF HAPPINES. Milano Tappa specifica per l’Isola by Codice Ivan
collective creation Codice Ivan
scenes Codice Ivan
original music Private Culture
production Codice Ivan
co-production Centrale Fies
in collaboration with Fondazione del Teatro Stabile di Torino/Prospettiva
with the support of FAF (Florence), Contemporanea Festival/Teatro Metastasio Stabile della Toscana
creative residencies Centrale Fies (Dro), Pim Off (Milan), FAF (Florence), Spazio K Kinkaleri (Prato)
Codice Ivan thanks nEXt Emerson (Florence), Private Culture, Simona Bonacina.
Codice Ivan is part of the Fies Factory project
There is only one innate error, and that is to believe that we exist to be happy. (A. Schopenhauer)
The project GIVE ME MONEY, GIVE ME SEX_What the hell is happiness? (GMGS), stems from the need to confront a concept, an engine of everyday life and its often obsessive search: happiness. Everyone struggles to achieve it without understanding where or how to go. The only certainty is the (self-)banishment from a perfect world, and the awareness of the daily difficulty of choice. And so we ask ourselves: how should we live?
Codice Ivan was founded in 2008 by Anna Destefanis, Leonardo Mazzi and Benno Steinegger. The group’s work was immediately oriented mainly towards the performing arts/theatre, but it also started a research path aimed at using different formats. In 2009 they won the Scenario Prize with Pink, Me & The Roses and in 2011 the TransartPrize with the project SCORE. Since 2009 Codice Ivan has been part of Fies Factory, a project of Centrale Fies.
PLAY K(ei) is also 0-99
the evening continues with Mo.Lem (Movimento Libere Espressioni Metropolitane)
with Beatrice Cevolani, Hendry Proni and Delia Trice
If you are at the supermarket checkout you expect the cashier to be honest. Yet the trolley is full of packages on which there are pictures of a perfect product that you won’t find inside the boxes. And you know it.
If you are at a poker table you think bluffing is legal.
If you go to the theatre you think you’re sitting there listening to and watching people put on a show.
If you go to see a Panda Bluff instead? You don’t. Because first you will be a spectator, then a spectator, then an actor, then a participant, then something that doesn’t yet have a name because it’s pure avant-garde, or a bluff. We won’t tell you, but if you don’t try you’ll never know.
We were thinking of a show, a format was born: in Panda Bluff we take a subject, we dissect it, we shake up a bit the conventions of theatre and the convictions of the audience to try to show that enacting declared fictions, in some cases fictions, in some cases, is the only way to be true.
Panda Project are Hendry Proni, Beatrice Cevolani and Delia Trice. Three actors with different backgrounds (academic, performance, group theatre) have been working in theatres, festivals and squares for years, with various groups/companies (Koiné, ALDES-Roberto Castello, Teatro Due Mondi), collaborating and have collaborated with anyone who has given them prestige, space or money. Now they have decided to stay together for a while. Panda Project was born, followed by Panda’s Heart. “Maybe we thought we were old enough. Or maybe we were the right people. We don’t know exactly when this project was conceived, but we are sure it was a good moment. We didn’t look for it, it’s true, but we’ll never tell them that.”
PLAY K(ei) is also0-99
the evening begins with Visual Bluff
coordination and direction by Marco Ivaldi, Marco Monfredini and Francesca Tortora
with Chiara Cardea, Roberta Maraini, Silvia Mercuriati, Salvo Montalto, Elena Pisu
technical direction Andrea Sancio Sangiorgi
distribution, organisation and press office OffRome
stage photos Alessandro Bosio
poster image Marco Monfredini
filming and video editing Giulia Gobbi and Francesco Dinolfo
the project TRICHER has been selected for the NAPOLI FRINGE FESTIVAL 2013
I want to do a survey.
I want to know the truth.
I want to find the right question to get the answer I don’t expect.
I want to stop lying.
I want to be an eyewitness.
I want to give my testimony.
Our starting question is always the same: “What is the difference between not telling the truth and lying?”
In this third chapter we will try to answer by focusing our analysis on the contribution that “Testimonies” can make to the search for _no lie_.
MO.Lem continues to deepen the themes addressed in the previous chapters by updating them on the basis of the continuous real changes in society and politics. The show changes according to the period of its staging, it is a continuous work in progress that allows the companies to work constantly together on the project. The show is conceived and structured to be staged also (and above all!) in unconventional places, which allow a more direct relationship with the public, so as to reproduce an ideal “agora”. “[…] A work in progress in which five actors deal with social and current themes, representing and dismantling the dearest fairy tales of our memories. […] The economic crisis, job insecurity and the chimera of a steady job are ready to get to the heart of the play and create a surreal and realistic atmosphere. […]”. Stefano Rogliatti – Quotidiano Piemontese, 13/04/2012
The MO.Lem collective (Movimento Libere Espressioni Metropolitane) was founded in July 2009 and is formed by the Turin-based theatre companies Anticamera Teatro, Chi per Es Teatro, Ivaldi|Mercuriati and Chiara Cardea, joined in 2012 by Grimaco Movimentiumani. The aim of the collective is to unite different theatrical experiences for the realisation and organisation of projects linked to contemporaneity.
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THE MEETING BETWEEN GENERATIONS will be a central theme during the Salone del Mobile when we will publicly ask THE QUESTION MUST I ASK AN OLD MAN? and ZONA K will be dressed in the Ü60 exhibition – design for tomorrow.
In the same context, on Wednesday 10 April we will be presenting the book
Re-birth: grandmothers and grandfathers tomorrow. Intergenerational ties in a complex society by Cristiana Ottaviano, University of Bergamo.
Exhibition of some objects created by the Faculty of Design and Art of the Free University of Bolzano (I), the Burg Giebichenstein Kunsthochschule in Halle (D) and the Angewandte Kunst in Schneeberg (D). The content of the exhibition, which has already been presented at the Grassi Museum in Leipzig and at the IMM – Internationale Möbel Messe in Cologne, is the result of a cooperation project that began in February 2012 and revolves around a series of objects designed for the elderly in an attempt to avoid the medical aesthetic that usually characterises them. The aim of the exhibition is to raise awareness of the issue of ageing in contemporary society in a more general way, not only by focusing on the design of the objects, but also by thinking about a targeted mediation of this issue.
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the evening continues with Salomè ha perso il lume
dramaturgy by Anna Schirru
directed by Anna Schirru
with Maria Gorini and Caterina Sciariada
Two sisters live their daily dystopia.
They distort natural Time and Space to create a microcosm that is theirs alone, regulated by a decalogue that marks their lives and that they have inherited, just as one inherits eye colour.
To maintain this balance they use the only strategy they know: play, the only moment of authenticity. A child’s game that becomes an opportunity to give free rein to adult, violent and turbid impulses, impulses that would otherwise be constantly silenced. If you want to survive, all you can do is keep quiet: swallow and pretend nothing is happening.
We have created a surreal and perverse but perfect balance.
The Gorsciaskji Company was founded in November 2011 by three young actresses: Anna Schirru, Maria Gorini and Caterina Sciariada. The three girls, one from Milan, one from Rome and one from Cagliari, met at the propaedeutic acting course at the Paolo Grassi School of Dramatic Art and chose Milan as the base for the company. With a similar vision of theatre and aesthetic taste, they embarked on a journey during which the physiognomy of the company was outlined. Ingoia e fai finta di niente is their first work.
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the evening begins with Ingoia e fai finta di niente
a performance by and with Costanza Givone
set design and lighting design Samuele Mariotti
assistant director and designer João Vladimiro
photos Luís Martins
A young woman meets herself in a space that is neither inside nor outside: the skeleton of a room. An ancient game of chess reveals to her the story of a perfectly shaped princess named Salome. A head falls off. There is no turning back. The head stares motionless at the girl, for eternity. Escape is impossible. They belong to each other, there is nothing left for them but to live, in a grotesque world, where reality is madness, and only in a dream is peace found.
A performance inspired by Salome’s story about the loss of self. The mind is shipwrecked, the lights that guide us go out, the floor crumbles under our feet in a show where dance, theatre and plastic arts meet.
A chess game tells us about Salome’s life, a clay head, which transforms in the actress’s hands, reveals her inner world.
I am interested in the encounter between the arts; in my work as in my training, I navigate the boundaries between the different artistic disciplines. Important people in my artistic training are the director N.Karpov (theatre biomechanics), the dancers and choreographers Virgilio Sieni, Simona Bucci, Sofia Neuparth, Ainhoa Vidal, Peter Michael Dietz, Vera Mantero, the dancers of the figure theatre company Derevo, Thanya Kabarova and Alexej Merkushev, the actress Gey Pin Ang (Grotowsky centre), the singer and vocal researcher Gabriella Bartolomei. I also consider fundamental for my growth the work as performer and co-creator with the Zaches Teatro company in italy and with the choreographers Madalena Victorino and Aldara Bizarro in Portugal. (Costanza Givone)
PLAY K(ei) is also 0-99
h. 20.00 Prêt-à-PORTER aperitif by Cuochivolanti (Turin)
h. 21.00 Happy Meals – Gastro-performance with Cuochivolanti (Turin)
€ 10,00 full price ticket
€ 7,50 reduced ticket
by and with Davide Barbato and Chiara Cardea
sound design Enrico Ascoli
staging Marco Gennaro and Jacopo Valsania
lighting design Davide Marcone
direction Davide Barbato
production Cuochivolanti and Associazione CuochiLab
project realized with the contribution of the City of Turin, the Province of Turin, with the support of Sistema Teatro Torino e Provincia with the productive collaboration and support of Associazione Teatro Baretti/Studio Marco Gennaro Architetto/Alain Battiloro photographer/Enrico Ascoli/Giulio Pedretti/Luigi Ceccon photographer
Image Alain Battiloro
The show had its national premiere at the Teatro Astra in Turin on 9 June 2012, as part of the XVII Festival delle Colline Torinesi.
Happy Meals cites the famous children’s menu of the unnamed fast-food giant, which was perhaps the first, together with the equally famous carbonated soft drink with a secret recipe, to replace the term “hunger” with the term “happiness” in people’s stomachs, discovering a new, unexpected and insatiable appetite for our overfed digestive systems. But he also cites Becketti’s Happy Days, the senseless binge of words (of food) that saves us from the senseless desert of existence: ‘there is so little that can be said (eat), that one says (eat) everything, everything there is’.
Eating is a recreational act, for almost all of us. A small private party. It is an interval from which we expect to find a part of ourselves. For everything else (nourishment, energy, vitamins, proteins) there are supplements. And coffee, of course.
With this show we go on stage to talk about food: we do it thanks to Chiara, who is an actress and lends her body and voice to a unique experiment in emotional nutrition, exposing her meals to the public. We do this thanks to Cuochivolanti, who are cooks and have seen more dramas, tragedies, comedies and farces than any playwright by making people eat. With Enrico Ascoli’s precious sound mechanisms, we make them, the food, talk too, trying to understand its hidden and mysterious language, just in case we manage to grasp an important message. And then there are you. The diners. Perhaps you would like to give us your opinion. Your stomach’s opinion.
Enjoy your meal.
Cuochivolanti is the brainchild of Davide Barbato, Roberta Cavallo and Patrizia Capuzzi. Since 2009 they have been working with Chiara Cardea, an actress. Their activities are varied and range from catering and home cooking to the creation of events, shows and performances. Company productions: Kitchen Kabarett (2007); Cooking Time (2009); Tempesta di pasta (2009); L’ultima cena di Leonardo (2010); Cucinasonora (2010-2011); Anima in bocca (2012) and, with the Ass. CuochiLab, Happy Meals (2012), a project that won the STT – Sistema Teatro Torino tender.
Since 2010 Cuochivolanti have been curating the project Play with Food – La scena del cibo, the first visual and performing arts festival entirely dedicated to food. As part of the festival, Cuochivolanti has co-produced new visual and performing arts creations by artists from Turin and all over Italy. Work is currently underway for the fourth edition of the festival (20-24 March 2013), whose programme is built around four ongoing calls for ideas.
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Riserva Canini Teatro
the evening continues with ORLANDO-ORLANDO
imagined and created by Marco Ferro and Valeria Sacco
with Valeria Sacco
lighting design Andrea Narese
sound design Stefano De Ponti
original music Luca Mauceri, Stefano De Ponti, Eleonora Pellegrini
technical advice Sergio Bernasani
a Riserva Canini Teatro production
with the support of Festival Immagini dell’Interno of Pinerolo (TO), Festival Giardino delle Esperidi (LC), Rete Teatrale Aretina (AR) Teatro Gioco Vita (PC), and Théâtre Gérard Philipe de Frouard – Scène conventionnée pour les arts de la marionnette et les formes animées (Nancy – France)
On stage, a lone actress with a human-sized marionette that she animates herself. But the puppet abandoned in the arms of the puppeteer suddenly wakes up, and we discover that it is a human creature, breathing, looking, living. Yet the performer is only one, so the spectator begins to lose himself and then slowly understand that not only is what he thought was a marionette alive, but that what he thought was alive is actually animated. And, following the story, in its questioning of the true nature of the two protagonists, they find themselves questioning the very concept of life.
TalitaKum is born from a vision, complex and at the same time linear, as certain afternoon dreams are. It is a show that has no words, but there is a story. And we have brought it to life by following the route of a journey that resembles a fever, a fainting spell, one of those moments when energy runs out and gets confused within our incomprehensible boundaries.
Riserva Canini was founded in 2004 and is based in Florence and Milan. The artistic direction is entrusted to Marco Ferro and Valeria Sacco, who are also the founders. However, each individual project involves various artists and technicians. The company has so far collaborated on various productions with organisations such as Teatro Metastasio in Prato, Teatro Comunale in Castiglionfiorentino, Scarlattine Teatro in Lecco, Festival Immagini dell’Interno in Pinerolo, Teatro Comunale in Pieve S. Stefano, Teatro Giocovita in Piacenza, Pim Spazio Scenico, Teatro Laboratorio Mangiafuoco, Outis and CRT in Milan. In opera, he worked with AsLiCo for the productions of Rigoletto and Hansel and Gretel and with the Festival della Val d’Itria for Gianni di Parigi. Riserva Canini has had collaborations and residencies abroad with the Théatre Gerard Philipe in Frouard (Nancy), the International Institute of Puppetry in Charleville Mezieres and the Centre School of Speech and Drama in London.
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la serata incomincia con Talita Kum
con Stefano Scandaletti
adattamento teatrale e regia Stefano Pagin
musica Gabriella Zen
assistente alla regia Marta Meneghetti
cura elementi scenici Lucia Morato e Paolo Bertinato
luci e direzione tecnica Gianfranco Gallo e Francesco Agostini
foto di scena Alberto Brescia
distribuzione Roberta da Soller
si ringrazia Teatro a l’Avogaria di Venezia e Teatro Fondamenta Nuove di Venezia
musiche registrate in occasione dei laboratori teatrali della Biennale di Venezia 2008
Premio off Teatro Stabile del Veneto. Premio Argot-off 2012 da Orlando di Virginia Woolf
Orlando – Orlando è l’ironica allegoria dell’artista contemporaneo che identifica se stesso con la sua opera, sperimentando suo malgrado che la natura e l’arte nutrono una naturale antipatia reciproca.
“Poiché l’amore, al quale possiamo ora ritornare, ha due volti: uno bianco e l’altro nero; due corpi: uno liscio e l’altro villoso. Ha due mani, due piedi, due code, due insomma di ogni membro, e uno è l’esatto opposto dell’altro. Eppure essi sono così strettamente connessi che non è possibile separarli.”
Motivazione Premio Argot-Off 2012:
Per una prospettiva tutta personale di lettura del testo, capace di suggerire lo smarrimento della propria identità fisica e interiore, questione tuttora irrisolta della nostra presenza nel mondo contemporaneo.
Indigena Teatro è un gruppo di recentissima formazione. È nato dall’esigenza di Marta Meneghetti, Stefania Felicioli, Stefano Pagin, Stefano Scandaletti tre attori e un regista attivi in campo professionale da alcuni anni. La poetica di Indigena si orienta verso un teatro di parola, si lega a testi teatrali e poetici o ad elaborazioni drammaturgiche di opere letterarie. Crediamo fortemente che, pur nella sperimentazione, si debba continuare a ribadire la fiducia nella parola scritta: parola che evoca, che emoziona, che educa.
PLAY K(ei) è anche 0-99
with Floor Robert, Giacomo Bogani, Andrea Falcone
EXTRA EVENT with aperitif: it will take place on the terrace of Isolacasateatro (via Jacopo Dal Verme 16 – Isola district, Milan), with the collaboration of Isolacasateatro.
V o l a r e v i a d a l m o n d o is an act of evasion conducted starting from the spaces we live in, which superimposes the flight of aviation legends on the reality we know, made up of stones and words. Even if our feet cannot leave the ground, perhaps our heads can.
An impossible alternative is still an alternative. And is it really impossible? We shall see. As Bacon wrote, impossible is a word that is used only for lack of imagination.
In case of bad weather, the evenings will be hosted by Isolacasateatro.
ZONA K thanks you!
The first edition of PLAY K(ei), the theatre season (Stage of the Present) and meetings for the three generations (0-99) of ZONA K, is coming to an end.
Our thanks go to all of you, who are special, you are our audience: friends, families, the curious, in short all the people who over the past 8 months have shared this piece of road with us.
Guests of PLAY K(ei) Stage of the Present and also to them our huge THANK YOU: Gianluca De Col (Milan), inQuanto Teatro (Florence), Mechanics for dreamers (Milan), Codice Ivan (Bolzano-Florence), Panda Project (Ravenna), Collettivo Mo.Lem (Turin), Compagnia Gorsciaskji (Milan), Costanza Givone (Florence), Cuochivolanti (Turin), Riserva Canini (Florence), Indigena Teatro (Rome).
Guests of PLAY K(ei) 0-99 made Sundays even more beautiful: Pane Arte Marmellata, Andrea Peraro (Cineteca di Bologna), prof. Giancarlo Bertolino, Don Gino Rigoldi, Giovanna Lepori and Giorgio Häusermann (Giardino della Scienza di Ascona – CH), Cristina Bellon and the astrophysicist Giovanni Bignami, inQuanto Teatro, Fondazione Pistoletto, Tiziana Colla, Lucia Malcovati, Alessandro Dinuzzi, Pietro De Pascalis, Mauro Sara, Luca Stetur, Curzio Maltese, Marco Imarisio, Natascha Lusenti, Paola Ponti, Associazione Isabelle Il Capriolo and Cristiana Ottaviano, Laura Valli, Qui e Ora, Matteo Curatella, Carlo Ottolini, Claudia de Lillo and Cristina Donà.
The following have collaborated with PLAY K(ei) 2013: Leonardo Mazzi, Renata Viola, Fabiano Cocozza, Stefano Montagnana, Nadia Fauzia, Marika Vistrè, Malù De Alva, Andrea Rossi, Martino Minzoni, Stefano Revelant, Luca De Marinis, Simona Gamba, VIVIMILANO, delleAli, Isolacasateatro, Marta, Angela, Pietro and Tommaso, Valerio Manca, Antonio Belloni, Alessandro and Ernesto di Alex Bar, Alessandro Acerbi. Special thanks to Vincenzo Sardelli.
SEE YOU IN OCTOBER!
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