After the success of FOCUS BALCANI, which took place in autumn 2013 also thanks to the contribution of Regione Lombardia, the new season opens with a focus on German artists.
Among the infinite number of possible proposals coming from a country as attentive to theatre and culture as Germany, ZONA K has chosen a small but significant selection of projects that are particularly innovative and effective in terms of attention to the present and analysis of the reality that surrounds us.
The main theme of the entire focus, as of the PLAY-K(ei) season, is the relationship between art and reality, in particular urban reality, and the ability of art to look at, describe and act on reality.
22 October – 5 November 2014
Rimini Protokoll
REMOTE MILANO
[participatory urban performance]
23 October 2014 h. 10.30 – at the State University of Milan
I RIMINI PROTOKOLL SI RACCONTANO
28 October 2014 h. 18.00
A 25 ANNI DALLA CADUTA DEL MURO DI BERLINO.
Uno sguardo sulla Germania
[meeting]
28 October – 2 November 2014 h. 17.00/19.00
DITTATURA E DEMOCRAZIA ALL’EPOCA DELL’ESTREMO.
Illustrazione sulla storia dell’Europa nel 20°secolo
[historical-photographic exhibition]
28 October – 2 November 2014 h. 17.00/19.00
KLEISTER – CITTA’ E REALTA’. Un progetto fotografico per lo spazio pubblico
[exhibition]
Curated by Kulturpalast Wedding and Hannah Goldstein
31 October 2014 h. 17.30
APERITIVO con VISIONI IN CORTO
[cinema]
In collaboration with MilanoFilmFestival.
Focus Germany is part of Milano Cuore d’Europa, the multidisciplinary cultural programming dedicated to the European identity of our city also through the figures and movements that, with their history and artistic production, have contributed to building its European citizenship and cultural dimension.
After Berlin, Vienna, Avignon, St. Petersburg, RIMINI PROTOKOLL, one of the most awarded avant-garde collectives in Europe, finally arrives in Milan, as part of the PLAY-K season and the Focus Germania .
REMOTE MILANO is a walking tour through the city guided by the electronic voice of a personal navigator who will speak in Italian.
A soundtrack written for Milan, which transforms the urban journey into a collective film.
A technological medium that directs and challenges its 50 participants: they are part of a collective entity, but the individual can make decisions for himself; he is both actor and spectator, observer and observed.
“Do the others listen to what I listen to?”
“How will we make common decisions?”
Artificial intelligence directs, but it also stimulates an altered perception that prompts people to look at reality and at themselves in a completely new way.
A game, an experience, a journey.
Milan as you have never seen it.
Starting point: Monumental Cemetery – main entrance
Hours: Tuesday to Friday 3.00 p.m.
Saturday and Sunday 11.30 am and 3 pm
NB: The show is itinerant, lasts about 90 minutes and will be performed on foot.
limited places – reservation required
advance sale from 1 October 2014
Tickets:
full price €15.00
reduced €10.00 (students, under 18, over 60)
special ticket for project support €20.00
ESSENTIAL INFORMATION TO PARTICIPATE IN REMOTE MILAN
Please arrive at the meeting place 20 minutes before the start of the event. Since this is a route with obligatory stages, the starting time cannot be postponed. The show is itinerant, lasts about 90 minutes and will be covered on foot. We recommend that you wear comfortable shoes and a mackintosh in case of rain. At the meeting place you will be asked for a document as a deposit for the use of the navigator.
idea, text and direction: Stefan Kaegi, co-director: Jörg Karrenbauer; sound design: Nikolas Neecke; dramaturgy: Juliane Männel, Aljoscha Begrich; assistant director: Ilona Marti; voices by Acapela Group; production direction: Caroline Gentz
“Remote X” is a production of Rimini Apparat
in co-production with HAU Hebbel am Ufer Berlin, Maria Matos Teatro Municipal and dem Goethe-Institut Portugal, Festival Theaterformen Hannover/Braunschweig, Festival d’Avignon, Theater Spektakel Zurich, Kaserne Basel
with the support of: Hauptstadtkulturfonds Berlin, Pro Helvetia, Schweizer Kulturstiftung and Fachausschuss Tanz und Theater Kanton Basel-Stadt; in co-production with House on Fire and with the support of the Culture Programme of the European Union
for Milan: assistant director: Federica Di Rosa; director of production and translation: Valentina Kastlunger (ZONA K)
Rimini Protokoll is today perhaps the most awarded artistic collective in Europe and a fundamental point of reference for all avant-garde theatre.
Its members, Helgard Haug, Stefan Kaegi and Daniel Wetzel, met in the 1990s while studying at the Institut für Angewandte Theaterwissenschaften at the University of Gießen. In 2000 they joined forces to form a collective of author-directors whose members can choose to work alone, in twos or threes. Since 2002, all their works – plays, radio plays, films and installations – have been signed Rimini-Protokoll.
At the heart of their research is the development of the expressive means of theatre to provoke new looks at reality. Each work draws on real life and uses elements and people from concrete situations and specific places.
Thus Haug, Kaegi and Wetzel proclaim a general assembly of the Daimler-Benz pièce theatre and, in so doing, transform it into one; they realise the 100% City project by bringing 100 real citizens onto the stage as a statistical sample to represent, among others, cities such as Berlin, Zurich, London, Melbourne, Copenhagen or San Diego. In Berlin and Dresden they develop audio installations about the Stasi, during which the spectator can listen to the real spy protocols of the GDR secret service with his mobile phone. They are currently touring with a group of Nigerian-European businessmen for the Lagos Business Angels project and with paraplegic MC Hallwachs for the play Qualitätskontrolle (Haug / Wetzel) or creating soundtracks for the most diverse cities in the world with the REMOTE X project (Kaegi).
In 2003 the play Shooting Bourbaki was awarded the NRW-Impulse prize; the projects Deadline (2004), Wallenstein – eine dokumentarische Inszenierung (2006) and Situation Rooms (2014) were invited to the prestigious Berliner Theatertreffen festival; Schwarzenbergplatz (2005) was nominated for the Austrian Nestroy Theatre Prize; Mnemopark was awarded the jury prize of the Berlin “Politik im freien Theater” Festival in 2005; and in 2007 the radio play Karl Marx: Das Kapital. Erster Band won both the audience prize and the Mülheimer Dramatiker Preis jury prize at the national contemporary drama festival Stücke 2007.
In November 2007 Haug, Kaegi and Wetzel received a special prize from the Deutsches Theaterpreis DER FAUST; in April 2008 they were awarded the Thessaloniki European Theatre Prize in the category “New Realities”; in 2008 the radio play Karl Marx: Das Kapital, Erster Band received the Blind War Veterans Prize (for which the radio play Peymannbeschimpfung was also nominated).
In 2011 Rimini-Protokoll’s entire work was awarded the Silver Lion at the 41st Venice Biennale. Venice Theatre Biennale.
Since 2003 Rimini Protokoll has been based in Berlin in the offices of the Hebbel am Ufer theatre.
Pic. by Luca Meola
Jörg Karrenbauer – choreographer of REMOTE MILANO – talks to critics, academics, students and the public about the work of RIMINI-PROTOKOLL – a German collective that has become a fundamental point of reference for the European theatrical and artistic avant-garde – and analyses the experience that led to the creation of REMOTE MILANO, an all-European look at our city.
With Renato Palazzi and Maddalena Giovannelli.
The political role of theatre according to tradition and according to a post-modern vision; the relationship with reality, the expert-actors, the relationship between artistic intervention and authenticity; the relationship with power and new technologies, in reality and in artistic work; the relationship established with the city in the creation of Remote Milano: these are some of the themes addressed during the meeting-debate.
In collaboration with the Department of Foreign Languages and Literatures, University of Milan
Address: University of Milan, via Festa del Perdono, 7 – AULA 422
Free entrance
Photo by David von Becker©
KLEISTER organises photo exhibitions in public space. Invited photographers meet in the designated place and paste their chosen photos directly onto the wall. The exhibition remains out in the open, available to everyone, and is transformed by time and the interventions of passers-by, until the sun and rain completely erase the images.
KLEISTER brings photography to the street and supports young artists and new creative networks. It is a photographic project born in Berlin from the collaboration between Hannah Goldstein and Katja Haustein.
Curated by Kulturpalast Wedding and Hannah Goldstein
With the participation of Eva Banchelli, Professor of German Literature, University of Bergamo; Alfredo Canavero, Professor of Contemporary History, University of Milan; Alberto Martinelli, Professor of Political Science and Sociology, University of Milan; Michele Vangi, Villa Vigoni Italian-German Centre.
In collaboration with the Centre for Foreign Policy and Public Opinion Studies, University of Milan.
The 2014 marks the commemoration of three significant historical events: 100 years ago the First World War broke out, 75 years ago the Second World War and 25 years ago the Berlin Wall fell.
The Federal Foundation for the Analysis of the Dictatorship of the Unified Socialist Party, in cooperation with the Institute for Contemporary History in Munich and the radio programme ‘Deutschlandradio Kultur’, conceived the exhibition ‘Dictatorship and Democracy in the Age of the Extreme. Illustration on the history of Europe in the 20th century’ (‘Diktatur und Demokratie im Zeitalter der Extreme. Streiflichter auf die Geschichte Europas im 20. Jahrhundert’). With 190 photographs from countless European archives, the exhibition illustrates the dramatic history of the 20th century in Europe, lived between freedom and tyranny, between democracy and dictatorship.
In collaboration with the Consulate General of the Federal Republic of Germany in Milan.
A special selection of short films by young German authors from the latest editions of the MilanoFilmFestival.
In collaboration with MilanoFilmFestival.
Consumption obligatory € 7,00
Bow Tie Duty For Squareheads (Fliegenpflicht für Quadratköpfe)
Stephan-Flint Müller, DEU, 2005, miniDV, 13
My life in Berlin, with all my hobbies and an introduction to all my friends. But there are
But there are also hats that weigh 10 tons and posters that fart.
From Here to Eternity
Oliver Pietsch, DEU, 2010, HD, 40
If death is the biggest taboo that cinema has dissolved, the afterlife is pure imagination.
staged in the most diverse ways, from Murnau to Tim Burton. Berlin-based artist Pietsch has collected and edited
Pietsch, a Berlin-based artist, has collected and edited a thousand sequences, grouped by ingenious associations: murders,
disease and natural disasters; punishment, limbo and forgiveness. From Edwin S. Porter onwards, editing has become God.
from Edwin S. Porter onwards, editing has become God, and From Here to Eternity is a stunning mortuary celebration.
Fucked
Paul Leyton , DEU, 2000, super8 , 8
Death? A man has an accident at work: while some colleagues take him away, he begins to think about the meaning of life and death, through memories, fantasies and nightmares.
Under Ground (Unter der erde)
Christian Moris Müller, DEU, 2002, 35mm, 9 min.
Unter der Erde is a film without words. An attempt to transcend and make invisible the barriers between different realities.
What Would the Drop Know About That? (Was weiss der Tropfen davon?)
Jan Zabeil, DEU, 2007, 16mm, 12″.
An atmospheric approach to the Reichstag Building, seat of the German Parliament, through the eyes of two young cleaners.
Twelve and a Half Minutes (Zwölf 1/2 Minuten)
Joschua Douma, DEU, 2003, Betacam, 14 min.
The average member of our (German) society is male, 38 years old and gets up at 8:15 a.m. On a normal day he will do normal things that will lead him to ask himself a lot of questions every evening about his existence. To do this he usually has 12½ minutes once he goes to bed before falling asleep.
The Surprise (Die Überraschung)
Lancelot von Naso, DEU, 2004, 35mm, 10
A film about the unexpected. Often there is a very subtle difference, or a very small gap, between comedy and tragedy. Olaf wants to win back his ex-girlfriend and sneaks into her flat to prepare a surprise for her. But will he succeed in making her happy? And who will be surprised in the end?
Energy! (Energie!)
Thorsten Fleisch, DEU, 2007, miniDV, 5
From a purely technical point of view, the screen is animated by a controlled beam of electrons in the cathode ray tube. To make Energie!, a photographic film was exposed to a discharge of about 30,000 volts and then re-edited to create new visual systems of electron organisation.
Lovesick (Liebeskrank)
Spela Cadez, DEU/SVN, 2007, 35mm, 8 min.
A pain in the heart, tears that never dry and turned heads that are difficult to deal with, but fortunately not incurable…
Myth as an inspiration for reflection on the present, an inexhaustible source of material to be re-read, re-elaborated and re-interpreted. Myth as a comparison, the bearer of universal values, of archetypes in the light of which we can rethink ourselves, look at others and at reality today.
19 – 21 January 2015 h. 21.00
Marcella Vanzo/Gogmagog
QUEI 2
[play]
21 January 2015 h. 18.00
MITO E PRESENTE
with contributions from: Lia Del Corno, Giorgio Barberio Corsetti and Martina Treu.
[meeting]
22 January – 20 February 2015 h. 10.00/19.00 am
Photos by Alessandro Sala / Cesura
TOP OF AFRICA
[photo exhibition]
23 – 26 January 2015 h. 21.00
La Fionda Teatro
LA CASA – Odissea di un crack
[play – national premiere]
QUEI 2 = Marcella Vanzo x Gogmagog.
Adam and Eve, reality and fiction, myth and rubbish.
2010: Gogmagog collaborate on Rumors, a performance by Marcella Vanzo for ZoomFestival at Teatro Studio in Scandicci.
2013: Vanzo writes QUEI 2 for them, inspired by Mark Twain’s Diary of Adam and Eve.
Relationship of a couple, ironic, fast, contemporary, on stage.
Ridiculous everyday, Twain and the myth, incisive and funny present.
Eden = 1980s TV: host and diva play a game between Eve’s exuberant femininity and Adam’s hardened reasoning, continually interrupted by passing animals.
Earth = banal, battered, everyday place. Adam, yes, accepts the love in the couple, but he cannot understand the disconcerting presence of a child.
QUEI 2 combines the company’s strong acting skills with the imagination of an artist who investigates the different dimensions of the human being: from the mythical to the social, from the political to the emotional.
QUEI 2 mixes reality and fiction, reflecting a fantastic present and ironising on the idiosyncrasies between male and female, nature and culture, mythical and everyday.
QUEI 2 lasts 50 minutes.
text and scenes by Marcella Vanzo, freely inspired by Mark Twain’s Diary of Adam and Eve; with: Cristina Abati, Carlo Salvador, Carlo Gambaro, direction Marcella Vanzo and GOGMAGOG, lights Antonella Colella
production GOGMAGOG, with the contribution of Regione Toscana-Sistema Regionale dello Spettacolo and the support of Giallo Mare Minimal Teatro, Teatro Metastasio Stabile della Toscana, Teatro Studio Krypton
Why do ancient myths exert such a fascination on us?
Why do they continue to be reworked by artists to speak of the present?
Thoughts and words on myth, reality and the present time.
Speakers: Lia Del Corno, Giorgio Barberio Corsetti, Martina Treu
Giorgio Barberio Corsetti, director, author and actor, founded his first company, La Gaia Scienza, in 1976, before disbanding it in 1984 to create a new group that would bear his name. In 2001, Giorgio Barberio Corsetti’s theatre company took on the name Fattore K, which it still retains today.
Directing plays and experimenting with the use of video in theatrical dramaturgy is one of the characteristic traits of Giorgio Barberio Corsetti’s theatre, which can be found as a hallmark of many of his shows.
Memorable works remain, such as La camera astratta in collaboration with Studio Azzurro, Descrizione di una battaglia, America, L’Histoire du Soldat, and then Il Processo, La Tempesta, Woyzeck, not to mention the countless productions on the international opera scene.
Moreover, since 1996 Giorgio Barberio Corsetti has been bringing to the stage texts dating back to mythical epics from the classical and Nordic or Oriental traditions. He has directed and rewritten or adapted numerous plays in this vein: La nascita della Tragedia opera pervaded by Greek myths; Notte, taken from the sacred texts of Indian mythology; Graal, from the chivalric tradition; The Metamorphoses, Of Animals, Men and Gods, Paradise and Argonauts from ancient classical writings, The Colour White, on the background of Nordic myths, Dionysus Born Thrice, Dionysia, Between Earth and Heaven, up to the more recent Nineteen Mantras on some ancient mantras of Indian religious tradition, and the very recent The War of Kurukshetra, an adaptation of the rich Indian poem Mahàbhàrata.
Much more could be said about the Artistic Directions undertaken by this versatile artist of the scene, from the Theatre Section of the Venice Biennale to the dance and theatre sections of the Auditorium-Parco della Musica in Rome, as well as the stages that have seen his creations: from Avignon to St. Petersburg and from Paris to Singapore.
Martina Treu has a degree in History of the Theatre and Ancient Dramaturgy, a PhD in Classical Philology, and an interest in the History of Greek and Latin Theatre. She is currently a researcher of Greek Language and Literature at IULM University, where she was responsible for the Dionys Project and the Theatre, Culture, Tourism and the Mediterranean Project, and for the Training sector of the Mediteatri.pa project (Formez).
She has edited publications and worked as scientific-organisational secretary for various Italian and foreign theatres and festivals, and has collaborated with various Italian directors, the Piccolo Teatro Studio and the Venice Biennale – International Theatre Festival. She regularly writes for the magazines Hystrio and Stratagemmi. Prospettive teatrali and is responsible for the News section of Dionysus Ex Machina.it.
Lia Del Corno born and lives in Milan. She translates from French, English and German and writes for Adelphi, Garzanti, Mondadori and RCS Libri, but above all she has worked in the theatre and edited the cultural programmes of the Piccolo Teatro in Milan, Franco Parenti and the Teatro Popolare in Rome. She was the one who came up with the idea of the lessons/shows, which she promoted with energy and enthusiasm. At present, she continues to work as a translator; she writes librettos for operas dedicated mainly to young people, and does some set design and costume design.
Johannesburg. 2012
In every corner of the city you feel the eyes of dozens of people on you. You – a white man – alone in downtown Johannebsurg.
Preserving your safety in downtown also relies on constantly observing who is watching you and assessing whether it is better to change direction, continue, turn back or run.
Top of africa is the highest point of the tallest building on the entire African continent: a tourist terrace from which you can get a 360° view of the city.
As soon as I arrived at this privileged place dedicated to a few tourists – where none of the real inhabitants have ever climbed – I realised that here the roles could be reversed.
I – a white man – can now observe and control the entire city undisturbed, every corner, every movement.
A scherzo for two single actresses. Allegro ma non troppo.
On stage a Penelope and an Ulysses
Ulysses does not eat fish, does not know how to swim, drinks, wants to go, but does not go.
Penelope eats fish, knows how to swim, drinks, doesn’t know where to go and doesn’t know where to stay.
Penelope and Ulysses have been living together for twenty years.
La Fionda Teatro celebrates its twentieth anniversary with one of the most famous couples of all time.
La Casa takes one of the oldest stories in the world, the Odyssey, to tell the life of a Penelope and an Ulysses, a couple on their twentieth anniversary. Two tiny heroes, taken from ancient Greece and catapulted into a house that has neither place nor time. In a minimalist and bare scene, two characters approach and recede in a pressing and repeated confrontation.
The text weaves and interweaves the story of the two protagonists with those of other characters from the Odyssey in a continuous passage between fiction and reality. Surreal, impossible, oneiric stories that have a life of their own and in the end have more truth than reality.
The show wants to give a delicate and ironic look on things, on the world, on us, human beings burdened by a ridiculous and tragic destiny, always in the balance between what we are and what we could be.
Dedicated to theatre and the power of imagination.
by and with Elisabetta Pogliani (Penelope) and Paola Zecca (Ulysses)
artistic collaboration Marta Bevilacqua (The Little Mermaid)
lights Fausto Bonvini (the Cyclops)
scene and costumes collaboration Giovanna Luè (the dog Argo)
production LA FIONDA TEATRO, with the support of ZONA K
thanks to Compagnia Arearea for the period of residence
Flip and George are a young couple about to get married. On the day after their engagement party, a mysterious cloud crosses our planet and upsets its destiny: every human being will have the opportunity to have the first three wishes come true. Dreams of glamour and fame replace the everyday greyness:
“The laid-off people got their jobs back. The blind began to see, the deaf to hear, the stutterers received the gift of eloquence, simple things became great, faded things bright. Reality appeared to you as it could have
and you could become the person you always wanted to be.
What will change in Flip and George’s lives as this strange cloud passes by?
What will they choose to wish for?
And will their desires bring them closer together, or push them away from each other?
Acclaimed at the 2001 Edinburgh Festival, Three Wishes is a comedy of irresistible humour, one of the most interesting examples of Ben Moor’s humorous and irreverent genius.
Bottega Rosenguild and Compagnia dei Demoni confirm with “Three Wishes” their interest in contemporary dramaturgy, joining together for the first time in a common project. Following a path already started respectively for Bottega Rosenguild with the show “Le Beatrici” by Stefano Benni and for Compagnia dei Demoni with “Shylock” by Gareth Armstrong, also in “Three Wishes” the author becomes an integral part of the creative process, assisting and collaborating in the staging of his text, and generating interesting short-circuits of different poetics and visions.
Thus, in his debut in Italy, Ben Moor will also be the artistic supervisor of this work that has been so successful in the UK and Europe.
The project “Three Wishes” won the 2014 L.A Petroni Arts Award promoted by Residenza Idra, which is also the production partner together with OffRome and Piefrancesco Pisani.
with Elisa Benedetta Marinoni and Mauro Parrinello
directed by Mauro Parrinello with the artistic supervision of Ben Moor
scenes and costumes Chiara Piccardo
lights Paolo Meglio
translation Elisa Benedetta Marinoni
organisation and distribution Francesca Montanino
a production
OffRome / Bottega Rosenguild / Pierfrancesco Pisani / Compagnia DeiDemoni
with the productive support of Residenza Idra
WINNER OF THE L. A. PETRONI ARTS AWARD 2014
BEN MOOR is an award-winning British author and actor. He works for theatre, radio and television. Among his most performed works are the one-man show It Takes Forever If You Go By Inertia, A Supercollider For The Family and Coelacanth, acclaimed by critics and British audiences alike. Tre Desideri is Moor’s first play to be performed in Italy.
ELISA BENEDETTA MARINONI Graduated from the Civica Accademia d’Arte Drammatica in Udine and graduated in Theatre and Dramaturgy, she has worked in various Italian theatres and alongside Stefano Benni, Valerio Binasco and Veronica Pivetti, both as an actress and as assistant director. She has lent her voice to radio programmes and audio books. In 2010 she founded the collective Bottega Rosenguild, with which she embarked on a productive and artistic journey together with theatrical performers, musicians and writers. She is the female winner of the 2013 Gino Cervi Award.
MAURO PARRINELLO A former student of Michele Di Mauro and Leo Muscato, after graduating from the School of Acting of the Teatro Stabile in Genoa, he was directed by Valerio Binasco in Noccioline by Fausto Paravidino for the Teatro Eliseo in Rome. He acted in the film Giorni e nuvole by Silvio Soldini, in the sit-com Piloti for RaiDue and for RaiTre in Melevisione. He is the interpreter and director of numerous independent short films. He worked alongside Paolo Hendel in the long tour of Molière, without his knowledge. For the Compagnia DeiDemoni, he has directed numerous productions. In the same year he played in the monologue Shylock by Gareth Armstrong, produced by OffRome, and for the cinema in the short film Free-go, presented at the Ciak d’Oro 2013, and in the Swiss-Italian feature film Fuori Mira, directed by Erik Bernasconi, to be released in 2014.
On the occasion of the Europe Radio Days in Milan, a week dedicated to radio and performing arts to investigate the history of such an important medium for the diffusion of culture, the rediscovery of its resources and new forms of experimentation and communication by young artists and companies.
11 March 2015 h. 18.30
Matteo Caccia, Danilo De Biasio, Filippo Solibello
RADIO 2.0
[meeting]
11 – 13 March h. 21.00
Rosario Tedesco/Matteo Caccia
SE DICO GOETHE
[performance]
11 – 17 March 2015 h.10.00/19.00
RADIODRAMMI IN COPERTINA
curated by Sandro Avanzo
[exhibition]
12 – 17 March 2015 h.11.00/17.00
RADIODRAMMA
with Paul Plamper
[theoretical-practical seminar]
14 March 2015 h. 18.00 – 19.00 – 20.00 – 21.00
15 March h. 16.00 – 17.00 – 18.00 – 19.00
Bluemotion – Angelo Mai
FAVOLE AL TELEFONO
[performance]
16 March 2015 h. 21.00
Il Babau & i maledetti cretini
DITTICO DEL MISTERO E DEL TERRORE
[performance]
17 March 2015 6.30 p.m.
Paul Plamper, Rodolfo Sacchettini Sandro Avanzo
IL RADIODRAMMA E LE ARTI PERFORMATIVE
[meeting]
Following in the footsteps of Goethe’s “The Italian Journey”, a new journey into the vices and virtues, the commonplaces and surprises, the geography and the people you don’t expect to meet.
“What comes to mind when I say Goethe?
In 1786 Goethe entered the Belpaese: his Journey to Italy lasted two years and changed him forever. Last spring, Rosario Tedesco, a man of theatre and travel, was commissioned by the Goethe-Institut to revisit the great German poet’s journey in a contemporary key. In his journey he met and talked about Italians and Italy today. This was done through a multimedia travel diary in which the words of the blog alternated with tweets, videos, sounds and images.
Rosario Tedesco now recounts his surprising experience on stage, and does so in a game of uprooting our preconceived ideas, even about ourselves.
with Rosario Tedesco, audio and lighting technician Paolo Corleoni
Rosario Tedesco is an actor and theatre director. He trained at Luca Ronconi’s school and since the late 1990s has worked with Antonio Latella. In 2005 he began working in Germany at the Düsseldorfer Schauspielhaus, the Schauspiel Köln and the Volksbühne in Berlin. Recently he has taken part in international films acting alongside Anthony Hopkins, Udo Kier, Michael York. Rosario Tedesco is also a walker-narrator. In 2009 he completed the Camino de Santiago and on the way to Finisterre his second walking project took shape: “Il Vento nelle Scarpe”, a 1770 km solitary walk along the Danube, completed between 2011 and 2012 in 92 days, crossing 6 countries.
Chat with: Matteo Caccia, Danilo De Biasio, Filippo Solibello
Authors, presenters, listeners, at the time of radio 2.0. How has radio changed in the last 10 years?
Have social networks and technology changed the way we listen to and participate in broadcasts?
Four chats with well-known voices from the airwaves to discover today’s audience, including anecdotes, intrusions and reflections on the future of radio.
In the first half of the 1970s, the US was in the throes of the so-called “Nostalgia Fever” (which some critics dubbed No(w)stalgia).
Numerous independent record labels played on the expiration of copyrights to recover dozens and dozens of soundtracks of old films and to reintroduce to the listener the voices of the great actors of the screen as they had spread over the airwaves in the 30s and 40s, on the hertzian waves of radio sets.
Historical radio dramas such as the famous “Adventures of Sherlock Holmes” or “The War of the Worlds” by Orson Wells were brought back to light and made accessible again from the vinyl grooves.
The adventures of memorable characters, even musicals written specifically for the radio, became available again. A large part of the so-called Radio’s Golden Age came back to life on records with the voices of Bette Davis, the Marx Brothers, Abbott & Costello, Mae West and a very young Judy Garland.
The records in the exhibition are an emblematic anthology of the recordings of that brief but prolific period and were all recorded between 1974 and 1977.
If the motivations behind the phenomenon can be entirely attributed to a commercial aspect of the initiative and certainly not to a cultural aspect, the merit of the legacy that this phenomenon has left on the collective memory front at a time when the dimension of the web as the primary collector of universal memory could not even be hypothesised.
Exhibition curated by Sandro Avanzo
ZONA K proposes a 6-day seminar dedicated to the practice of radio drama with Paul Plamper, director and author of innovative radio dramas of great success in Germany.
Starting from the choice of a strong and compelling theme such as “Immigration – between the political and the performative”, Plamper will accompany participants in the research, selection and collection of sound materials (including direct interviews with immigrants and refugees), in the development of ideas and projects, in the setting up of possible subjects and hypotheses of semi-documentary or fictional radio plays.
The aim of the seminar is to stimulate reflection, to provide research tools and to sharpen the ability to recognise and develop stories and material suitable for narration and “only” listening.
The seminar is addressed to technicians or sound artists, directors, authors, writers, journalists, social workers/educators and actors interested in radio drama techniques.
Knowledge of English is required.
The seminar takes place for 6 consecutive days in ZONA K and in the locations chosen for the interviews, from 11.00 to 17.00.
Limited places available. Participation is FREE after selection.
Paul Plamper, born in 1972, is an author and director of radio plays and lives in Berlin. He made his debut in theatre as assistant director at the Berliner Ensemble, where he went on to direct plays such as “Projekt RAF”, based on the letters of RAF prisoners, and “Artaud erinnert sich an Hitler und das romanische Café”, starring Martin Wuttke. With ‘Der Auftrag’ he staged the first Turkish production of a text by Heiner-Müller for the National Theatre in Istanbul. He has produced numerous award-winning radio plays for the WDR radio station, such as “Top Hit leicht gemacht” (Prix Europa 2002), the prison documentary project “Release” and a series of radio plays on the theme of silence, which were then turned into sound installations for the Ludwig Museum and the ZKM in Karlsruhe: “Ruhe 1” (Hörspielpreis 2008), “Tacet” (2010) and “Stille Nacht” (2013). With the radio play ‘Der Kauf’ (2013) he won the ARD award. Plamper also curated the radio drama series “Die Hörspielzentrale” at the HAU theatre in Berlin and founded and runs the online platform www.hoerspielpark.de.
Freely inspired by the world of Gianni Rodari.
The show is also suitable for an audience of children and young people.
From 6 years of age.
A show inspired by the world of Gianni Rodari, full of intelligent stories that taste of joy, fantasy and freedom. 7 telephones scattered in the space to call and answer to be told a story. 7 voices that tell Gianni Rodari’s fairy tales live. 7 spectators at a time who can pick up the phone and listen to the hidden switchboard operators: actors-narrators from the most diverse cultural and linguistic backgrounds, who tell stories and converse with listeners in all the languages of our city.
The project Favole al telefono (Tales on the phone) was born from the meeting of two main elements of Bluemotion’s research. The first concerns the construction of performative and visual devices that facilitate and investigate the sphere of communication between two individuals. The second is a reflection on storytelling as a gift, on its capacity to be an instrument of listening and dialogue.
For Bluemotion, the device is the instrument needed to create a rite. A secular rite, certainly, but one that can offer the possibility of feeling part of a community mechanism. In the case of Fables on the Telephone, the medium is the corded telephone, which has fallen into disuse years ago, as has the limitation of moving in a small space during a telephone conversation. This spatial constraint causes a sense of loss, but also of intimacy. Of loneliness, but also of wonder.
It is a brief experience of a telephone conversation with an unknown person. And what you hear is a fairy tale. The uncluttered, shadowy space houses the chaotic array of fairy tales hidden behind the handset, protecting the secret that binds two people talking on the phone without knowing each other. And in this small mysterious encounter the fairy tales become cartographies of lives, rites of passage, notes of the fantastic.
conceived and directed by Giorgina Pi; soundscape Valerio Vigliar; a production by Angelo Mai – Bluemotion
with Sara Benvenuto, Elettra Capuano, Gianluca De Rubertis, Gian Marco Di Lecce, Mauro Milone, Giorgina Pi, Laura Pizzirani, Sofia Vigliar, Valerio Vigliar, Rodrigo D’Erasmo + Roberto Dell’Era of Afterhours and Enrico Gabrielli of Calibro 35
Bluemotion is a group born in 2008 in Rome within the artistic and political experience of Angelo Mai. Performers, directors, musicians and visual artists come together to create from their own suggestions, comparing their views on the present and on art. The works of Bluemotion are always collective creations, the result of the exchange and visions of the members of the group.
Freely adapted from E. A. Poe’s “Tales of Mystery and Terror”.
Il Babau & i maledetti cretini pays tribute to Poe by rereading, in the dim light of a cryptic and cultured rock, some of the darkest pages of the Tales of Mystery and Terror: The Truth about the Case of Mr.Valdemar and The Mask of the Red Death.
He thus gives life to a dark and engaging “Phonodrama”, a real sound translation of the tales. The result is a neurasthenic and suspenseful journey in which the spectator/listener is transported seamlessly through varied and always evocative soundscapes until the inevitable epilogue.
Damiano Casanova: electric guitar, keyboards; Franz Casanova: voice and keyboards
Il Babau &… is an artistic project suspended between music, theatre and literature founded by the Casanova brothers at the end of the last millennium. Leaving aside the song form, it reinvents phonodrama, an original musical and sound translation of literary tales with a marked propensity for the mysterious, the fantastic, the grotesque, the macabre and the bizarre.
Paul Plamper, a director and author of innovative radio dramas.
Rodolfo Sacchettini, a theatre and contemporary radio drama critic.
Sandro Avanzo, a critic of historical radio dramas.
Three different points of view investigating the perspectives of radio drama, between past, future and new experimentations, in Italy and Europe.
A focus dedicated to the civil commitment of small and great social revolutions, to those who in the past and today have believed or still believe that things can be radically changed. At the same time a focus that looks at experiments in artistic languages that may contain revolutionary elements.
A photographic exhibition recounting the underground movement that led to the Arab Spring of 2011.
A meeting-concert with its direct witnesses.
A review of two young companies that, in the many difficulties of this country, struggle to emerge, but with tenacious will make their revolution continuing to invest energy and money in their art making.
6 May 2015 h. 18.30
Arabian Knightz, Gianmarco Maraviglia, Emanuela Mirabelli, Chicco Elia
L’HIP HOP E’ RIVOLUZIONARIO
[incontro]
to follow
Showcase Arabian Knightz c/o Leoncavallo
[concert]
06 – 21 May 2015 h. 10.00/19.00
Gianmarco Maraviglia/Echo Photo Journalism
EGYPT – UNDERGROUND REVOLUTION
curated by Emanuela Mirabelli
[photographic exhibition]
07 – 08 May 2015 h. 21.00
Woodstock Teatro
SPRING BOY
[play]
A visual account of the underground and hip hop movement that began to denounce the injustice of the Mubarak regime long before the 2011 revolution.
The events in Tahrir Square were the conclusion of a long social process in which local rappers also played an important role. The Arab underground culture that started the protest found its way without imitating the American movement, keeping its roots firmly in Egyptian culture, mixing sounds and traditions. The underground movement became an expression of personal freedom, in which the real revolution was not only political, but above all social and cultural: a generation that for the first time broke the rules of tradition towards real change.
Dedicated to these young people who, with the return of the military to power, have been robbed of their revolution; a reminder that they alone can sow the seeds of the next revolutions.
Gianmarco Maraviglia, born in Milan in 1974, showed an interest in photojournalism from an early age. Graduated in photography at the European Institute of Design (IED), he works mainly on wide-ranging projects, on committed, multicultural and social issues. His work has been published by Die Ziet, Washington Post, D La Repubblica, Sette Corriere della Sera, Panorama, Io Donna, Aftenposten, Vanity Fair, Gioia, Svenska Dagbladet, Brigitte, Marie Claire, Woz, Emaho. He is the founder and coordinator of the Echo Photo Journalism project, which brings together a group of committed young photographers.
The exhibition is curated by Emanuela Mirabelli, Marie Claire’s Photoeditor.
Can music lead a revolution?
This is what happened in Egypt in 2011, when rappers were the first to take to Tharir Square to support the protests with their music.
Among them were Arabian Knightz, whose “Rebel” became one of the symbols of Egypt’s rebellion against the Mubarak regime.
Discussions will be held with photographer Gianmarco Maraviglia, who portrayed the Egyptian underground and hip hop movement, Emanuela Mirabelli, curator of the exhibition, journalist and documentary filmmaker Christian Elia and Arabian Knightz, for the first time in Italy.
Following – Showcase ARABIAN KNIGHTZ
ARABIAN KNIGHTZ, backed by the legendary Fredwreck – producer of Eminem, Snoop Dogg, Shakira – have played with Paul McCartney, Sean Paul, Damon Albarn (Blur/Gorillaz) and Africa Express. They have carried Arab hip hop to the international stage while keeping their roots firmly in Egyptian culture.
ARABIAN KNIGHTZ, Egypt’s most famous and controversial hip hop group, author of “Rebel”, Tahrir Square’s anthem, arrive for the first time in Italy in an unmissable concert together with JUNIOR SPREA, thanks to the collaboration between ZONA K and LEONCAVALLO.
Preview of the first unmissable Italian concert by Egypt’s most famous and controversial hip hop group, c/o LEONCAVALLO SPA- Spazio Pubblico Autogestito, on 7 May at 11pm.
Translated with www.DeepL.com/Translator (free version)
Theatrical performance freely inspired by the writings of Irish playwright Brendan Behan
SPRING BOY is a 16-year-old Irish boy arrested in Liverpool with a suitcase full of explosives ready to blow up the court. His name is Brendan Behan.
He will become one of the most important playwrights in Ireland and in the world, the storyteller of a humanity that loses in the face of law and power, with which it never ceases to clash. One actor plays several characters. Three stage servants compose a visual and sound universe with live projections and live processed sounds.
Woodstock Teatro is a company from Venice, born in 2013. It is composed by the director-dramatist Marco Gnaccolini, the set designer Alessandra Dolce and the light-video-sound designer Matteo Moglianesi, all graduated in Theatre Science and Techniques – IUAV Venice.
Conception, scenic writing, light, sound & video design, animators, objects and stage servants: Alessandra Dolce, Marco Gnaccolini Matteo Moglianesi;
actor: Michele Scarlatti;
dramaturgy: Marco Gnaccolini;
set and equipment design: Alessandra Dolce;
direction: Marco Gnaccolini
From childhood we are taught obedience as a value that will allow us to live in harmony with the social system around us. We are told to be patient, to endure.
There are those who do not accept this, because they are impatient, reckless, forerunners of the times. There are those who, by choice or lack of choice, decide to change everything at once with regard to their own lives and, inevitably, those of others. It goes beyond the limits set by the law, by common sense, by social norms. It becomes banished. It is this free zone that we wanted to investigate. And we started from stories set in different parts of the world. A show that is also a laboratory of ideas, in which everyone can build a piece of a collective history not yet written, not yet drawn. A trace.
by and with Soledad Nicolazzi;
dramaturgical collaboration Dalia Padoa;
props and costumes Elena Carozzi;
artistic advice Gigi Gherzi and Laura Sferch;
production support Campsirago Residenza
Stradevarie is an independent theatre company founded in 1999 that currently works within the “Campsirago Residenza” project. The shows are the landing point of a research path, a rewriting of the present with its fragile, ironic and surreal stories. A Piazza delle Erbe! received the “Menzione speciale Premio Ustica per il teatro ’07”; Ciclonica, won the Premio Pancirolli ’03. The company also has a path aimed at children: in 2012 it had the support of the production of Small Size- Big Citizens for the show Carta Canta.
A scherzo for two single actresses. Allegro ma non troppo.
On stage a Penelope and an Ulysses
Ulysses does not eat fish, does not know how to swim, drinks, wants to go, but does not go.
Penelope eats fish, knows how to swim, drinks, doesn’t know where to go and doesn’t know where to stay.
Penelope and Ulysses have been living together for twenty years.
La Fionda Teatro celebrates its twentieth anniversary with one of the most famous couples of all time.
La Casa takes one of the oldest stories in the world, the Odyssey, to tell the life of a Penelope and an Ulysses, a couple on their twentieth anniversary. Two tiny heroes, taken from ancient Greece and catapulted into a house that has neither place nor time. In a minimalist and bare scene, two characters approach and recede in a pressing and repeated confrontation.
The text weaves and interweaves the story of the two protagonists with those of other characters from the Odyssey in a continuous passage between fiction and reality. Surreal, impossible, oneiric stories that have a life of their own and in the end have more truth than reality.
The show wants to give a delicate and ironic look on things, on the world, on us, human beings burdened by a ridiculous and tragic destiny, always in the balance between what we are and what we could be.
Dedicated to theatre and the power of imagination.
by and with Elisabetta Pogliani (Penelope) and Paola Zecca (Ulysses)
artistic collaboration: Marta Bevilacqua (The Little Mermaid)
lights: Fausto Bonvini (the Cyclops)
scene and costumes collaboration: Giovanna Luè (the dog Argo)
production LA FIONDA TEATRO, with the support of ZONA K
thanks to Compagnia Arearea for the period of residence
On the occasion of Expo Milano 2015, the ExpoinCittà project wanted to systemise and present to the public, made up of citizens and visitors to the Universal Exposition, the liveliness and variety of the Milanese theatre scene in a special initiative: Padiglione Teatri.
Three stages will be involved: Franco Parenti Theatre, Elfo Puccini and Piccolo Teatro.
FRANCO PARENTI THEATRE
Via Pier Lombardo 14, Milan
BElong – Belonging
Raccolta (in)differenziata is a widespread and prolonged action during the month of July that investigates cultural belonging.
July is harvest month.
And we will collect culture, traces of the cultural belonging of the Milanese and visitors to EXPO: ideas, phrases, images, videos, objects, imprints collected by our “farmers”.
event
BEside – Condividere
Widespread action over the month of August to share culture with those around us.
Culture has been collected: cultural traces of Milanese and EXPO visitors are processed, packaged and distributed at sensitive points in the city.
Packaging to keep food for the mind fresh, fragrant and attractive and to encourage consumers to consume it with the same eagerness with which they consume everything else.
Event by:
ZONA K presents:
REMOTE MILANO: a walking tour through the city guided by the digital voice of a personal navigator who speaks in Italian and English.
A soundtrack written for Milan, which transforms the urban journey into a collective film.
A game, an experience, a journey.
Milan as you have never seen it.
The 2014 edition took place from 22 October to 16 November, with 11 extraordinary performances.
The 2015 edition took place from 19 September to 25 October for a total of 36 replicas.
Around 2700 people attended Remote Milano by Rimini Protokoll.
ZONA K would like to thank all those who, by collaborating and participating, gave us this wonderful experience, RIMINI PROTOKOLL in the lead.
THE PERFORMANCE IS AVAILABLE IN ENGLISH
EVERY SUNDAY AT 11.30 AM
INFORMATIONS: biglietti@zonak.it +39 02 97378443
Remote is a walk through the city led by the electronic voice of a GPS navigator.
A soundtrack written for Milan, where binaural recordings and film scores turn the urban walk into a personal film.
A urban performance for 50 participants, who are actors and spectators, observers and observed, individuals and hordes at the same time.
Are we all hearing the same words?
How will we be able to make common decisions?
The artificial intelligence directs, but also inspires a novel and an altered perception of both, reality and the self.
Starting Point:
Ossuary of the Cimitero Monumentale (from main entrance)
Schedule:
Thursday and Friday at 3.00 pm
Saturday and Sunday at 11.30 am and 3.00 pm
NB: The urban performance is a walk, lasting approximately 80 minutes.
Limited subscription – booking compulsory
ESSENTIAL INFORMATION TO TAKE PART IN REMOTE MILAN
Please, show up at the meeting point 20 minutes before the start.
Being a walk divided into stages, the schedule cannot be delayed.
The performance is a walk through the city, lasting approximately 80 minutes.
Comfortable shoes are recommended, as well as a raincoat in case of rain.
At the meeting point you will be asked an ID as deposit for using the GPS system.
Concept, script and direction: Stefan Kaegi, co-director: Jörg Karrenbauer, sound design: Nikolas Neecke; dramaturgy: Juliane Männel, Aljoscha Begrich; soundediting and director assistance: Ilona Marti; production management: Caroline Gentz. “Remote X” is a production of Rimini Apparat; in coproduction with HAU Hebbel am Ufer Berlin, Maria Matos Teatro Municipal and Goethe-Institut Portugal, Festival Theaterformen Hannover/Braunschweig, Festival d’Avignon, Zürcher Theater Spektakel, Kaserne Basel. Supported by the Capital Cultural Fund Berlin and by Swiss Arts Council Pro Helvetia. A House on Fire coproduction with the support of the Cultural Program of the European Union. Voices by Acapela Group. For Milano: director assistance Federica di Rosa; production management and italian translation Valentina Kastlunger (ZONA K); english translation Eva Oltivanyi; foto Luca Meola
RIMINI PROTOKOLL, one of the most critically acclaimed European avant-garde collectives, is composed of the team of author-directors Helgard Haug, Stefan Kaegi, and Daniel Wetzel and is housed in Berlin. Their work in the realm of theater, sound and radio plays, film, installation, emerges in collectives of two or three and solo as well. At the focus of their work is the continuous development of the tools of theater to allow for unusual perspectives on our reality.
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