With obstinacy and enthusiasm, the fourth season of ZONA K once again uses the formula of thematic FOCUSes, reaffirming our desire to create opportunities for tout court cultural dissemination.
With shows, debates, conversations with cultural figures, workshops for children and young people, photographic exhibitions and films, the FOCUS allows us to make our space, above all, a place for meeting and reflection for a public that we would like to see become ever wider.
It also gives us the opportunity to address current and urgent issues in the reality that surrounds us, both in relation to the micro universe of our city district, and in a macro perspective open to the national and European situation.
The fourth edition of PLAY-K(ei) opens with the FOCUS SWITZERLAND (23 November – 20 December 2015), a survey of a country that is at the centre of Europe even though it is not part of it. The relationship that Europe has with it is emblematic and ambiguous, central to its economic policies, even though it is not involved in the Union’s conflicts and contradictions. As happened in the last edition and again last September/October with the Remote Milano by Rimini Protokoll (with an English version for the international EXPO audience), we would like to revive the public, ordinary people, as protagonists, so that theatre can once again become part of a shared language and, above all, a necessary part of a community.
This is the direction of Yan Duyvendak & Roger Bernat‘s work, Please, continue (Hamlet) (29 – 30 November 2015) in which a host of eminent lawyers and magistrates, Umberto Ambrosoli, Alessandro Bastianello, Gherardo Colombo, Oscar Magi, Ilio Mannucci Pacini, Mario Mantero, Isabella Marenghi, Adriano Scudieri, Salvatore Scuto, together with other members of the Milan criminal court, lend themselves to the game of theatre by acting themselves through a full-blown trial. Three actors are involved: Francesca Cuttica, Francesca Mazza and Benno Steinegger. The operation also inaugurates the collaboration with the Unicredit Pavillion space that hosts the show and in doing so opens its doors to the theatre for the first time.
The Switzerland Focus continues at ZONA K with the viewing of Milo Rau‘s films The Moscow Trials (27 November 2015) and Hate Radio (29 November 2015) and the participation of a young and talented company, Collettivo Ingwer, which brings to Milan the photographic and video restitution of an investigation between art and contemporary anthropology, carried out with the women of Milan’s Isola district last September. The installation entitled Io sono un’altra (2 – 20 December 2015) is based on the themes of female identity and ideality. This will be followed by the Milan premiere of Still Leben, also by the Ingwer Collective (2 December 2015).
Focus Switzerland also includes two opportunities for reflection and debate: the meeting of the Centro Studi di Politica Estera e Opinione Pubblica of the University of Milan, organised in collaboration with the Centro Svizzero, with the participation of Sergio Romano, Lino Terlizzi and Alfredo Canavero (23 November 2015); and conversations with an aperitif on the theme of theatre poised between Realtà e Finzione (27 November 2015), with the participation of director and performer Yan Duyvendak, director and author Boris Nikitin (creator and curator of the ITS THE REAL THING festival in Basel), and critic and expert Oliviero Ponte di Pino.
For young people, the PLAY-K(ids) programme offers the science workshop Einstein’s Box at Ascona’s Science Garden and the screening of the documentary film The Children of Mount Napf by Alice Schmid (29 November 2015).
On the occasion of this FOCUS SWITZERLAND, the collaboration between the FIT Festival Lugano and ZONA K began. In addition to providing information and contacts for the focus programming, for its 24th edition the FIT Festival has offered reductions to ZONA K members. ZONA K offers reduced rates (upon reservation) to all FIT subscribers and residents of Lugano who will cross the Lugano/Milan border to participate in ZONA K’s Focus Svizzera. The FOCUS will also include the research work of Officina Orsi, Swiss Label and resident artist Rubidori Manshaft on the Isola district and its inhabitants, who will be the stage and protagonists of the Milanese version of his project Sull’umano sentire which, after its debut in Lugano in summer 2016 (of its Swiss version), will be presented by ZONA K in the next edition of the Isola Kult festival, in autumn 2016.
It continues with the FOCUS GENERE (8 – 20 March 2016), dedicated to gender identity. The FOCUS opens the reflection on the new representations of identity, understood in its different meanings, from gender to national identity. Personal and exemplary stories, theoretical hints and philosophical questions, always on the borderline between fiction and reality, questioning masculinity and femininity, boundaries and definitions, categories and memberships, for a hymn to the freedom to become, to openness to multiplicities. A thought, above all, directed towards future scenarios, where gender identity announces unpredictable developments.
It will be an honour for us to have as our travelling companions in this exploration, the Motus Company with their latest production, MDLSX, at ZONA K in its Milan premiere (8 – 12 March 2016). MDLSX is a sound bomb, a lysergic and solitary hymn to the freedom of becoming, to gender b(l)ending, to being other than the borders of the body, the colour of the skin, the imposed nationality, the forced territoriality, the belonging to a Country. It is a “scandalous” theatrical journey by Silvia Calderoni who – after 10 years with Motus – ventures into this experiment with the apparent format of the D-j/Vj Set, to begin an exploration of boundaries that will be catalysed, in 2017, in Black Drama (a tragic musical).
This will be followed by the young artists of Dehors/Audelà, with their careful and meticulous search for an original artistic language that mixes dance, theatre and video processing in a performance focused on the resistance to inhabiting and wearing one’s own identity, in Perfetto Indefinito (14 – 15 March 2016). Dehors/Audelà is one of the young companies already presented at ZONA K that we are trying to bring to the public’s attention, noting the progressive artistic maturity and originality of their work. In this season of PLAY-K(ei) we wish to inaugurate the support and care towards those artistic realities discovered in the “cellars” of the national programming, and perhaps already hosted at ZONA K, to which we would like to give more space and artistic recognition.
To complete the Focus the evening promoted by the associations Alilò futuro anteriore, Famiglie Arcobaleno, l’Ombelico LE OMBRE DEL BUIO: origini (quasi) nascoste della violenza di genere (25 February 2016), an event that originates from a sociological reflection on the relationship between socialisation and gender stereotypes, initiated at the University of Bergamo and published in the essay by C. Ottaviano and L. Mentasti, Oltre i destini. Attraversamenti del femminile e del maschile, Ediesse, Rome 2015.
From the open dialogue with the artistic direction of the Gender-Bender Festival in Bologna, the exhibition of original illustrations by Luca Di Sciullo, Viola Niccolai, Lisa Passaniti and Cristina Portolano and photographs by Elisa D’Errico FINGERPRINTS / Performing Gender (8 – 25 March 2016) accompanies the entire FOCUS GENRE.
The FOCUS closes with the show INDOMADOR by the Catalan company Animal Religion, in the ZONA K season presented by C.L.A.P.Spettacolodalvivo, in collaboration with Fira Tàrrega (24 – 25 March 2016), followed by a meeting with the artist Quim Girón.
For young people, the PLAY-K(ids) programme proposes the workshop on gender differences THE REAL ENCYCLOPEDIA OF PRINCESSES AND WARRIORS by Paola Gaggiotti and the screening of the documentary film GAYBY BABY by Maya Newell (13 March 2016).
The FOCUS IDENTITÁ (3 – 10 May 2016) is dedicated to the cultural aspects of identity definition. We are spectators of an unprecedented migratory flow. On the one hand, we see Europe increasingly defining itself and its borders becoming more rigid through nationalistic legacies. On the other hand, a kind of cultural contamination is spreading uncontrollably. Is it still worth talking about ‘nation’ or ‘dominant culture’? We have come up with a Focus where the colours of cultural and national identities mix as in a card game, where chance and necessity determine the construction of new and unexpected communities: a reflection on cultural and national identity, or rather “Against identity”, to quote the famous text by Francesco Remotti.
This is followed by the play Sotto un cielo straniero by Teatro Utile /Mascherenere (4 – 6 May 2016), in which the actors are mainly immigrants, lost in the urban geography of a city such as Milan. In order to continue the FOCUS journey, we have called upon young artists who, by means of innovative theatrical languages, are able to address the themes revolving around the construction of an identity in a broad and philosophical sense, so as to return to the public the contradictions of the chosen theme: TeatrInGestAzione, a young company from Naples with the show Absolute Beginners (9 – 10 May 2016) seemed emblematic in this regard, both for its content and its original language.
With regard to the theme in which the identity of peoples and cultures is brought into play, it seemed natural and at the same time a conscious gamble to try to mix the paths of different artistic identities. As in the reality of the contamination of peoples, so in the artistic reality we are trying to bring together diametrically opposed companies such as Arosio/Boscaro, dedicated to experimentation between dance and video-mapping, and Teatro Utile/Mascherenere more inclined to the discovery of an original dramaturgy that draws on the resources of the individual members of its inter-ethnic working group, in a path of meetings (which will take place between January and May 2016) where the exchange of experiences and artistic visions can create a significant return for the public on the theme of FOCUS (6 May).
FOCUS IDENTITA’ is also a debate on FLUSSI MIGRATORI: IDENTITA’ E CONNESSIONI led by De Biasio with two leading experts on the subject: Maurizio Ambrosini and Francesco Remotti, followed by a screening of ZaLab’s short films I LIVE IN MELBOURNE NOW (10 May 2016).
There are the Extra Events of PLAY-K(ei), or those events that, for the sake of consistency, we have not included in the Thematic Focuses but that indicate ZONA K’s desire to bring to light interesting and unique artistic experiments. Thus, we would like to highlight the participation in the ZONA K season of Dario Buccino, musician and performer who will bring to ZONA K a singular live performance for four sheet music players and a clarinet entitled “Ma vero!” (18 – 19 March 2016).
After the summer break, PLAY-K(ei) resumes with the URBAN FOCUS (23 September – 27 November 2016) to give space to ZONA K’s desire to talk, reflect and act on reality, especially the urban reality that surrounds us. Established and emerging artists steal fragments of reality and rework them according to their own poetics, mixing scenic creation and everyday elements, blurring the boundary between public and private, to lead us to consider ourselves and what surrounds us with a renewed look and attitude, to imagine and, why not, build new realities.
Shakespeare’s Hamlet and his inability to act give life to ScarlattineTeatro‘s Hamlet Private: a confidential Hamlet, close, which abandons the traditional theatrical context and welcomes every single spectator in the intimacy of a coffee shop to give shape to a confidential relationship between spectator and performer. (23 – 25 September; 23 October; 13 November; 27 November 2016 @ Type Bistrot in via Borsieri).
PLAY-K(ei) le STRASSE come to PLAY-K(ei) with SOLO, a site-specific project that works on complex urban spaces, such as large train stations, and the people who populate them, a humanity in transit and circulation, with its own peculiar rhythms and travel times. (23 – 25 September; 30 September – 2 October 2016 @ Stazione FS Garibaldi).
From Bologna to FOCUS URBAN SPRAY LEXICON by Ateliersi, a dramaturgical and performative research on the writings that appear and disappear from the walls of the city. Ateliersi focuses its gaze on the inhabited street, on the engravings of anonymous authors, where the border between public and private emerges mobile and undefined. (23 – 25 September 2016 @Key Gallery, Via Borsieri)
Framing the whole FOCUS, the exhibition that brings together in a series of animated postcards, portraits inspired by the characters we see every day in our neighbourhood, the Isola district of Milan, conceived by BoomBangDesign: #POSTCARDSFROMISOLA (23 September – 28 October 2016 @ZONA K).
The season closes with FOCUS CATALOGNA: Catalan Avant-Garde on Stage, another European event, this time dedicated to CATALOGNA. A rich and lively cultural panorama, a multiform theatrical scene, with peaks of excellence in very different disciplines, from contemporary circus to urban performance. ZONA K chooses some of the most representative and innovative artists, able with their work to talk about contemporary reality and the contemporary world. At the same time, in a parallelism between the actuality of the present and the avant-garde of the past, it investigates the Spanish Civil War in its 80th anniversary, through the eyes of artists who told their present.
DOMINI PÚBLIC by Roger Bernat opens, a game about life, almost a life-size box game where the spectators are not mere pawns but become the protagonists of a story that director Bernat skilfully orchestrates. A sociological investigation in three dimensions on themes that are close to our hearts and in which we are protagonists, without constraints and prefixed roles. For the first time in Milan, Domini Públic has toured the world and is a true classic of urban performance (26 – 27 November 2016 at the Castello Sforzesco).
The leading group of the Catalan scene, winner of the Silver Lion at the 2015 Venice Biennale, Agrupación Señor Serrano, brings to the stage two multimedia performances.
BIRDIE, compares two mirages. On the one hand, welfare, respect for human rights, prosperity, ease of movement for information and capital. On the other, wars, exploitation, persecution, obstacles for migrants.
After the success of Focus Balkans in 2013 with the performance Eden by Slovenian artist Mala Kline and the theatre show Odio la verità – MRZIM ISTINU by Croatian director Oliver Frljić and of Focus Germany in 2014 with the itinerant performance Remote Milano by Rimini Protokoll, ZONA K opens the 15/16 season with the by now customary European appointment, this year entirely dedicated to Switzerland.
Leading artist for this new ZONA K event is
Cie Yan Duyvendak with his performance
PLEASE, CONTINUE (HAMLET) for the first time in Milan.
The Helvetic Union is currently one of the richest countries in terms of innovative and high-quality proposals.
Among the infinite number of possible proposals, we have chosen the most successful projects in terms of innovation, attention to the present and the ability to look at, use and interpret the reality that surrounds us.
Looking at Switzerland allows us to continue to talk about Europe, but from a particular point of view, that of a country that is at the centre of it, is culturally part of it, indeed it includes three of the main linguistic groups, but does not belong to it administratively.
Here are the events.
23 November 2015 h. 18.00 – at Centro Svizzero di Milano
Centro Studi Politica Estera e Opinione Pubblica dell’Università degli Studi di Milano
LA SVIZZERA: COME SOPRAVVIVERE ALLE CRISI DEGLI ALTRI
Speakers: Sergio Romano e Lino Terlizzi; Moderator: Alfredo Canavero.
27 November 2015 h. 18.30
TRA REALTA’ E FINZIONE
[meeting with aperitif]
Speakers: Yan Duyvendak (director and performer), Boris Nikitin (director, author, set designer and curator of the “It’s the Real Thing” festival) and Oliviero Ponte di Pino (critic, contemporary theatre expert)
29, 30 November 2015 h. 19.30
Compagnia Yan Duyvendak
PLEASE, CONTINUE (HAMLET)
With the exceptional participation of: Umberto Ambrosoli, Alessandro Bastianello, Gherardo Colombo, Oscar Magi, Ilio Mannucci Pacini, Mario Mantero, Isabella Marenghi, Adriano Scudieri, Salvatore Scuto.
2 December 2015 h. 19.00 vernissage
3 – 20 December 2015 (Mon-Fri) h. 10.00 – 19.00
Collettivo Ingwer / Camilla Parini e Chiara Caterina
IO SONO UN’ALTRA
Switzerland: how to survive other people’s crises
The Centre for Foreign Policy Studies and Public Opinion at the University of Milan, which has been active for over three decades, organizes the monthly conference cycle “Observatory on the World”, focusing on major issues of international current affairs, now in its 18th edition.
The next meeting, designed for ZONA K’s Focus Switzerland, will be devoted to the theme “Switzerland: how to survive the crises of others”. The recent Swiss elections, held on 18 October, will be the starting point for an analysis of the country’s situation and for reconsidering its relationship with Europe and with the turbulence of international politics and the economy.
Speakers: Sergio Romano and Lino Terlizzi; moderator: Alfredo Canavero
In collaboration with the Centro Studi Politica Estera e Opinione Pubblica, University of Milan
Free admission c/o Centro Svizzero di Milano, via Palestro 2
Fiction and reality
Increasingly, theatre is returning to escape the physical and symbolic spaces designated for it and invade reality, illustrating it, using it and engaging in dialogue with it.
On stage – when it is a stage – actors rarely act, but rather performers, experts in everyday life, witnesses of events that really happened, or at least declared as such. Art opens up to the world and gives itself authenticity.
But what does authentic mean? What does it mean to talk about reality? Where is the boundary between fact and interpretation, reality and fiction, truth and mystification?
Speakers: Yan Duyvendak (director and performer), Boris Nikitin (director, author and curator of the festival “It’s the Real Thing”) and Oliviero Ponte di Pino (critic and expert in contemporary theatre)
foto: ©Marc Ginot
Yan Duyvendak – Born in Holland, he lives in Geneva and Marseille. Trained at the Ecole Supérieure d’Art Visuel in Geneva, he has been practising performance since 1995. His performances have been presented, for example, at the Fondation Cartier in Paris (Soirée Nomade, 1995), at the Festival for Performing Arts EXIT, Helsinki (2001), at Art Unlimited Basel (2002), at the Museo Reina Sofia in Madrid (Don’t Call it Performance, 2003), Guangju Biennial (2004), Image Forum, Tokyo (2005), Ménagerie de Verre, Paris (2006-2009), Vooruit, Ghent (2007), Avignon Festival (2008), and Thaterspektakel Zurich (2009). His video works enrich numerous public and private collections, from the Musée des Beaux-Arts in Lyon to the Museum für Kommunikation in Bern. Yan Duyvendak has received numerous awards, including (three times) the Swiss Art Award (2002, 2003, 2004), the Namics Kunstpreis für Neue Medien (2004) and the Network Kulturpreis (2006). In 2010, he received Switzerland’s most prestigious award for contemporary art, the Meret Oppenheim Preis. He has been invited numerous times as an artist in residence, for example to the Cité des Arts in Paris, Atelier Schönhauser in Berlin and Pro Helvetia’s Swiss Artistic Studio in Cairo (2007, 2008, 2009).
Boris Nikitin – 1979, Basel, Switzerland. Director, author and theatre designer, artistic director of the festival “It’s The Real Thing”. He studied at the theatre academy in Giessen, Germany. His works are produced and hosted by small independent theatres and the most important permanent theatres in several German cities, including Kaserne Basel, HAU, Gessnerallee, Theater Freiburg, Schauspielhaus Graz, Ruhrtriennale. Some of his projects, such as ‘Imitation of Life’ and ‘Woyzeck’, have been touring internationally for years. His works move along the border and the area of intersection between performance and theatre, fiction and reality, illusion and documentation, amateurism and acting virtuosity, constantly questioning the codes of theatrical creation and fruition. They alternate between conceptual elements and highly theatrical situations. Context often plays a decisive role and not infrequently his works move in the scientific sphere (e.g. “Universal Export” and “Woyzeck”). His directions are conceived and constructed together with the performers/actors, whose personalities and biographies are often at the centre of the performance itself (“F for Fake”, “Imitation of Life”, “Sänger ohne Schatten”). For three years he has been the artistic director of the festival “It’s The Real Thing – Basler Dokumentartage”, dedicated to the most innovative theatrical and performance works with a documentary approach.
Oliviero Ponte di Pino has worked in publishing for over thirty years and was editorial director of Garzanti from 2001 to 2012. He has written for newspapers and magazines and produced radio and television programmes for RAI. He has organised festivals (Sussurri o grida in Milan, Forme del pensiero che ride in Genoa), curated exhibitions (Il nuovo teatro in Italia 1975-1988, 1988, the theatre section of the Trash exhibition, the “stanza del teatro” at Annisettanta), and planned cultural and entertainment initiatives (Maratona di Milano, Subway Letteratura). Since 2014 he has been a member of the MiBACT Theatre Advisory Commission.
He teaches Literature and Philosophy of Theatre at the Brera Academy and Fundamentals of Modern and Contemporary Theatre at IULM. Since 2012 he has curated the BookCity Milano programme and in 2001 he founded the website ateatro.it.
His books include Il nuovo teatro italiano (1988), Enciclopedia pratica del comico (1996), Chi non legge questo libro è un imbecille (1999, new edition 2014), Il quaderno del Vajont (with Marco Paolini, 1999), I mestieri del libro (2008), Romeo Castellucci e Socìetas Raffaello Sanzio (2013), Le Buone Pratiche del Teatro (with Mimma Gallina, 2014), Comico e politico. Beppe Grillo and the crisis of democracy (2014), Milan. Tutti i teatri (with Maddalena Giovannelli, 2015).
Milo Rau / IIPM
In the summer of 2012, the sentencing of Pussy Riot to two years’ imprisonment meant, according to many, the end of democracy in Russia.
In March 2013, Milo Rau set up a courtroom at Moscow’s Sakharov Center and staged a “trial” of Putin’s political system’s culture war, which for a decade has persecuted artists and dissidents to prevent any form of democratic change.
The performance was seized upon by the Russian authorities and caused an international scandal. The Moscow Trials (Switzerland/Germany 2014) documents the realisation of the project and the events of those days.
Russian with Italian subtitles, running time 86 min.
Admission: € 5,00
Screenplay and direction: Milo Rau; producer: Arne Birkenstock; IIPM co-producer: Jens Dietrich, Milo Rau; executive producer: Kirsten Schuaries; executive producer in Moscow: Jens Dietrich, Milena Kipfmüller; filming: Markus Tomsche; sound: Jens Baudisch; assistant director: Yanina Kochtova; editing: Lena Rem; assistant editor: Malte Wirtz. In collaboration with: Deutsches Nationaltheater and Staatskapelle Weimar, Institute for the Performing Arts and Film / Zürcher Hochschule der Künste, Konzert Theater Bern, Gessnerallee Zürich, Stiftung Gedenkstätten Buchenwald and Mittelbau-Dora, Memorial Russland, Sacharow-Zentrum Moskau, Wiener Festwochen, Kunstenfestivaldesarts Brüssel, Goethe-Institut Moskau, Fruitmarket Kultur und Medien GmbH. Produced with the support of: Film- und Medienstiftung NRW, Beauftragter der Bundesregierung für Kultur und Medien.
Milo Rau – 1977, Bern, Switzerland. Director and playwright, he studied sociology, Germanistics and Romanistics in Paris, Zurich and Berlin, attending lectures by Tzvetan Todorov and Pierre Bourdieu, among others. He began writing international reportage in 1997, travelling to Ciapas and Cuba. From 2000 he worked for the Neue Zürcher Zeitung, and from 2003 he began his career as a director and author in Switzerland and abroad. In 2007 Rau founded the IIPM (International Institute of Political Murder), the theatre and film production centre with which he still produces all his work today. In addition to his theatre and film work, Milo Rau lectures on directing and cultural theory at several universities. His theatre and film works are based on long and meticulous research in the field, sometimes they are full-fledged cultural and social campaigns (e.g. “Montana”, “The Last Hours of Elena and Nicolae Ceausescu”, “Hate Radio”, “City of Change”, “Breivik’s Statement”, “The Moscow Trials”, “The Zurich Trials”, “The Civil Wars”, “The Dark Ages” and “The Congo Tribunal”). They have been invited to more than thirty different countries around the world and hosted by some of the most important festivals and centres worldwide, including Berliner Theatertreffen, Avignon Festival, Theaterspektakel Zürich, Noorderzon Performing Arts Festival Groningen, Festival TransAmeriques, Wiener Festwochen, Kunstenfestival Brussels, Santarcangelo Festival, Terni Festival, Venice Biennale. He is the recipient of numerous prizes and awards, including the Swiss Theatre Price, the Best Radio Drama Award of the Association of the War Blind (for “Hate Radio”), the Special Jury Prize of the German Film Festival (for “The Moscow Trials”) and the Grand Jury Prize of the Triennial German Theatre Festival “Politik im Freien Theater” (for “The Civil Wars”). His philosophical essay “What is to be done. Critique of the Postmodern Reason” (2013) became a bestseller and was named “Best Political Essay of 2013” by the prestigious German newspaper ‘Die Tageszeitung’, while his play “The Civil Wars” was selected as one of the “Best 5 plays of 2014” by the expert commission of Swiss State Television. “The Civil Wars” was named as “one of the best plays in the Netherlands and Flanders of the 2014/2015 season”. The Belgian newspaper ‘La Libre Belgique’ recently called Milo Rau ‘the most in-demand director in Europe’, while the German weekly ‘Der Freiteg’ called him ‘the most controversial theatre director of his generation’.
Milo Rau / IIPM
Hate Radio (Switzerland/Germany 2011) tells the story of RTLM/Radio-Télévision Libre des Mille Collines, a Rwandan radio station that played a crucial role in Rwanda’s genocide of the Tutsi minority in 1994.
On 6 April 1994, Rwandan President Habyaruman’s plane was hit by two missiles during take-off. This event marked the beginning of the most brutal genocide since the end of the Cold War.
In the months of April, May and June 1994, the estimated death toll in Rwanda among the Tutsi minority ranged from 800,000 to 1,000,000, and thousands were killed among the moderate Hutus.
The most powerful weapon used during the genocide was the “Radio-Télévision Libre des Mille Col-lines” (RTLM). With inexplicable cynicism, the operators of the radio station cultivated and prepared for the genocide for months, integrating music, sports, political communiqués and genuine incitements to murder into their programming.
How does the process of establishing racist ideology work? How is it possible to purge the individual of his humanity?
Director Milo Rau’s work uses documents and direct testimony from members of the Hutu ethnic group and survivors of the genocide itself to answer these questions, letting people experience first-hand what happened in the history of Rwanda.
French with Italian subtitles, duration 65 min.
Admission: € 5,00
Screenplay and direction: Milo Rau; dramaturgy and conceptual management: Jens Dietrich; set design and costumes: Anton Lukas; video: Marcel Bächtiger; sound: Jens Baudisch; video cast: Estelle Marion, Nancy Nkusi; assistant director: Mascha Euchner-Martinez; production and dramaturgy manager: Milena Kipfmüller; public relations: Yven Augustin; scientific collaboration: Eva-Maria Bertschy. “Hate Radio” is a production of IIPM – International Institut for Political Murder Berlin/Zürich with Migros-Kulturprozent Schweiz, Kunsthaus Bregenz, Hebbel am Ufer (HAU) Berlin, Schlachthaus Theater Bern, Beursschouwburg Brüssel, migros museum für gegenwartskunst Zürich, Kaserne Basel, Südpol Luzern, Verbrecher Verlag Berlin, Kigali Genocide Memorial Centre and Ishyo Arts Centre Kigali. Supported by: Hauptstadtkulturfonds (HKF), Migros-Kulturprozent Schweiz, Pro Helvetia – Schweizer Kulturstiftung, Kulturelles.bl (Basel), Bildungs- und Kulturdepartement des Kantons Luzern, Amt für Kultur St. Gallen, Ernst Göhner Stiftung, Stanley Thomas Johnson Stiftung, Alfred Toepfer Stiftung F. V. S., GGG Basel, Goethe- Institut Brüssel, Goethe-Institut Johannesburg, Brussels Airlines, Spacial Solutions, Commission Nationale de Lutte contre le Génocide (CNLG), Deutscher Entwicklungsdienst (DED), Contact FM Kigali, IBUKA Rwanda (Dachorganisation der Opferverbände des Genozids in Rwanda) and the Hochschule der Künste Bern (HKB), Friede Springer Stiftung.
Milo Rau – 1977, Bern, Switzerland. Director and playwright, he studied sociology, Germanistics and Romanistics in Paris, Zurich and Berlin, attending lectures by, among others, Tzvetan Todorov and Pierre Bourdieu. He began writing international reportage in 1997, travelling to Ciapas and Cuba. From 2000 he worked for the Neue Zürcher Zeitung, and from 2003 he began his career as a director and author in Switzerland and abroad. In 2007 Rau founded the IIPM (International Institute of Political Murder), the theatre and film production centre with which he still produces all his work today. In addition to his theatre and film work, Milo Rau lectures on directing and cultural theory at several universities. His theatre and film works are based on long and meticulous research in the field, sometimes they are full-fledged cultural and social campaigns (e.g. “Montana”, “The Last Hours of Elena and Nicolae Ceausescu”, “Hate Radio”, “City of Change”, “Breivik’s Statement”, “The Moscow Trials”, “The Zurich Trials”, “The Civil Wars”, “The Dark Ages” and “The Congo Tribunal”). They have been invited to more than thirty different countries around the world and hosted by some of the most important festivals and centres worldwide, including Berliner Theatertreffen, Avignon Festival, Theaterspektakel Zürich, Noorderzon Performing Arts Festival Groningen, Festival TransAmeriques, Wiener Festwochen, Kunstenfestival Brussels, Santarcangelo Festival, Terni Festival, Venice Biennale. He is the recipient of numerous prizes and awards, including the Swiss Theatre Price, the Best Radio Drama Award of the Association of the War Blind (for “Hate Radio”), the Special Jury Prize of the German Film Festival (for “The Moscow Trials”) and the Grand Jury Prize of the Triennial German Theatre Festival “Politik im Freien Theater” (for “The Civil Wars”). His philosophical essay “What is to be done. Critique of the Postmodern Reason” (2013) became a bestseller and was nominated “Best Political Essay of the Year”.
Compagnia Yan Duyvendak
After Geneva, Basel, Lugano, Paris, Marseille, Berlin, Vienna, Rome, Cagliari, Rio de Janeiro, “Please, Continue (Hamlet)” arrives for the first time in Milan, with the extraordinary participation of: Umberto Ambrosoli, Alessandro Bastianello, Gherardo Colombo, Oscar Magi, Ilio Mannucci Pacini, Mario Mantero, Isabella Marenghi, Adriano Scudieri, Salvatore Scuto.
A news story: a young man kills his fiancée’s father during a wedding ceremony, she accuses him, he defends himself, saying it was an accident.
A real President of the Criminal Section of the Court of Milan, a real Public Prosecutor, a real defence lawyer for the accused, a real defence lawyer for the civil party stage the trial. The accused is called Hamlet, the accuser Ophelia, the witness Gertrude, Hamlet’s mother and they are played by actors. Everything else is real. The verdict is pronounced by a popular jury of spectators chosen from the audience. Those who act on stage do not follow a script, do not act, but listen to witnesses, assess expert opinions, judge facts.
A subtle play between fiction and reality. An exemplary case that merges into a true story. A dramaturgy of reality and at the same time a great tragic plot transposed to the contemporary era. Please, continue (Hamlet), brings the legal system to the stage, to explore the relationship between the application of justice and the eternally elusive question of what truth is. As in Antiquity – when theatre was one of the most important places of the polis and politics – Yan Duyvendak and Roger Bernat invent scenic devices that they then leave to the spectators. Their performances redefine the space of the self and of play: the stage becomes the agora – and vice versa.
Show starts at 7.30 p.m. (arrive at least 20 minutes beforehand)
Duration 3h with two breaks.
In collaboration with and c/o UniCredit Pavilion, Piazza Gae Aulenti 10
Limited places, booking recommended.
An idea by: Yan Duyvendak & Roger Bernat; with: Francesca Cuttica, Francesca Mazza, Benno Steinegger; and with: magistrates, lawyers and doctors from the Forum of Milan; set design in collaboration with: Sylvie Kleiber; direction and diffusion: Nataly Sugnaux Hernandez; communication and administration: Marine Magnin; production: Samuel Antoine; technical direction: Gaël Grivet; general direction: Thomas Köppel; translations: Daniela Almansi, Matilde Pasquon; production: Dreams Come True, Genève; co-production: Le Phénix Scène Nationale Valenciennes; Huis a/d Werf, Utrecht; Théâtre du GRÜ, Genève; performance created in residence at: Montévidéo, Marseille; Le Carré/Les Colonnes, Scène conventionnée, Saint-Médard-en-Jalles/Blanquefort; with the support of: Ville de Genève; République et canton de Genève; Pro Helvetia Fondation suisse pour la culture; Migros pour-cent culturel; Loterie Romande; Ministerio de Cultura-INAEM; Mécènes du sud, Marseille; Le Nouveau théâtre de Montreuil – centre dramatique national; CORODIS
Collettivo Ingwer/Camilla Parini e Chiara Caterina
Photos of women telling their stories, each through two self-portraits: the first portrays the realistic image the woman has of herself, the second portrays the image of what she is, but remains hidden.
The photographed body is not theirs, but that of the performer Camilla Parini, who makes herself totally available to them, like material to be moulded to recreate the image they have of themselves.
Each woman is responsible for undressing, untrimming and dressing this “body material” as she sees fit. This is done, as far as possible, through the use of clothing, make-up and objects owned by the woman herself. She then chooses the place where the body is to be posed and constructs the frame in which it is to be portrayed. A professional photographer is at her disposal to take the photos of the two completed self-portraits.
In Milan, thanks to the support of the Consiglio di Zona 9 and the INTERKULT exhibition coordinated by ZONA K, the project has involved Milanese women from all over the world: China, Morocco, Ukraine, Serbia, Syria, Tunisia and the Philippines. Together they tell us fragments of the new female universe of our city.
Photographic project Collettivo Ingwer; in collaboration with Fondazione Aurelio Petroni; idea and body Camilla Parini; photographic support and video shooting Chiara Caterina
Collettivo Ingwer is a multidisciplinary artistic workshop founded in 2013 by Camilla Parini and composed of all the people who have been, are and will be involved in the realisation of the various projects.
“Few people know how many women there are in me”, Anaïs Nin.
The terms STILL and LEBEN when combined into one word in German mean ‘still life’. By separating the two words, one can obtain multiple meanings: still life; silent living; quiet. Different reading possibilities that somehow reveal a blurred border between stillness, death and life. Fernando Pessoa wrote “What do I die when I am?”.
This work stems from the need to reflect on the figure of the woman without wanting to inquire into her social and cultural position, rather portraying her in the intimacy of her relationship with herself. It is an ever-changing portrait of a woman faded by time, a figure with no boundaries that is changing its forms and is told through the irony and melancholy of a solitude that sometimes or often keeps us company.
It suggests a climate, sometimes a condition or a state of preservation. It investigates those memories abandoned and consumed among rooms without walls, in the spaces of a metaphorical dwelling, in a place where one can still dialogue with one’s absences. It is a creation of real but not necessarily realistic images, which try to penetrate layer after layer under the surface of a life.
Production: Ingwer Collective; by and with: Camilla Parini; sound design: Loris Ciresa; light design: Pierfranco Sofia; costumes: Laura Pennsi; photographs: Martina Tritten.
Camilla Parini – 1984, Switzerland. In 2004 she met the Teatro delle Radici (directed by Cristina Castrillo, Swiss Theatre Prize 2014) with which she began a training and work path, taking part in the shows D_verso D_(2006), Shakespeariana (2008), Track (2009), Dove lo sguardo scorre (2011), Neve (2012), Amori (2013), Petali (2015) performing in various theatres, festivals and shows in Switzerland and abroad (Argenitna, Chile, Cuba, Denmark, Ecuador, Italy and Peru). In 2008 she graduated as a social worker at the University of Applied Sciences of Southern Switzerland SUSPI-DSAS. In 2012 she graduated in Milan at the Scuola di Teatro Paolo Grassi, in the professional course of dance theatre, presenting performances in festivals such as Torino Danza, Biennale Danza Venezia and Bolzano Danza. For some years now she has been collaborating with various professional realities in the Italian part of Switzerland, both in the field of theatre/performance and cinema. She also works with other dance, theatre and performance companies such as Les Ballets C de la B, Wupperrtal Tanztheater, Trisha Brown Dance Company, Peeping Tom, Nicole Seiler, Geraldine Pilgrim, Iris Erez, Violeta Luna. In 2013 she laid the first foundations for the creation of the artistic group Collective Ingwer with which she produced her first show STILL LEBEN in 2014. Currently Collettivo Ingwer, in collaboration with Azimut, is working on its new production “Princesses karaoke or something like that…” (semifinalist at PREMIO Schweiz, an encouragement prize for the performing arts) which will debut in April 2016 in co-production with Teatro Sociale Bellinzona, created and performed by Camilla Parini and Anahì Traversi.
The GENDER FOCUS opens the reflection on the new representations of identity, understood in its different meanings, from gender to national identity.
It hosts artists and scholars who rethink our perceptions and representations of gender, the canons and norms that regulate their relations, from the existential to the political level.
Personal and exemplary stories, theoretical hints and philosophical questions, always on the borderline between fiction and reality, shedding new light on our mental categories of male and female, questioning boundaries and definitions, categories and memberships, for a hymn – quoting Motus – to the freedom to become, to openness to multiplicities.
25 February 2016 h. 20.00
THE SHADOWS OF DARKNESS: (almost) hidden origins of gender violence
promoted by Alilò futuro anteriore, Famiglie Arcobaleno, l’Ombelico
[screening + performance + meeting]
8 – 25 March 2016 h. 10.00 – 19.00
FINGERPRINTS / Performing Gender
[exhibition of original illustrations]
8 – 12 March 2016 h. 20.00
12 March special replica h. 17.00
Motus – MDLSX
9 March 2016 h. 18.00
THE NECESSARY CHANGE?
[meeting with aperitif]
14 – 15 March 2016 h. 21.00
Dehors/Audela – PERFECT INDEFINITE
24 March 2016 h. 22.00
CONTEMPORARY CIRCUS. COMPARING IDEAS
organized by the Quattrox4 Associatione
24 – 25 March 2016 h. 21.00
Animal Religion – INDOMADOR
in collaboration with CLAPS, spettacolo dal vivo
PLAY-K(ids) review of meetings, workshops and performances for three generations together.
13 March 2016
Alterarte – THE REAL ENCYCLOPEDIA OF PRINCESSES AND WARRIORS
[workshop for 4 to 8 years old]
13 March 2016
Alice Newell – GAYBY BABY
[film for all]
in collaboration cowithn Gender Bender
Le ombre del buio: origini (quasi) nascoste della violenza di genere
h. 20.00 “But the sky is always bluer” video projection of a survey on gender stereotypes for children by Alessandra Ghimenti
h. 20.30 “Componimento sui generi[s]”, theatrical performance, by Alilò futuro anteriore
h. 21.00 Debate with the public led by Stefania Girelli, president of L’Ombelico and Cristiana Ottaviano, sociologist, University of Bergamo
A video enquiry and a theatrical performance to stage a reflection on stereotypes and gender violence.
Using different languages and skills, integrating emotional dimensions and reflective processes, the aim is to investigate those cultural constructs, attitudes and role assumptions that produce discrimination, violence, distorted exercise of power, but also guilt, inadequacy, lack of awareness of the processes of social and cultural change necessary for a co-evolution of men and women.
The event originates from a sociological reflection on the relationship between socialisation and gender stereotypes, initiated at the University of Bergamo and published in the essay by C. Ottaviano and L. Mentasti, Oltre i destini. Attraversamenti del femminile e del maschile, Ediesse, Rome 2015.
FINGERPRINTS / Performing Gender
Gender Bender presents an exhibition of original illustrations by Luca Di Sciullo, Viola Niccolai, Lisa Passaniti and Cristina Portolano and photographs by Elisa D’Errico.
An exhibition that, in its entirety, stems from the work of young Italian illustrators and artists, called upon to follow and document the artistic work conducted by 17 young choreographers and visual artists from Italy, the Netherlands, Croatia and Spain, selected for the European project Performing Gender; training in choreographic production and creation in museums, dedicated to the representation of sexual orientation and gender roles.
The exhibition had its national premiere in Bologna in 2014.
ZONA K presents four albums of sketches, drawings, portraits and stories by Luca Di Sciullo, Viola Niccolai, Lisa Passaniti and Cristina Portolano, together with photos by Elisa D’Errico, which compose a collective diary of the encounter with performers from the European scene and provide a panoramic view of an extraordinary human and artistic experience.
MDLSX is a sonic device, a lysergic and solitary hymn to the freedom of becoming, to gender b(l)ending, to being other than the borders of the body, the colour of the skin, the imposed nationality, the forced territoriality, the belonging to a homeland.
Philosopher Rosi Braidotti wrote about “belonging open to multiplicities” in On Becoming Europeans, proposing a post-nationalist identity… And it is towards the escape from categories – all of them, including artistic ones – that MDLSX tends.
It is a “scandalous” theatrical journey by Silvia Calderoni who – after 10 years with Motus – ventures into this experiment with the apparent format of the D-j/Vj Set, to begin an exploration of boundaries that will culminate in Black Drama (a tragic musical) in 2017.
Autobiographical shreds and literary evocations collide in MDLSX, and on the confusion between fiction and reality MDLSX oscillates – from Gender Trouble to Undoing Gender. We quote Judith Butler who, with Donna Haraway’s A Cyborg Manifesto, Paul B. Preciado’s Contra-sexual Manifesto and other cut-ups from the kaleidoscopic universe of Queer Manifestos, weaves the background of this Performance-Monster.
“The change needed is so profound that it is said to be impossible, so profound that it is said to be unimaginable. But the impossible will come, and the unimaginable is inevitable.” (Animalist Manifesto, Paul B. Preciado)
with Silvia Calderoni; direction Enrico Casagrande and Daniela Nicolò; dramaturgy Daniela Nicolò and Silvia Calderoni; sounds Enrico Casagrande; in collaboration with Paolo Baldini and Damiano Bagli; light and video Alessio Spirli; production Elisa Bartolucci and Valentina Zangari; promotion Italy Sandra Angelini; foreign distribution Lisa Gilardino; production Motus 2015 in collaboration with La Villette – Résidence d’artistes 2015 Paris, Create to Connect (EU project) Bunker/ Mladi Levi Festival Ljubljana, Santarcangelo 2015 Festival Internazionale del Teatro in Piazza, L’arboreto – Teatro Dimora di Mondaino, MARCHE TEATRO – with the support of MiBACT, Regione Emilia Romagna.
The name Motus in itself evokes an image in movement, with blurred contours, confused with landscapes… a profile tormented by irreducible internal upheavals. It embodies a “cross-eyed” attitude to look at experiences-knowledge-works of the past to enrich the strategic arsenal of reinvention of the present, in the disarray of forms and languages. For the Motus company – founded in 1991 by Enrico Casagrande and Daniela Nicolò – there are no borders, no boundaries between countries, historical moments or disciplines; no separation between art and civil commitment. Free thinkers, they take their shows around the world, working with a mixture of expressive formats, driven by the need to confront current themes, conflicts and wounds. 2011>2068 AnimalePolitico Project opened a front of observation on the Next Future with The plot is the Revolution (a scenic encounter between the two Antigones Silvia Calderoni and the indomitable Judith Malina of the Living Theatre). Through workshops, performances and public acts, the path led to the creations Nella Tempesta and Caliban Cannibal. In 2014 the creative experience of King Arthur, a baroque opera with music by H. Purcell and texts by J. Dryden, was for Motus the first electrifying confrontation with musical theatre. Today, however, the long journey of AnimalePolitico is not yet ideally over and, with the new production MDLSX (debut at Santarcangelo Festival 2015), a “Solo” that celebrates ten years of work with Silvia Calderoni, the company inaugurates a new three-year project that deals with the theme of border/conflict. We chose as dramaturgical framework some reflections and pivotal figures from the Oresteia, or better, from Appunti per un’Orestiade Africana and from Pilade by Pier Paolo Pasolini, because too many questions left open – and coincidences – with our previous projects, required depths that only in the union between tragic and contemporary we could tie up again. Today, however, the long journey of AnimalePolitico has not yet come to an end and, with the new production MDLSX (debut at Santarcangelo Festival 2015), a “Solo” that celebrates ten years of work with Silvia Calderoni, the company inaugurates a new three-year project that addresses the theme of the border/conflict.
The necessary change?
Oliviero Ponte di Pino meets Motus and Silvia Calderoni in the three-year project on borders/conflicts that the company inaugurates with MDLSX, the solo that celebrates ten years of work with Silva Calderoni.
Young people today have only one fear: that their dreams will come true. On the misunderstanding of self-reproach. On the resistance to inhabiting and wearing one’s own identity. On androgyny and misrecognition. Towards the neutral. The more perfect the more undefined.
The first experiment for Dehors/Audela of research conceived from the life/work of Claude Cahun, writer, photographer and actress born in 1894 in Nantes, close to the surrealist movement in the 1930s, long forgotten and rediscovered only a few decades ago.
Claude Cahun was a controversial artist who was persecuted because of her homosexuality and her Jewish origins. His whole life/work, undermined by constant attacks and insults, can be defined as a continuous pursuit of a missed identity, conceived as resistance and revolt against any forced identification.
concept Salvatore Insana, Elisa Turco Liveri; stage action Elisa Turco Liveri; images Salvatore Insana; sound Achhn, Osvaldo Cibils, Sebastien Bach Pires (RRR); production Dehors/Audela; with the support of ACS – Abruzzo Circuito Spettacolo/ Electa Creative Arts, Stalker Teatro, L’Estruch, Florian Meta-Teatro; project selected for Nuove Traiettorie XL
Elisa Turco Liveri and Salvatore Insana (Dehors/Audela) met in Rome in 2010, in the Atelier Meta Teatro directed by Pippo Di Marca.
The project they are part of brings together theatre, video art and performance in the sign of a continuous research in which the different artistic codes maintain their specificity and at the same time are capable of generating new forms of expression.
In the name of reciprocal interference, they start from a practice in which, if the body and the action constitute the centre of the dramaturgy, the video too has physical traits, it feeds on the body and becomes an integral part of it on stage.
Dario Buccino – Ensemble HN
But true is an initiatory journey into sound, the body and the here and now. The performance is based on the HN® System, a musical system invented by Dario Buccino to capture the forces that animate the musical experience. HN stands for hic et nunc.
The four musicians use the voice, a clarinet and four Lamiera HN®, musical instruments inspired by the so-called slab of thunder, the machine for sound effects used in the theatre since the eighteenth century. The Lamiera HN is not a thunder slab but a real musical instrument, played using a performance technique that involves the performer’s entire body and is capable of producing sounds that are at times very delicate and enveloping, at other times so powerful that the audience can feel the movement of air caused by the vibrations of the steel sheet.
The vocal techniques used in the performance took years to be devised and perfected by the composer and performers, and contribute to creating an unprecedented world of sound without the need for any amplification or electronic processing.
The composition is structured according to formal and energetic principles derived from the techniques of Nō theatre, the ancient Japanese art form based on deeply stylised body movements and essential, intense singing.
Ma vero’s audience, seated or lying on mats, is surrounded by the four HN sheets and immersed in almost complete darkness. The experience of silence and sound comes to involve the listener’s entire body as well, guiding his or her mind beyond the ordinary states of consciousness.
The performance was performed regularly for ten consecutive years, until 2006, becoming a cult appointment for the audience, often forced to wait years before seeing their turn on the long waiting list.
“Playing Ma vero is an experience that changes everything. I was part of its creation, sewn by Buccino on us elective performers. It was Ma vero that taught me to do my own thing. I’ll be back to play it, it’s time.” Enrico “Der Maurer” Gabrielli (Vinicio Capossela, Afterhours, PJ Harvey)
Ensemble HN. Dario Buccino: Lamiera HN, voice; Marco Crescimanno: Lamiera HN, voice; Renato Gatto Lamiera HN, voice; Emiliano Turazzi: Lamiera HN, clarinet
After the show, INDOMADOR – Animal Religion, an informal chat between Quim Girón and Filippo Malerba of Associazione Quattrox4, which has long been involved in promoting contemporary circus arts in the Milan area. Open questions from the audience.
Quim Girón is 29 years old and comes from Barcelona, Spain.
He does continuous research in the fields of balancing, music, percussion, clowning and animal movement. After studying at the Rogelio Rivel circus school in Barcelona, his travels took him north, where he attended LIDO (circus school, Toulouse, France) for a year, finishing his studies at DOCH (University of Circus and Dance, Stockholm, Sweden) with handstand and acro-dance disciplines.
In collaboration with:
C.L.A.P.Spettacolodalvivo, in collaboration with Fira Tàrrega, is pleased to present within PLAY-K(ei):
the extraordinary Catalan company with its cult performance, for the first time in Milan.
Indomador is a performance that moves between theatre, dance and contemporary circus. It draws attention to the oddities of the routine of our daily lives and brings to light the animal hidden in all of us.
It is a grotesque parody of modern man and the culturally predetermined difference between the sexes. The artist on stage unveils his animal instinct and transforms the stage into an “animalarium” made of transgenic bodies, acrobatics, man-cocks, dance rituals.
Indomador is a questioning of the relationships between human and animal, male and female.
But what is animal? What is human?
Quim Girón, is 29 years old and comes from Barcelona, Spain.
He does continuous research in the areas of balancing, music, percussion, clowning and animal movement. After studying at the Rogelio Rivel circus school in Barcelona, his travels took him north where he attended LIDO (circus school, Toulouse, France) for a year, finishing his studies at DOCH (University of Circus and Dance, Stockholm, Sweden) with handstand and acro-dance disciplines.
Animal Religion, a Spanish company, is a collaboration between Niklas Blomberg and Quim Giron, both graduates of the University of Dance and Circus in Stockholm. Their work can be defined as a fusion of contemporary circus, dance and music whose main theme is animality. The audience of Animal Religion can observe the artist’s behaviour not as in a zoo, but in an orderly context where something wild can be safely watched.
With the FOCUS IDENTITY, we continue our reflection on contemporary representations of identity, moving on to a more social and anthropological side, looking at the redefinition of cultural and national identities.
We are spectators of an unprecedented migratory flow. On the one hand, we see Europe becoming increasingly self-defined and borders becoming more rigid through nationalistic legacies. On the other hand, a kind of cultural contamination is spreading uncontrollably. Is it still worth talking about ‘nation’ or ‘dominant culture’?
We have thought of a Focus where the colours of cultural and national identities mix as in a card game, where between chance and necessity the construction of new and unexpected communities is determined: a reflection on cultural and national identity, or rather “Against identity”, to quote the famous text by Francesco Remotti.
January – May 2016
3 sessions. Two companies meet for a project on the theme
Arosio/Boscaro – Teatro Utile
3 May 2016 h. 21.00
Livia Grossi – RICCHI DI COSA, POVERI DI COSA?
4 – 6 May 2016 h. 21.00
Teatro Utile/Mascherenere – SOTTO UN CIELO STRANIERO
6 May 2016
Arosio/Boscaro – Teatro Utile
presentation of the first step of the Identity Project
8 – 9 May 2016 h. 21.00
TeatrInGestAzione – ABSOLUTE BEGINNERS
10 May 2016 h. 19.00
FLUSSI MIGRATORI: IDENTITÀ E CONNESSIONI
[meeting with aperitif].
10 May 2016 h. 21.00
ZaLab – I LIVE IN MELBOURNE NOW
The Focus programme will be complemented by exhibitions, meetings, theoretical reflections and further events for children.
7 May 2016 h. 11.00
E IO CHI SO(G)NO?
7 May 2016 at 3 p.m.
L’AMICO DAL PAESE LONTANO LONTANO….
[workshop 3 < 6 years]
A journey between Italy, Burkina Faso and Senegal to talk about theatre and emigration, in times of crisis, through videos, interviews and music.
On the subject, the journalist writes: “The Senegalese are starting to go back home because the game is no longer worth the candle, the Italians are thinking of Africa to escape from loneliness and poverty”.
At the heart of the work is a reflection on a West adrift, the need for a new redefinition of the words “wealth” and “poverty”, but also the urgency of finding a meaning to the encounter between spectator and actor. To rediscover that “Theatre of the origins” which, beyond any commonplace, establishes a renewed form of sharing reality through storytelling and its representation.
A theatrical rite, ancient and daily, in search of a new civilisation of dialogue that compares different identities and expressions.
A rethought journalism, in turn a “journalism of the origins”, capable of transmitting, with feeling and reason, new and necessary motivations.
“More than 200 theatre companies work in Burkina Faso, the sixth poorest country in the world: as if to say, when theatre is an emergency there are no limits, only challenges. Here the shows are a means of information and social education. They talk about AIDS, emigration, infibulation, deaths in childbirth, but also about how to cure oneself with herbs. Theatre is everywhere, under the baobabs in the villages, in the squares amidst the red dust of the streets, under the stars of the theatre in Ouagadogou, or among the clothes hanging in the House of the Word, the ancient court of Sotigui Kouyaté, the griot chosen by Peter Brook for his Mahabharata’.
The reading is preceded by a prologue dedicated to Thomas Sankara, “the African Che Guevara”, with excerpts from his speech on public debt, and updates on recent events in Burkina Faso (photos by Marina Spironetti).
A “theatrical reportage” that transforms the stage into a page of a newspaper, with photographic contributions, video interviews, live music and the journalist who says the piece looking the audience in the eye.
text and voice Livia Grossi; photos and video Emiliano Boga; music Jali Omar Suso; scenic writing Emanuela Villagrossi; video editing Silvia Torri.
Livia Grossi. A freelance journalist, she works for Corriere della Sera, covering theatre, culture and reportage. A great traveller, she has toured South America, Albania and sub-Saharan Africa. Her travels and encounters with people have led to the creation of “Reportage Teatrali”, a different way of reporting, a “new” journalism, which draws heavily from the agora from which it originated.
Short texts of a few minutes that together make up an impressionist picture of immigration in a big city, such as Milan. The starting point is La città sradicata (Geografie dell’abitare contemporaneo. I migranti mappano Milano) by Nausicaa Pezzoni.
The dramaturgy works on the way migrants see us and the unknown city they arrive in. The dominant sensation is disorientation, the non-recognition of places and language. The irony, often directed at oneself, is corrosive and spares no one.
We are obliged to recognise ourselves in the behaviour and stereotypical judgments towards so-called ‘non-EU’ people. This makes it possible to deploy strong themes with lightness.
The direction, with the precious collaboration of Olivier Elouti, alternates choral and individual moments trying to enhance the collective participation in the scenic event. The stage is marked by road signs and simple scenic elements made of cardboard following the style of “street-art”.
The show Sotto un cielo straniero (Under a foreign sky) was born from the dramaturgy workshop conducted by Renato Gabrielli with the collaboration of Tiziana Bergamaschi for the Teatro Utile (Art and development) project promoted by the Accademia dei Filodrammatici in Milan.
The show staged at ZONA K is an evolution and reworking of the first result presented in June 2014.
text by Marco Di Stefano, Rufin Doh Zéyénouin, Margarita Egorova, Elide La Vecchia, Alfie Nze, Lorenzo Piccolo, Diego Runko; dramaturgical supervision by Renato Gabrielli; performed by the migrant actors participating in the “Teatro Utile” project Olivier Elouti, Kalua Rodriguez, Yordy Cagua, Yudel Collazo, Mateo Çili Mayil Georgi Nieto, Ngone Gueye, musician Rachid L. Willy. Willy; direction: Tiziana Bergamaschi assistant director: Olivier Wangue Elouti; sets: Andrea Finizio
Teatro Utile is a project of the Accademia dei Filodrammatici, now in its fourth year, which has seen various activities and collaborations. Through theatrical practice we wanted to encourage the creation of a mixed group of artists able to work together to spread multicultural theatre. The basic idea is that experiences from different cultures converge in a single project and create a socially useful theatre that is attentive to the multi-ethnic society in which we live. Our activity takes place on several fronts: in the first year we worked on the creation of a group made up of twenty artists of different nationalities who, after a month-long seminar, presented to the public The journey born from the encounter of their different artistic backgrounds and cultures. In the second and third years we worked on dramaturgy, with seminars led by Renato Gabrielli, Mohamed Kacimi and Kossi Efoui. In the first seminar, led by Renato Gabrielli, the texts were written and then collected in a performance entitled Sotto un cielo straniero (Under a foreign sky) presented at the Fabbrica del Vapore in 2014. At the same time we continue the activities of “Teatro Utile” and “Mascherenere” with a permanent workshop open to Italian and foreign artists who want to experiment with theatrical research on multiculturalism. Moreover, with performances that take up the open structure of Il viaggio, we intervene in difficult situations to encourage interaction between the public and artists. Interaction that is born from the recognition of diversity and that favours the awareness of equal dignity, a fundamental basis for every human relationship.
Mascherenere, is a cultural association founded by a group of Italian and African artists in 1990, with the aim of spreading the cultures of Black Africa in Italy. The association is involved in theatrical and intercultural activities in the territory, working on the dynamics of artistic contamination that arise from the encounter between the “migrant” cultures and that of the host country.
Teatro Utile/ Mascherenere
The body, the media, towards a transnational identity
Two companies meet for a project on the theme of identity.
The artistic duo Ariosio/Boscaro and the company Teatro Utile/Mascherenere accept ZONA K’s invitation to collaborate in a research project on intercultural issues.
Ariosio/Boscaro provide Focus Identity with their research programme Per un Novissimo Bestiario, whose aim is the definition of a bestiary dedicated to the “symbolic beings” of the contemporary world and their skills in contact and videomapping.
Teatro Utile/Mascherenere offers its performers and its experience in intercultural work.
The research path will be divided into three stages.
The first one will be dedicated to the research on the cultural background of performers, dancers and actors of non-Italian cultural origin. A collection, through interviews and workshop sessions, of personal stories, traditional tales, images and visions, bodily memories. The narrative and iconographic materials collected in this way will be reworked into a textual, video and/or scenic dramaturgy, which will provide the backbone for the subsequent work with dancers and performers.
The second stage will be dedicated to the encounter between the bodies of the dancers and the projection of the video images resulting from the previous research. What happens when the scene is made up of immaterial elements, such as the projection of images and videos? What are the demands that this type of scene makes on the bodies that pass through and act on it? The physical scores will be aimed at the creation of collective or multiple bodies, so that they can become shaped screens capable of giving light to the appearance of imaginary beings born from the visions of the non-Italian participants.
The last stage of the workshop will involve a return in scenic or installation form during the Identity Focus and the creation of an online platform that will become a constantly updated archive of the research process. This platform will make it possible to strengthen the work at a distance, and will be the place where all the materials collected will converge, concretely increasing the possibilities of authorial participation.
Fedra Boscaro is a multi-disciplinary artist who has alchemically fused different languages and paths in her profile and research. After an initial journey into the visual arts (photography, design and lighting installation), she recognised the theatre scene as the natural place for her artistic research. After graduating from the Alessandra Galante Garrone School of Theatre in Bologna, in 2003 she attended Arnaldo Picchi’s permanent workshop at the DAMS in Bologna, where she also graduated with a thesis in Documentary Cinematography on Participatory Video. She continues part of her activities as an actress (including No-Signal of Teatrino Clandestino) and contemporary dancer (with Anna Albertarelli and Silvia Traversi, among others). In 2006, she founded a performance research group, Ipazia, creating the stage play La casa di Asterione (semi-finals of the Premio Scenario) and the series of multimedia and performance installations Cables#, which together will become the first chapter of the research programme Per un Novissimo Bestiario (2007-2021). Since 2010 he has been involved in the creation and management of Æliamedia, a project that won the first edition of the International Award for Participatory Art, promoted by the Legislative Assembly of the Emilia-Romagna Region.
Tommaso Arosio, after a degree at DAMS (Cinema) in Bologna and a long training in the field of theatre with Arnaldo Picchi, specialises as a video researcher, taking care of the creation of scenic images for shows, large cultural and commercial events, and also dealing with the technical set-up and programming. With the group H.Blumaverde, he devotes himself to the production of installations, performances and workshops dedicated to live video setting and interaction. In 2006 he is among the founders of Areaodeon association in Monza, dedicated to the production of public art initiatives, with which he collaborates since 2011 to the technical and artistic realization of the visual arts festival Kernel (architectural mapping section). Since 2007 he has been working as a freelancer, devoting himself mainly to the design and processing of scenic images, and collaborates with other authors and various promotion agencies.
for Arosio/Boscaro pic by Francesco Burlando
“I am the eyes of the city rolling towards the borders of the world,” from Loretta Mesiti’s La Radice.
Absolute Beginners is a philosophical-visionary meditation on borders, identity, politics, physical, linguistic, in tension towards their dissolution. In this fading of borders, languages, biographies and personal histories, once the ties of belonging to a presumed original homeland have been dissolved, mingle and take on a new sense, a new sound, and it is here that the profile of a new possible geography appears. In an era like ours, in which we tend to understand ourselves more and more as heirs and posthumous, is the desire to live and think of our existence as a beginning still present? Slipping out of the warmth of the den. Abandoning the ease, the abundance, the quiet security of the organic and organised path received as an inheritance, for a path that is disorganised, insecure, probably incoherent, made up of going back and forth, interrupted attempts.
Absolute Beginners is the first movement of the project avVento – Geographies and Identities to come – a systemic and polysemic work, an attempt to write a postmodern foundation myth, born from a sense of disorientation, extraneousness with respect to the historical-social-geographical-identitary present we live in. Strangers therefore to ourselves and to the world, we have no choice but to imagine a new foundation, from the origin to the trace, from its vision to its fulfilment.
a collective creation by TeatrInGestAzione; scenic itineraries Gesualdi / Trono; dramaturgic itineraries Loretta Mesiti; with Giovanni Trono, Alessia Mete, Marzia Macedonio, Laura Russo; with the support of PROGETTO DE.MO. /MOVIN’UP 2011 by the Ministry for the Cultural Heritage and Activities – Directorate General for the Landscape, Fine Arts, Architecture and Contemporary Art and GAI – Association for the Circuit of Young Italian Artists; Insitut für Theater, Film und Medienwissenschaf der Goethe Universität (Frankfurt am Main); Hessische Theaterakademie (Hessian Theatre Academy); Tanz der Künste; Frankfurt LAB (Frankfurt am Main)
TeatrInGestAzione, based in Naples, is an intersubjective creative organism in constant poetic revolution. It produces works with a strong visual impact. It pursues an aesthetic based on the rigour of presence, the sobriety of elements and the essential use of space. His work stems from the need to separate the act of performance from the spectacular context, and to qualify the stage as the seat of an experimental sociality. A guest at national and international exhibitions and festivals, her work has been received, among others, by the Institut für Theater-Film und Medienwissenschaft-Goethe Universität in Frankfurt am Main (Germany) 2011; Ella Fiskum Danz R.E.D. – Eina (Norway) 2013; APACHE season two – Milan 2015; Italian Performance Platform/Ipercorpo – Forlì 2014; Trasparenze Festival – Modena 2014; Testimonianze Ricerca Azioni, Teatro Akropolis – Genoa 2014 and 2015; Finestre sul Giovane Teatro, Teatro Ridotto – Bologna, 2013; Napoli Teatro Festival Italia – Naples, 2010; E'(C)CENTRICO – Turin 2011 and 2013; Presente/Futuro 2011 – Palermo; Benevento Città Spettacolo – Benevento, 2008. In 2011 he won the DE.MO./ Movin’UP award in support of the circulation of emerging Italian talents in the world (GAI and MiBAC). His artistic and pedagogical experience is collected in several degree theses and in the volumes “Testimonianze Ricerca Azioni” ed. AkropolisLibri 2014; “Il tempo a Napoli” by Piermario Vescovo, Ed. Marsilio 2011. In 2006 he inaugurated the theatrical project (didactic and creative) developed in the Judicial Asylum of Aversa, addressed to its inmates, based on an activity of expressive awakening and search for spaces of human dignity, which currently continues with the inmates of the Prison of Naples Poggioreale. In 2011 he was one of the founding members of the National Coordination of Theatre in Prison. Since 2011 he has been the creator and curator of Altofest – International Contemporary Live Arts Festival (altofest.net).
Migration flows: identities and connections
It seemed inevitable, in today’s extremely complex panorama of migratory flows and the responses arriving from Europe, not to address, within the Focus on Identity, the theme of national identity and borders, in a debate with two leading experts on the subject.
Maurizio Ambrosini, sociologist, has been analysing and studying the phenomenon of migratory flows in Europe for years through data and statistical research, revealing uncomfortable backgrounds on the management of immigration by many European countries.
Francesco Remotti, an anthropologist, is now famous for his numerous publications on the theme of cultural and national identity, and the ambiguous and contradictory aspects that these definitions bring with them. Together they will formulate alternative visions of possible coexistence between cultures and peoples in our fluid and globalised age.
Moderator of the evening Danilo De Biasio
Maurizio Ambrosini. Professor of Sociology of Economic Processes at the University of Milan, where he coordinates the degree course in “Social Sciences for Globalisation”. He also teaches at the University of Nice. He is the scientific director of the Centro Studi Medì in Genoa, where he edits the journal “Mondi migranti” and the Summer School of Sociology of Migration. He collaborates with the ISMU Foundation (Institute for the Study of Multethnicity).
His interests concern the themes of work and unemployment, solidarity and social policies, and in recent years especially migration and globalisation processes. His articles and essays have appeared in journals and books in English, Spanish, French, German, Portuguese and Chinese. She has recently published Irregular Migrations and Invisible Welfare. Il lavoro di cura attraverso le frontiere (Irregular migrations and invisible welfare. Care work across borders) and edited Governare città plurali (Governing plural cities) and Perdere e ritrovare il lavoro (Losing and finding work).
Francesco Remotti. Anthropologist. After graduating in Philosophy in 1970, he began his academic career at the University of Turin, becoming full professor of Cultural Anthropology a few years later. Former director of the Department of Anthropological and Archaeological Sciences (1988-91 and 1994-97), as well as coordinator of the doctorates in Cultural Anthropology and Ethnology (1991-99) and Anthropological Sciences (2000-08), between 2001 and 2007 he chaired the three-year degree course in Intercultural Communication (Faculty of Arts and Philosophy) and then moved on to chair the Master’s degree course in Cultural Anthropology and Ethnology (2007-10). Over the years R. has conducted field research among the Banande and directed the Italian Ethnological Mission in Zaire (1979-93) and in Equatorial Africa (1994-2004). An expert in political and juridical anthropology, structuralism and kinship systems, he is the author of numerous publications, including Centri di potere – Capitali e città nell’Africa precoloniale (2005), L’ossessione identitaria (2010) and Per un’antropologia inattuale (2014).
(Photocredit: Alexandra Beier, Getty Images)
What builds the identity of a continent, a nation, a city?
In 2013 ZaLab landed in Australia to investigate, together with African and Italian migrants, with second generations of Australians of Somali, Ethiopian, Italian and Congolese origin, the sense of belonging to a country, their roots, the contribution of past and present migration, the contribution that the cultures that emigrated to the “new world” have made to the creation of Australian identity.
From this reflection come the most varied stories, translated into 10 short films, which show a comparison between past and present, between different cultures found in a land that has given them a future, but at a high price.
ZaLab is an association for the production, distribution and promotion of social documentaries and cultural projects. It is a collective of five filmmakers and social workers: Matteo Calore, Stefano Collizzolli, Maddalena Grechi, Andrea Segre, Sara Zavarise. Participatory video is the workshop of stories. ZaLab’s workshops are aimed at those who live on the fringes and do not normally express themselves through video, but thanks to the workshop course they can become authors of new stories about reality. The documentary is the story of reality. ZaLab’s documentaries can be born from a workshop or from the individual choices of the authors: they transform forgotten lives into stories for cinema and television. Since 2006, ZaLab has produced and distributed internationally award-winning documentaries, including: “Limbo” by Matteo Calore and Gustav Hofer, “Il pane a Vita” by Stefano Collizzolli, “Mare Chiuso” by Andrea Segre and Stefano Liberti, “Il sangue verde” by Andrea Segre, “I nostri anni migliori” by Stefano Collizzolli and Matteo Calore, “Come un uomo sulla terra” by Andrea Segre and Dagmawi Yimer. It has carried out participatory video workshops in the Tunisian desert, in a Palestinian village in the West Bank, in the suburbs of Barcelona, with asylum seekers in Bologna and Rome, with children from the Aeolian islands, with second-generation youth in Padua, with Italian migrants in Australia. ZaLab also promotes social campaigns to spread democracy and minority rights, especially thanks to the civil distribution network it has built up over the years to encourage the free circulation of films and documentaries.
The season PLAY-K(ei) 2016 – Who are we? resumes after the summer break with the Urban Focus, to give space to the will of ZONA K to talk, reflect and act on reality, especially the urban one that surrounds us.
A focus dedicated to performances created to inhabit non-theatrical spaces, to act in the city space and actively dialogue with the people and elements that compose it.
Established and emerging artists steal fragments of reality and rework them according to their own poetics, mixing scenic creation and everyday elements, blurring the boundary between public and private, to lead us to consider ourselves and what surrounds us with a renewed look and attitude, to imagine and, why not, build new realities.
23 – 25 September, 2, 23 October and 12, 27 November 2016
h. 17.00, 18.00, 19.00, 20.00
Scarlattine Teatro- HAMLET PRIVATE
[performance for single spectator]
23 – 25, 30 September and 1 – 2 October 2016
h. 15.00, 16.00, 17.00, 18.00, 19.00
Strasse – SOLO
23 – 25 September 2016 h. 21.00
Ateliersi – URBAN SPRAY LEXICON
23 September – 28 October 2016
24 September 2016
h. 10.15 – 16.00 [workshop]
h. 16.00 – 16.30 [performance]
Alessio Calciolari and Filippo M. Ceredi, in collaboration with Cinzia Delorenzi
STARING BACKWARDS – the 1st city meeting of backward walking
Shakespeare’s Hamlet and his inability to act give life to Hamlet Private: a confidential, close Hamlet that abandons the traditional theatrical context and welcomes every single spectator in the intimacy of a coffee shop to give shape to a confidential relationship between spectator and performer.
A private and exclusive experience in which the spectator has the possibility to explore and investigate his own life and doubts through tarot cards.
Hamlet’s questions become our questions, his hesitation our hesitation and the spectator finds himself, at the table of a bar, rediscovering Hamlet, contemporary man and abyss of questions.
When: from 23 to 25 September and 23 October, 13 and 27 November 2016 h. 17.00 , 18.00, 19,00 e 20.00
Where: Type Bistrot, Via Pietro Borsieri 34
Also 2 October 2016 h. 17.00 p.m. – 21.00 starting every hour, at Carpe Diem Café, Corso Garibaldi 26
The show is also included in the programme of Isola Kult and Garbaldi Kult Festival*.
script and direction Martina Marti; artistic advice Michele Losi (Pleiadi Art Productions); actors Giulietta Debernardi, Marco Mazza, visual design and photography Erno Raitanen; production and translation manager Angelica Maran; production ScarlattineTeatro/Campsirago Residenza and Gnab Collective; with the support of MIBAC, Regione Lombardia, Fondazione Cariplo, Kone Foundation, Arts Council of Finland, Swedish Cultural Foundation in Finland, Performance Center Eskus, City of Helsinki Cultural Office; © original version 2012 Martina Marti, Marion Maisano & Cécile Orblin
“There is nothing more difficult than following someone who knows they are being followed.”
A Private Detective, Rimini, 2015
SOLO is a site-specific project that works on complex urban spaces, such as large train stations, and the people who populate them, a humanity in transit and circulation, with its own peculiar rhythms and travel times.
SOLO is a journey, an individual walk that places the spectator, the viewer, at the centre of a network of possible relationships, of a crowd that moves, like the cog in a larger system.
SOLO attempts to generate an alternative view of a place that is known and accessible to all, without processing what it sees but opening itself up to the construction of parallel, possible and reproducible universes.
Where: Garibaldi railway station, Piazza Sigmund Freud
The precise starting place will be communicated to the audience the day before the performance.
Last performance at 19.00 with end at 20.00.
NB: the mobile phone is essential to participate in the performance. It is essential to leave your mobile phone number at the ticket office during the booking process; it will be used exclusively for the performance, respecting privacy.
The performance is also included in the programme of Isola Kult and Garbaldi Kult Festival*.
During the festivals special promotion only reduced tickets.
concept Francesca De Isabella, Sara Leghissa; version created for ZONA K by Lorenza Cervara, Fabiola Dusetta, Teresa Scalare, Floida Skraqi, Antonella Spina, Chiara Tirloni, Flora Vannini and by Francesca De Isabella, Elena Cleonice Fecit, Sara Leghissa; production Strasse 2013-2016; co-production Uovo Performing Arts Festival with the support of MACAO – Nuovo Centro per le Arti, la Cultura e la Ricerca, Vooruit Kunstencentrumand DE. MO./MOVIN’UP Project: Movin’UP Session II, 2013 curated by Ministero dei Beni e delle Attività Culturali e del Turismo – Direzione Generale per il paesaggio, le belle arti, l’architettura e le arti contemporanee; Direzione Generale per lo spettacolo dal vivo and GAI – Associazione per il Circuito dei Giovani Artisti Italiani pics by Luca Chiaudano
A dramaturgical and performative research on the writings that appear and disappear from city walls.
A collection that composes new dramaturgies of otherwise fleeting expressions and transforms visual messages into performative gestures. An artistic operation where the theatrical language acts in close contact with the sound arts and where the dynamics of the urban landscape become scenic material.
Ateliersi focuses its gaze on the inhabited street, on the engravings of anonymous authors, where the boundary between public and private emerges mobile and indefinite.
Where: Key Gallery, Via Pietro Borsieri 12
The show is also included in the programme of Isola Kult Festival.
by and with Fiorenza Menni and Andrea Mochi Sismondi original music performed by Mauro Sommavilla (guitar)
A work in progress that collects in a series of animated postcards, portraits inspired by the characters we see every day in our neighbourhood, the Isola district in Milan.
Isola is a lively and colourful area where people live like in a small village and know each other.
Over time we have grown fond of the people we meet every day and who, in our imagination, have gradually transformed into the characters that inspired the project.
Lorenza Negri and Caterina Pinto, from Milan, founded the communication agency Boombang Design snc in 2006.
Calciolari, Ceredi with Delorenzi
A silent irruption in the urban fabric: a group of people walk backwards in a public space for 20 minutes, reappropriating a place through a simple gesture that will create an unreal scenario for passers-by.
The performance is the culmination of a workshop that includes a first part of physical exercise in the hall and a second part of perceptive approach to the place chosen for the performance.
No previous performance experience is required and the proposed activities are compatible with many bodily and psychomotor diversities.
A project by Alessio Calciolari and Filippo M. Ceredi, in collaboration with Cinzia Delorenzi, with the support of ZONA K
ZONA K’S PerformingLab
Organised by the participants in the ZONA K PerformingLab artistic coordination – Renzo Francabandera and Michela Mastroianni.
“Do you feel like a civilized person? Then participate in our performative path to become a Metropolitan Hero 2016”.
WHO CAN PARTICIPATE IN THE INSTALLATION?
Citizens who day after day persist in carrying out small great actions of civility in their practice of life, work and idleness.
We will give the best ones the status they deserve.
Aspiring metropolitan heroes should send their applications to the email addresses below or via the ‘Metropolitan Hero Award’ Facebook page. Candidates will be selected along the way and will demonstrate their heroic skills and characteristics to a jury of peers.
Individual heroes or groups can apply.
Free participation. Reservation required.
Admission by reservation at the beginning of every hour from 11.00 to 19.00.
At the end of the evening, heroic party with all participants and nomination of the winner.
Dress code for the occasion: heroic knickers over trousers and cape!
Catalan avant-garde on stage
The PLAY-K(ei) Who are we? season closes 2016 with the now customary European appointment, dedicated this year to CATALONIA. A rich and lively cultural panorama, a multiform theatrical scene, with peaks of excellence in very different disciplines, from contemporary circus to urban performance.
An autonomous region with a strong identity, Catalonia is today both an example of the protection of identities and a mirror of the many trends towards independence in Europe. It is therefore a region that represents a stimulus for investigation, leading to the identification of leading groups on the performance scene and a reflection on the political and cultural developments of an increasingly complex and fragile Europe.
Can the protection of identities be a guarantee of artistic freedom? Can the aspiration for local economic and political independence exist within a Europeanist vision?
ZONA K chooses some of the most representative and innovative artists, whose work is able to speak about contemporary reality and the contemporary world.
At the same time, in a parallelism between the actuality of the present and the avant-garde of the past, it investigates the Spanish Civil War on its 80th anniversary, through the eyes of artists who recounted their present.
26 – 27 November 2016 h. 15.30
Rogert Bernat – DOMINI PÚBLIC
1 December 2016 h. 17.00 – 20.00
THE SPANISH WAR IN THE MEMORY OF CINEMA 1936-2016
[film and encounter]
1 – 2 December 2016 h. 21.00
Agrupación Señor Serrano – BIRDIE
3 December 2016 h. 22.00 p.m. (after the show)
AGRUPACIÓN SEÑOR SERRANO tells his story
[meeting with glass of wine]
3 December h. 21.00, 4 December 2016 h. 17.00
Agrupación Señor Serrano – KATASTROPHE
November 2016 – September 2017
Roger Bernat in residence
A public space, a group of people, a voice in the headset asking questions, instructions, suggestions. Some are ironic, innocent, others more intimate and important. Who are these people? Where do they come from? Are they spectators or actors? What relationship unites them?
Domini Públic is a game about life, almost a life-size box game where the spectators are not mere pawns but become the protagonists of a story that director Bernat skilfully orchestrates. A sociological investigation in three dimensions on themes that are dear to us and in which we are protagonists, without constraints and prefixed roles.
For the first time in Milan, Domini Públic has toured the world and is a true classic of urban performance.
In Italian. Minimum age for headphones: 14.
Will also take place in case of rain.
The performance will be held at Castello Sforzesco,
Cortile della Rocchetta (Piazza Castello – MM1 Cairoli)
Please arrive with your ID 10 minutes before the start of the performance to collect your headphones.
Concept, direction and text by Roger Bernat/FFF; coordination by Helena Febrés; a production La Mekánica / Apap (advancing performing arts projects), Teatre Lliure / Centro Párraga / Elèctrica Produccions, with the support of Generalitat de Catalunya / Entitat Autònoma de Difusió Cultural – departament de cultura i mitjans de comunicació / European Union / Culture Programme 2007-2013; with the support of Ministerio de Educación, cultura y deporte_INAEM; www.rogerbernat.info
The Spanish War in the cinema memory 1936-2016
On the occasion of the 80th anniversary of the Spanish Civil War, a brief excursus into the media world of the time.
Radio, newspapers, newsreels and cinema took on an ideological dimension, becoming instruments of propaganda capable of orienting domestic and international public opinion.
A discussion with Aurora Palandrani (Aamod) and historian Alessandro Hobel.
From h. 17.30:
The Spanish Earth directed by Joris Ivens [text and voice of Ernest Hemingway].
National preview [in language with Italian subtitles / Usa, 1937, 53′].
Cinegiornali dell’Istituto Luce (Fascist propaganda newsreels, Italy, 1936, 20′)
España 1936 by Luis Buñuel and Jean Paul Le Chanois [France, 1937,34′].
Curated by: Archivio Audiovisivo del Movimento Operaio e Democratico (Aamod), Associazione italiana combattenti volontari antifascisti di Spagna (Aicvas), Istituto Nazionale per la Storia del Movimento di Liberazione in Italia (Insmli). In collaboration with Istituto Luce – Cinecittà
Agrupación Señor Serrano
Flocks of migratory birds forming indecipherable patterns in the sky. Movement. Life. Nothing in the cosmos stands still.
What is the point of building walls and fences to stop the flocks of birds?
Birdie compares two mirages.
On the one hand, welfare, respect for human rights, prosperity, easy movement of information and capital.
On the other, wars, exploitation, persecution, obstacles for migrants.
A multimedia show, visionary and rational at the same time, which deals with the evolution and survival of mankind with a critical spirit and wit in a clever composition of live performances, live video footage, scale models, art films and newspaper cuttings.
From the leading group of the Catalan scene, Silver Lion at the 2015 Venice Biennale.
In English, with Italian subtitles.
The show will be held at TeatroLaCucina, ex Psychiatric Hospital Paolo Pini
(via Ippocrate 45 – MM3 FN Affori, NB exit via Ciccotti)
In collaboration with OLINDA
Creation Àlex Serrano, Pau Palacios, Ferran Dordal; performance Àlex Serrano, Pau Palacios, Alberto Barberá; project manager Barbara Bloin; production GREC Festival de Barcelona, Fabrique de Théâtre – Service des Arts de la Scène de la Province de Hainaut, Festival TNT – Terrassa Noves Tendències, Monty Kultuurfaktorij, Konfrontacje Teatralne Festival; sponsor miniature animals Safari Ltd;
Agrupación Señor Serrano tells its story
Agrupación Señor Serrano – Silver Lion of the Venice Biennale 2015 –
Founded by Àlex Serrano in Barcelona in 2006, Agrupación Señor Serrano is a theatre company that produces its own shows based on material taken from contemporary reality.
It uses the most innovative technical means and traditional tools to constantly redraw the boundaries of its theatre. It makes use of numerous artistic collaborations and combines in its productions theatre, performance, live video, sound, scale models, to stage stories capable of telling the contradictions of contemporary human experience.
Evolution, globalisation and survival are among the main themes dealt with in the latest productions.
Today, the group’s core is composed of Àlex Serrano, Pau Palacios and Barbara Bloin. www.srserrano.com
Speakers: Àlex Serrano, Pau Palacios and Ilaria Mancia, moderator: Oliviero Ponte di Pino
Photo Nacho Gómez
Agrupación Señor Serrano
From the leading group of the Catalan scene, Silver Lion at the 2015 Venice Biennale.
Katastrophe is a contemporary fable about ecology and man-made disasters, skilfully told with video, irony and pop ideas. On stage are four performers, eleven scale models and hundreds of gummy bears that suffer earthquakes, oil spills, wars and other disasters.
ZONA K therefore proposes the Sunday afternoon repetition thinking also for families.
The show is wordless, with small text projections in Italian.
Suitable for an audience of 7+ year olds, teenagers and adults.
Conceived by Àlex Serrano and Pau Palacios; performance Àlex Serrano, Diego Anido, Jordi Soler and Pau Palacios; project manager Barbara Bloin; a production Agrupación Señor Serrano and Festival Hybrides de Montpellier; with the support of INAEM; www.srserrano.com
Roger Bernat in residence
For one year, Roger Bernat and ZONA K will collaborate on the conception and realisation of a site-specific project together with the citizens of the Isola neighbourhood, the result of several visits and periods of residence by Roger Bernat in the neighbourhood.
The result of the project will be presented in ZONA K’s Urban Focus in autumn 2017.
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