10 – Stagione Teatrale

10 – Theatrical Season
multidisciplinary season

Present / International / Participatory / Urban / Political / Game / Civic / Multimedia / Project / Device

10 keywords. 10 ways. 10 actions. 10 shows.

10 is round and double figure, the one of big occasions to be celebrated and balances to evaluated. These have been years of races, chases, discussions and question marks. Years in which we have experimented and dared. We assumed our liberties and shared them. We have met and gotten to know the neighbours of the district first and then the rest of the world. We have listened and translated different languages. We have gained confidence with new the technologies, the multimedia and the digital, conversed with computers and programmed smartphones, composed playlists and conceived new formats. We have invaded squares, streets and metro stops,  walked through peripheral streets and paths as well as looked at the world from above. We have seen dawns and sunrises just outside the city, played with kids and children and chased elderly in tights who believed themselves Superman. We have danced to German pop, the Catalan pasodoble and English rock. We almost founded a party. We fell in love numerous of times like all free girls.

The wish to understand, enter the issues, imagine and discover new ways of doing remains the same to what it was ten years ago. The world for us is yet to leaf, many urgencies to explore, many questions to verify even is often the answers fail to satisfy. And so we continue, always more confident that putting the people and their actions at the center of the projects is a way to listen to a thousand different perspectives and open new outlooks on the world which surrounds us. We are interested in the future. The next ten years. We have always liked challenges. We believe in the purity of the public and the coherence of our work, of which the vision is founded on the belief that artistic creation is an active lever and activator for the reflection and collective action on the social dynamics of contemporary life.  

The shows that we present are born and tell lived lives, experiences perhaps extreme, often far from the narration yelled from media and socials. At the base of the artistic research on the shows in programme we can always find a real date, a witness or a historical/scientific document, an urgency to recount. Because they are a set of small stories, daring gestures and controversial choices which make history. And this will continue to be our direction. 

10 – double and round figure – it opens already with a +1 to imagine a new decade, depict other worlds, every time more confident the the power of artistic pieces can transform into political action and impact our closest future.


video installation
free participation
c/o The D!alma – urban creative yard
Via Claudio Monteverdi, 117 – La Spezia

After its debut at Sarzana’s Teatro degli Impavidi in 2022, ZONA K offers in installation form the important work of investigation and involvement of ordinary people carried out with the production We are nothing, we will be everything.

Interviews, footage, and audio that photograph a complex labor today, made up of strong generational gaps, missed expectations, achievements, and the desire to participate. An online archive of the world of work today, starting with the testimonies of the first workers in La Spezia and Sarzana involved and growing for each square the show touches.

An immersive journey into one of the most pressing issues for everyone’s present and future.

a project by ZONA K curated by Fabio Cherstich content and direction of the show of the same name Alessandro Renda editing and visual effect video Francesco Tedde and Alessandro Tedde (Anthropotopia)
The project is produced with the support of Fondazione Compagnia di San Paolo as part of Art Waves Contemporary Culture Productions.

Hannah Hurtzig/Mobile Akademie Berlin (DE)


A strongly wanted project which marks the arrival and departdure, the synthesis of a will and a vision of ours of building out of format theatre projects.

Combining the intimacy of tête-à-tête with the spectacularity of the theatrical installation, the Market for Useful Knowledge and Non-Knowledge puts on stage communication and exchange as an art piece and a wide-range participatory performance. For every city that represents it, the Market is created from scratch, with a different thematic focus linked to the contemporary urban context. The performance foresees an unpublished assembly of a hundred “experts”, who’s different knowledges – which could go from obvious and irreverent to unexpected and surprising – furnish an encyclopaedic vision of the selected topic. It deals with urgent topics, of city and universal interest, of arguments often reported by the media but which lack a more in depth analysis. In a large space – defined agorà – the experts are convoked not to hold a conference for an entire crowd but multiple individual sessions 30 minutes each, in which they put themselves at the disposition of the single spectator. The dialogues can take the shape of an interrogation, a dispute, an exercise, a confession. The Market for Useful Knowledge and Non-Knowledge transform the performative nature of every social interaction into a captivating theatrical show. 

Conceived by Hannah Hurtzig and presented for the first time in 2004, The Market for Useful Knowledge and Non-Knowledge was put on stage 34 times in the countries Germany, Poland, Turkey, Latvia, France, Israel, Finland, Colombia; Great Britain and many others. 

The artist, curator and dramaturgist from Berlin Hannah Hurtzig founded the Mobile Academy Berlin in 1999. From then she has explored methods of knowledge transfer in theatres, academic settings, museums and art exhibitions. Apart from The Market for Useful Knowledge and Non-Knowledge, amongst the running projects are installations and archives. These have been presented at museums and several biennials, including Venice, Taipei, Novosibirsk and Delhi.

Babilonia teatri (IT)

– Season preview 2023 –

show-concert | duration 75 min

c/o Out Off Theatre, via Mac Mahon 16

On 25 January 2011, the Egyptian revolution began, which within a few days led to the ousting of Mubarak. One of the triggers was the killing of Khalid Said by two policemen, who was guilty of asking the reason for a sudden search of him inside an internet café.  Khalid Said was beaten savagely and then taken to the barracks where he was tortured and killed. His body will be found lifeless in the middle of a street.

On 25 January 2011 in Tahrir Square was Ramy Essam, known in Egypt today as the voice of the revolution. Ramy in the square was singing for Khalid Said, for all the Khalid Saids, who before and after Khalid Said suffered the same fate. Ramy sang to depose Mubarak and, to this day, has never stopped singing against the successive regimes in Egypt.

Since 2014 Ramy has been living in exile, he can no longer set foot in Egypt, an arrest warrant for terrorism hangs over his head. The arrest warrant makes no reference to his art or the content of his songs, but it is clear that the Egyptian regime does not in any way welcome the call for freedom and justice for his people that he sings endlessly, and that the accusation of terrorism is completely unfounded.

Ramy’s songs, in Egypt and beyond, everyone knows them, his videos reach 10 million views, but he, for his people, cannot sing.

Not one note. Not a word. His mouth must remain shut. He can only connect with those who follow him through a screen.
Ramy has opened our eyes. Every day Ramy asks us questions and demands answers.

Questions that alone we did not have the words to formulate, but which today, working on stage side by side with Ramy become deeply concrete, deeply human, deeply political, deeply authentic.

With this performance we want to give voice to these questions.

What does the state mean. What justice means. What power means. What police means. What is process. What legality means. What constitutes incarceration. What means torture. What public opinion means. What journalism and freedom of information means. What responsibility, humanity, strength means.

To tell it, with us, will be the voice of those who, like Ramy, live every day on their skin what dictatorship means. Ramy will sing and shout it with the grace, poetry, anger and nostalgia of those who pay a high price every day, exile, for their choices.

We want to expose the hypocrisy of certain politics. We want to tell how and to what extent the reason of state is ready to trample underfoot the inviolable rights of man, repeatedly enshrined in international conventions that, in practice, remain a dead letter. We want to question ourselves on our weakness. About the weakness of a state that does not know how to give transparent answers. We want to tell how our being free citizens in a free state encounters and clashes with the dynamics of victim and executioner. With dynamics that harm, offend and play with people’s dignity. We believe that this is never acceptable and that it is always worth repeating with strength and determination.

In order not to stop being free citizens in a free state.

by Valeria Raimondi and Enrico Castellani with Ramy Essam, Enrico Castellani, Valeria Raimondi, Amani Sadat, Luca Scotton lights design Babilonia Teatri/Luca Scotton stage direction and video design Luca Scotton
production Teatro Metastasio di Prato

Babilonia Teatri is a group that has entered the contemporary theatre scene with a decisive step, distinguishing itself for a language that has been defined as pop, rock, punk. The founders of the group, Enrico Castellani and Valeria Raimondi, compose dramaturgies with a unique pace, a sort of litany carved out of the contradictions of today, brought to the stage with a rebellious attitude. 
They have investigated different angles of provincial life, crystallising it as a microcosm of a universal pain, tackled with desecrating courage. Courage that earned the group the prestigious Silver Lion at the Venice Biennale. Babilonia Teatri is characterised by its irreverent and divergent gaze on today's uncovered nerves. For an unconventional style that understands theatre as a mirror of society and reality. Through the use of new visual and linguistic codes it expresses the need and urgency of questioning, to bring out conflicts and tensions, with irony and cynicism, affection and indignation.

Silke Huysmans & Hannes Dereere (BE)

– Season preview 2023 –

multimedia performance with English and Italian subtitles | duration 60 min

A meeting with the company will be held at the end of the performance on Friday 24 February.

c/o Out Off Theatre, via Mac Mahon 16

‘We know more about the surface of the moon than we do about the bottom of the ocean.’ This statement is often heard when talking about the deep sea. Worldwide, only 10 percent of the ocean floor has been mapped and explored. At a moment in history when the planet we live on seems to have been explored extensively, some places remain unstudied and untouched.

After their acclaimed performances Mining Stories and Pleasant Island, Silke Huysmans and Hannes Dereere present the final part of their trilogy on mining. This time, they focus on a completely new industry: deep sea mining. With resources on land becoming increasingly scarce and overexploited, mining companies turn towards the ocean. In the spring of 2021, three ships gather on a remote patch of the Pacific Ocean. One of them belongs to the Belgian dredging company Deme-Gsr. Four kilometres below the sea surface, their mining robot is scraping the seabed in search of metals. On another ship, an international team of marine biologists and geologists keep a close watch on the operation. A third ship completes the fleet: on board of the infamous Rainbow Warrior, Greenpeace activists protest against this potential future industry.

From their small apartment in Brussels, Silke and Hannes connect with the three ships through satellite. Each of the ships represents one pillar of the public debate: industry, science and activism. Through a series of interviews and conversations, an intimate portrait of this new industry emerges. The piece is an attempt to capture a potentially pivotal moment in the history of the earth. How much deeper can mining companies dig, and what are we as humankind actually digging towards? What are the challenges and risks? What opportunities potentially lay ahead?

by & with Silke Huysmans & Hannes Dereere dramaturgy Dries Douibi sound mix Lieven Dousselaere outside eye Pol Heyvaert technique Korneel Coessens, Piet Depoortere, Koen Goossens & Babette Poncelet production CAMPO coproduction Bunker (Ljubljana), De Brakke Grond (Amsterdam), Noorderzon – Festival of Performing Arts and Society (Groningen), Zürcher Theater Spektakel (Zürich), Beursschouwburg & Kunstenfestivaldesarts (Brussels), PACT Zollverein (Essen), Théâtre de la Ville (Paris) & Festival d’Automne à Paris (Paris) residencies Kunstenwerkplaats, Pilar, Bara142 (Toestand), De Grote Post, 30CC, GC De Markten & GC Felix Sohie special thanks to John Childs, Henko De Stigter, Patricia Esquete, Iason-Zois Gazis, Jolien Goossens, Matthias Haeckel, An Lambrechts, Ted Nordhaus, Maureen Penjueli, Surabhi Ranganathan, Duygu Sevilgen, Joey Tau, Saskia Van Aalst, Kris Van Nijen, Vincent Van Quickenborne & Annemiek Vink thanks to all conversation partners & the people who helped with the transcriptions 

Silke Huysmans studied acting at the KASK School of Arts Ghent and Hannes Dereere theatre science at the University of Ghent. With their performances, the two Brussels-based artists investigate the use of journalistic and documentary elements within theatre. Underlying their work is extensive field research, which they use to shape their projects. Since 2016, they have been working on a trilogy involving long-term research on mining. For the first part entitled Mining Stories (2016), Silke and Hannes returned to where she grew up in Brazil. In 2015, a dam explosion flooded this place with toxic mining waste, causing one of the biggest ecological mining disasters in recent history. Mining Stories received the main prize at the Zürcher Theaterspektakel 2018 (Switzerland). From 2019 is the second part, Pleasant Island. In this performance, the tiny island state Nauru holds a mirror up to the whole world. Nauru was once a paradise in the Pacific. After decades of colonisation and mining, this island finds itself in grave danger, literally up to its neck in rising sea levels. Out of the Blue concludes the trilogy and premiered at the Kunstenfestivaldesarts in May 2022.

Mammalian Diving Reflex/Darren O’Donnell (CA)

A ZONA K and Triennale Teatro Milano project

Participatory multimedia performance with the use of 3D visuals for 30 spectators | duration 90 min | the performance is characterised by an intense presence of smoke


With nostalgia we watch  that little red dot in the night sky and we stupidly dream of restarting, as if problems on earth are resolved more easily at -65º and with the help of high doses of cosmic radiation. Combining live and virtual reality performance, The Last Minutes Before Mars invites us in to enter the world of a group of youngsters to meet their families and friends and spend some time in spaces precious in their lives. This acts as a background to the meetings with the other strangers present in the room, in a collective experience which reflects on the recognition of everyone being part of the same journey, in motion towards the same direction – independent of what happens to us -; now, hundreds of years in the past and beyond, in a future to terrifying and attractive to imagine.

Ideation and direction: Darren O’Donnell co-direciton: Chiara Prodi co-ideation team: Darren O’Donnell, Konstantin Bock, Alice Fleming, Tina France, Sorcha Gibson, Thule Can Den Dam, Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Morena Marra, Craig McCorquendale, Genny De Leon, Elisa Fasiello, Mervin Kyle Fajardo, Fi Nicholson, Gianluca Benvenuti with: Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Elisa Fasiello, Mervin Kyle Fajardo executive producers: Alice Fleming, Ryan Lewis, Virginia Antonipillai associate producers: Craig McCuorquodale music: Isola Music thanks to: Stephen O’Connell, Letizia Gozzini (ITAS Giulio Natta).

The last Minutes Before Mars was originally co-comissioned a coproduced by ZONA K and Triennale Milano Teatro, in collaboration with the ITAS Giulio Natta di Milano and with the support of the Canada Council of the Arts, the Ontario Arts Council e the Ambasciata del Canada in Italia.

Guided by Darren O’Donnell, Mammalian Diving Reflex is a company founded in Toronto in 1993. After having distanced itself from a more traditional theatrical setting to move towards more socially engaging practices focused on performance. Creating shows to research the contradictions to transform into aesthetically brilliant experiences, the Mammalian always look to overtake themselves and the public with ideas and sensations, leaving intuition to lead the way.

Darren O’Donnell is a novelist, essayist, dramaturge, filmmaker, performance director, artistic director and founder of Mammalian Diving Reflex. His mission is the one to give life to a social tissue which deeply integrates culture and cultural institutions, increasing their capacity for social response. In 2000 he won the Pauline McGibbon Awards for direcion and was nominatod for numerous Dora Awards of Toronto for writing, direction and acting, winning, alongside Naomi Campbell, for the project While Mice. His work with the Mammalian company entered in the top 100 of the Yerba Beuna Culture Centre in 2016. He has been nominated twice for the german BKM Preis Kulturelle Bildung and New York’s Ellen Stewart inagrual prize.

Photos © Paul Blakemore

Miriam Selima Fieno/ Nicola Di Chio (IT)

Multimedia participatory show | duration 75 min

To participate it is required to request the 2023 card at least 24 hours before the show
Do it instantly, click HERE

Through a dialogue which oscillates between the theatre and the document, where live narration founds itself on audiovisual narration, two adolescents confront themselves: Giorgia, an Italian 14 year old girl, speaks of her everyday life as a European which lives in a flourishing time of peace, in which however lies the pain of a family war; Abdo a young Syrian refugee approaches Giorgia to the knowledge of another war: the one made of bombs, missiles and explosions under which from 11 years live thousands of his compatriots in Syria. 

The spectators are invited to delicately enter a private and lacerating world in together with the protagonists who, through electronic devices and personal materials, accept to expose a live elaboration of their biography and the privileged and painful aspects which have marked their stories up to this day. The show goes after the search of a balance between a personal story and a epochal story, in an intensely emotive fresco where technology enlarges like a magnifying glass our present and opens gashes on worlds after all not so far, reveals the faces of war, enters inside homes and shows their fragments, memories and possible futures. 

Concept and direction Nicola di Chio, Miriam Selima Fieno on stage Abdo Al Naseef Alnoeme, Giorgia Possekel dramaturgy Miriam Selima Fieno virtual scenography and light design Maria Elena Fusacchia videomaking Nicola Di Chio, Miriam Selima Fieno, Abdo Al Naseef Alnoeme, Giorgia Possekel archive video Hazem Alhamwy miniature realisations Ilenia Lella Fieno sonorous space Antonello Ruzzini production Tieffe Teatro Menotti, Bottega degli Apocrifi with the support of CSS Teatro Stabile di Innovazione del FVG / Dialoghi – Residenze delle Arti Performative a Villa Manin 2022_2024, Qui e Ora Residenza Teatrale, L’ Arboreto Teatro Dimora di Mondaino, Teatro Giovani Teatro Pirata / AMAT, Zona K in collaborazione con Mishwar Ong.Vincitore Premio YOUNG&KIDS 2022 FIT Festival Lugano Menzione Premio Scenario Infanzia 2020 Vincitore Bando Alte Marche Creative 2021

Nicola di Chio and Miriam Selima Fieno are actors, directors and authors. They graduate from Civica Academia d’Arte Dramatic “Nico Pepe” di Udine. Together they work since 2011 in the area of performing arts creating contemporary dramaturgical pieces which space from fiction to non fiction. The realise the shows “Lybia. Back home”, “Human Animal”, “RealItaly”, “Cantare all’amore”, “La protesta”. They win the Bando Ora! of the Compagnia di San Paolo, the Premio Scintille, the Bando Funder35 of Cariplo, the Bando Hangar Creatività di Regione Piemont, the Bando Next, the Premio In-Box. Through the years they receive important recognitions, realise reviews and festivals, conduct formative courses. From 2018 they conduct their work towards documentary theatre defining a new road of real cinema, facing topics linked to geopolitics, human rights, West and Middle East relations. They work with actors, musicians, children, refugees, journalists, and creat pieces which intercept not only different disciplines like theatre, cinema and music, but also distant artistic and cultural identities. With new documentary shows “Fuga dal’Egitto” and “From Syria: is this a child?” They win the bando IntercettAzioni, the Bando Movin’upm the prize Young&Kids at the Fit Festival di Lugano, the mention at the Premio Scenario Infanzia, the bando Alte Marche Creative. Currently they are busy with the realisation Syrian director Hazem Alhamwi’s new film in the writing of their first feature film. 

Eléctrico 28 (ES/AT)

Urban performance with headphones | in English and Italian, duration 45 min

in the Sarpi neighbourhood
The exact location of the performance will be communicated to the public only via mail. 

Inspired by the observation of all that surrounds us which Georges Perec wrote about, with the urban performance [The Frame] the Austrian/Catalan collective Elétrico 28 invites us to accommodate ourselves in a pop up theatre situated in a calm city street to observe life flowing, to think about it, calculate it, determine it and share it. $ characters, trained in the observation and organisation of space, of things and living beings, immerse themselves in the vertigo of the present and translate, with poetic simplicity, what happens through letters, the letters in words and the words in phrases. For a short lapse of time, everything becomes a big theatre play which never ends. A comedy with no plot which stays in equilibrium on the edge of banality of the things which take place through the theatre’s magnifying glass. [The Frame] is an invitation to open eyes and heart to discover the irrelevant, insignificant, the things in life. [The Frame] is a great opportunity to stop and observe. A drastic exercise. A pacific rebellion against dominant thought.

Creation by Daniela Poch, Josep Cosials, Jordi Solé and Alina Stockinger outside eye Claudia Mirambell Adroher, Sergi Esebanell production Elétrico Express & Aranu Vinós sound and music Jakob Rüdisser costumes Sarah Sternat photos Eva Freixa / Clemens Nestroy video Raúl Moreno coproduction Feneralitat de Catalunya (Departament de Cultura) ICEC & theaterland steiermark & Fira Tàrrega with the support of Graz Kultur, Land Steiermark Kultur, Escena Poblenou, Can Allà, CC Can Felipa, das andere theater, FITCarrer Vila-real, Sinksen Festival Kortrijk, Institut Ramon Llull

Eléctrico28, is an Associate artist of IN SITU, the European platform for artistic creation in public space, in the frame of the project (UN)COMMON SPACES, co-funded by the Creative Europe Programme of the European Union. The Associate artist programme is supported by Artopolis Association (HU), Atelier 231 (FR), Čtyři Dny / Four Days (CZ), FiraTàrrega (ES), Flynn Center (USA), Freedom Festival (UK), La Strada (AT), Lieux publics (FR), Metropolis (DK), Norfolk & Norwich Festival (UK), Oerol Festival (NL), Østfold Internasjonale Teater (NO), Oda Teatri (XK), Provinciaal Domein Dommelhof (BE), Scène Nationale De L’Essonne (FR) and a consortium of 3 Italian partners: ZONA K, Indisciplinarte, Teatro Stabile Di Sardegna.”

with the contribution of

Eléctrico 28 is a collective of austrian and catalan artists that dedicates its work to the public space and its inhabitants. They love the surprises of the streets, the cinematographic images which can be created on this vast stage in continuing evolution and the visual memory which remains when we go. They love exploring the gray areas between reality and fiction, putting in discussion the social and theatrical conventions and rethink the role of the public. Humorism and filanthropy are the principal driving forces of their wor

Roger Bernat/FFF
e Qui E Ora (ES/IT)

Participatory performance

at Magnete – via Adriano 107, Milan

In LA SCELTA (THE CHOICE) the public is called to experiment work mechanisms of an artistic direction: visualise, discuss, operate the choice. A real challenge, in which one finds themselves immersed, a fiction which produces effects on the reality of one’s city. 
Roger  Bernat has been for 6 months spectator of different artistic directions participated by the “Rete Risonanze”. From this came a work which reproduces, witnesses and prevaricates about this experience, telling another possibility of carrying out cultural programming, where people speak for themselves. 

Project by Roger Bernat, with the dramaturgy of Roberto Fratini and Marie-Klara Gonazález, with the participation of Francesca Albanese, Silvia Baldini, Josephine Magliozzi e Laura Valli, programming and technical care Stefano Colonna and Txalo Toloza, graphics Marie-Klara Gonazález, creative transcription of the registrations of the tour following the artistic directions of Elena Bernardi and Pina Rocco, production and curation Qui e Ora in coproduction with Capotrave – Infinito e Kilowatt Festival, with the support of Risonanze Network and the MIC, thank you to Stronger Peripheries

With the collaboration and images of: Catalina (Iniciativa Sexual Femenina), Les Vedettes (Marta Galán), Grandissima Illusione (Cris Blanco), The Watching Machine (Macarena Recuerda), Aquelles que no han de morir (Las Huecas), Figures (Germana Civera), It don’t worry me (Atresbandes + Bertrand Lesca & Nasi Voutsas), Los figurantes (Ça Marche) e Tierras del Sud (Azkona/Toloza).
And the cooperation of: Agnès Mateus e Quim Tarrida, Agrupación Señor Serrano, Alessandra García, Animal Religion, Baró d’Evel, Brodas Bros, Cabosanroque, Col·lectiu VVAA, David Espinosa, El Conde de Torrefiel, Joan Català, Jordi Oriol, Juana Dolores, Malpelo, Marcel·lí Antúnez, La Veronal, Nao Albet e Marcel Borràs, Núria Guiu, Nyam-nyam, Pere Faura, Quim Bigas, Societat Doctor Alonso e Soren Evinson.

Roger Bernat is a Catalan director, after having started his studies in architecture and painting, he studies dramaturgy and directing at the Institut del Teatre di Barcellona. IN 2008 he founds Roger Bernat/FFF and starts creating performances in which the public takes the stage and becomes the protagonist. «The spectators pass across a piece which invites them to obey or to conspire, and in any case to pay with their own body and make an effort». The firs parcipitatoru performance is Domini Public (2008), followed by the others Please ontinue (Hamlet)(2011), Pendiente de voto (2012) We need to talk (2015), No se registrar conversations de interés (2016-17) and The place of the Thing (2017), Flam (2019), ENA (2020), Desnonissea (2021), PIM PAM(2021) or Terra Baixa (2022). Roger Bernat utilises theatrical instruments to built collective dramatisations in which, like every community, the public is the one which has the difficult job of getting themselves in action. These parcititatory dramatisations confuse the roles of the actor and spectator and present the public with an experience of doubt. While his projects have been presented predominantly in theatrical contexts, in the last decade his pieces have been produced by institutions like Documenta Kassel or the Biennale di San Paolo.

Qui e Ora is a production company constituted by artists originating from diverse experiences but joined by the same poetic vision. It works on a autographic dramaturgy and loves confronting and collaborating with other artists to give life to the their works, in a crossbreeding of languages and outlooks. In 2007 on territory of the Bergamo province, along with the project Être –  Esperienze Teatrali di Residenza was born, composition in national and international setting with production of shows, organisation or reviews, laboratory curations. Qui e Ora is the theatre that talks about the present, which tries to construct imaginary collectibles and give force to contradictions with an ironic look. Since 2012 in the Bergamo province Qui e Ora realises an artistic and cultural project which brings the territory and its citizens – through laboratories, inquiries, reviews and theatre festivals – at the centre of the artistic experimentation and the creation of cultural products. In 2015 he founds the Granaio, a hospitality project in artist residences beside an ex restructured barn. In 2018 Qui e Ora is recognised by MIBAC as “theatrical innovatory production business”. 

Event inserted in the schedule of

Kepler-452 (IT)

CAPITAL. A book that we haven’t read yet

Theartre Show | duration 100 min

At Teatro Out Off, via Mac Mahon 16

Once the play has finished on Wednesday 4th October the meeting with the company and Prof. Vittorio Morfino (ordinary Professor of the History of Philosophy at University Milano-Bicocca) will be held.
Moderated by Ira Rubini (Radio Popolare Milano)

A theatre company that decides to play “Il Capitale” (Capital) by Karl Marx. It decides this because, after the end of the first lockdown, it feels the urge to listen to in the immediate successive stage, would lose their position of employment. Nicola and Enrico hence decide to cruise around Italy at the research of those places in which the pages of Marx became people, locations, events. One day they end up in a factory, the GKN of Campi Bisenzio, which has just closed. One morning of the 2021 summer, the 9th to be precise, the 422 employees which worked there received an email: they did not have to return to work the day after: they’ve been fired. From that day on the employees occupy the factory. In the first days of Autumn the company entered for the first time at the GKN. The workers invite them to eat boar together. From that day on they sleep there, inside the occupied factory, on some cots. Meanwhile Nicola and Enrico interview the hundreds of workers, participate at pickets, assemblies, manifestations, listen, observe, each time looking to return to Marx’s pages to try to establish a creative dialogue between “Capital” and what happens in the environment, between a classic on philosophical and economic literature and a group of human beings in flesh and bones. Then their attention shifted onto three people in particular: Iorio, maintainer, Felice, worker responsible for setting up and Tiziana, worker responsible for cleaning, which they invite to the theatre to make a show together. This is the start of the creation of Il Capital, a show which recounts the meaning what spending 20 years in a factory making pieces, of the difference between who’s done it and who has never done it, of the extraction of surplus value, the closing of one factory amongst many, of what happens when a group of workers decide to attempt to make history, of how for some time the logics of the Capitale become ousted from a perimeter of space, one of an occupied industrial establishment. Of how Il Capital, sooner or later will return to present the bill. Il Capital Is also the story of the meeting between a theatre company and a group of metal labourers in the Capitale’s autumn. Il Capital is especially a show on time, on its passing, on who owns it, on who sells it, buys it, frees it. 

A Kepler-452 project dramaturgy and direction Enrico Baraldi and Nicola Borghesi with Nicola Borghesi and Tiziana de Biasio, Felice Ieraci, Francesco Iorio – factory workers collective GKN and with the participation of Dario Salvetti light and scenic space Vincent Longuemare sound design Alberto Bebo Guidetti video and documentation Chiara Calió technical-scientific advice on “Capital” by Karl Marx Giovanni Zanotti assistant to the direction Roberta Gabriele machinist Andrea Bovaia light and video technician Giuseppe Tomasi sound engineer Francesco Vacca scenic elements created in the Laboratorio di ERT production Emilia Romagna Teatro ERT / Teatro Nazionale thanks to Stefano Breda and Cantiere Camilo Cienfuegos di Campi Bisenzio

Kepler-452 is a theatre company born in 2015 in Bologna from the encounter between Nicola Borghesi; Enrico Baraldi, Paola Aiello and, for the organisation role, first Michela Buscema and then, since 2021, Roberta Gabriele. Since it’s birth the company cultivates this urgency: opening the doors of theatres, go out, observe what’s around, in the unshakable conviction that reality has an autonomous dramaturgical force. The theatrical formats created range from the involvement of non-professionals on stage on the basis of their own biographies, to theatrical reportages that transform investigations into reality into performative moments, to the creation of audio-guided itineraries and other devices for interaction with the urban space, up to the creation of the Festival 20 30 which, starting from 2014, brought many under 30s on stage in an attempt to paint a generational fresco. Starting from 2018, a production path begins with ERT / Teatro Nazionale (“ Il giardino dei ciliegi – Trent’anni di felicità in comodato d’uso” (The cherry garden – Thirty years of happiness on loan for use) (2018) while in 2019 F. – Perdere le cose” (F. – Losing things) debuts. Starting from 2017, its creats several editions of Comizi d’amore, a participatory theatre format that tells the story of communities on stage starting from the questions posed by Pasolini in his honomymous documentary.

photos Luca Del Pia

I KEPLER-452 si raccontano: una parabola tra teatro e realtà

Sorry, this entry is only available in Italian.

È da qualche tempo che ci occupiamo di raccontare la realtà, di tentare di portarla in scena, con tutte le resistenze, intuizioni, difficoltà, scoperte, meraviglie che ne conseguono.

Dopo circa dieci anni di questo lavoro pensiamo di non aver elaborato un vero e proprio metodo, perché la realtà e il teatro sono due cose che, messe insieme, è difficile che forniscano due volte circostanze analoghe o anche solo simili. Il cortocircuito tra loro è un’altra realtà, ancora. Irripetibile.

Quando ZONA K ci ha chiesto di tenere una “MasterClass”, abbiamo pensato che, in poche ore, sarebbe stato difficile trasmettere a qualcuno la nostra pratica di lavoro. 

Abbiamo deciso, piuttosto, di ripercorrere insieme questi dieci anni di incontri, tentativi, spettacoli, persone, identità, fallimenti, e raccontarli pubblicamente, nella speranza che questa parabola narrativa tracci qualcosa di simile, se non a un metodo, a una possibilità di teatro.

Una sintesi che offra l’occasione di affacciarsi su un’avventura che possa, forse, far intravedere una strada, un’intuizione nuova, in qualcuno che l’ascolta .

Nicola Borghesi, Enrico Baraldi

La masterclass si svolge il giorno 5 OTTOBRE 2023 dalle ORE 16.00 alle ORE 18.00 presso il Teatro OUT OFF – via Mac Mahon 16 Milano.

La partecipazione è gratuita e avviene attraverso la compilazione di ➝ QUESTO MODULO
Il numero delle/dei partecipanti è limitato.
I posti verranno assegnati in base all’ordine di arrivo dei moduli correttamente compilati. 

Vai allo spettacolo di KEPLER-452 in scena il 4 e 5 ottobre per la stagione 10

Anagoor (IT)

Sorry, this entry is only available in Italian.

un omaggio presuntuoso alla grande ombra di Andrea Zanzotto

spettacolo teatrale | durata 80 min

c/o Teatro Out Off, via Mac Mahon 16

Anagoor ha sede a Castelfranco Veneto e ha un atelier operativo nella campagna trevigiana in un ex allevamento di conigli trasformato in teatro. Da sempre ha a cuore la relazione che intercorre tra politica, lingua, ambiente naturale e paesaggio: lo fa convocando sulla scena linguaggi diversi, una babele delle arti (da quelle visive alla poesia) nello sforzo di dire il reale e le sue fratture. Anagoor -pur non citandolo mai esplicitamente -ha da tempo fatto propria la lezione di Zanzotto. Molte le analogie che legano il gruppo di Castelfranco al poeta di Pieve di Soligo: la scelta radicale di osservare la storia dalla periferia senza che questa posizione implichi chiusura e arroccamento, la relazione complessa con la tradizione e con il canone che determina un’inattualità ostinata, la sofferenza per la devastazione, la tenacia nel rinnovare la fiamma di arti solo apparentemente inascoltate.

Il titolo di questo lavoro allude alla raccolta di versi IX Ecloghe che Andrea Zanzotto pubblicò nel 1962. Il poeta sceglieva per umiltà di stare un passo indietro al luminoso Virgilio e alle dieci ecloghe delle Bucoliche. Ultra moderno e antichissimo a un tempo, Zanzotto sa bene che la letteratura è come un coro di voci di morti. L’ultra modernità da antichissimo che connota Zanzotto non è tuttavia un dato puramente letterario, e la sovrimpressione delle bucoliche al proprio paesaggio, al proprio linguaggio, non è mai piana memoria letteraria, bensì̀ percezione di una irrimediabile frattura tra chi è ormai “versato nel duemila” e quel mondo perduto. Zanzotto capta e illumina l’inferno dentro il quale siamo calati eppure ostinatamente regge il fuoco di una speranza bambina. Il poeta del paesaggio, attraverso la visione della devastazione del paesaggio e la crisi del paesaggio interiore, della psiche e della lingua, afferra e connette le cause e gli effetti di un dolore che rende muti, ergendosi presto come forza civile e storica e persino metafisica. L’intera opera di Zanzotto, come una nuova ecloga, oltre le dieci di Virgilio, parla con la voce futura della profezia e rinnova la visione di un bambino che verrà.

testi Andrea Zanzotto con Leda Kreider e Marco Menegoni musiche e sound design Mauro Martinuz drammaturgia Simone Derai, Lisa Gasparotto regia, scene, luci Simone Derai voce del recitativo veneziano Luca Altavilla la scena ospita un’evocazione dell’opera Wood #12 A Z per gentile concessione di Francesco De Grandi Realizzazioni Luisa Fabris immagine promozionale realizzata da Giacomo Carmagnola management e distribuzione Michele Mele produzione Anagoor 2022 coproduzione Centrale Fies, Fondazione Teatro Donizetti Bergamo, ERT / Teatro Nazionale,TPE – Teatro Piemonte Europa / Festival delle Colline Torinesi, Operaestate Festival Veneto


Foto Giulio Favotto

Anagoor (IT)

Sorry, this entry is only available in Italian.

proiezione con live set elettronico | durata 50/70 min

c/o Teatro Out Off, via Mac Mahon 16

A fine replica si terrà l’incontro con la compagnia e la giornalista Ira Rubini (Radio Popolare Milano).

Un Grand Tour nelle zone buie del cosmo, lì dove scaturiscono insieme la tenebra e le sofferenze delle generazioni, il rapporto dell’uomo con la natura, con l’eros, con i compagni animali, con il tempo e con la tecnica, con l’assoluto: l’impossibile. Sotto il nome del demone che tentò Faust, Mephistopheles, Anagoor raduna il materiale video raccolto tra il 2012 e il 2020 in un unico viaggio per immagini attraverso le lacrime del mondo, musicato in un live set elettronico da Mauro Martinuz. La materia cinematografica di spettacoli teatrali come Lingua Imperii, Virgilio Brucia, Socrate il sopravvissuto, Faust, Orestea, è composta da immagini profeticamente raccolte nei musei e nei templi, nelle case di cura per anziani e negli allevamenti intensivi, tra macellai, pastori e pellegrini, in India, in Iran, ad Olimpia, sulla ferita campagna veneta e sul Vesuvio. L’enorme quantità di materiale inedito trova nuova composizione in questo volo e caduta in forma di concerto cum figuris. Un concerto per immagini sul mondo, l’umano e l’animale, la violenza contro i corpi e il profitto in un’opera che ben mostra la visione estetica e politica della compagnia. Un’opera-film dove l’immagine che scorre trova il suo movimento nel suono live di Mauro Martinuz per condurci in un contemporaneo fuori dal tempo: quello dei corpi e della loro devastazione, dei soprusi di un capitalismo sempre più accelerato che nega le stagioni, il paesaggio e i sentimenti. Uomo contro natura ma anche uomo contro uomo. Mephistopheles eine Grand Tour è un film “mondo”, un gesto politico di consapevolezza.

scritto e diretto da Simone Derai musica e live set Mauro Martinuz montaggio Simone Derai fotografia Giulio Favotto assistente alla regia Marco Menegoni riprese Giulio Favotto, Simone Derai, Marco Menegoni coordinamento organizzativo Annalisa Grisi management e promozione Michele Mele produzione esecutiva Centrale Fies / Laura Rizzo, Stefania Santoni produzione Anagoor 2020 coproduzione Kunstfest Weimar*, Theater an der Ruhr**, Fondazione Donnaregina per le arti contemporanee / Museo Madre***, Centrale Fies, Operaestate Festival Veneto in collaborazione con Fondazione Campania dei Festival – Napoli Teatro Festival Italia, Villa Parco Bolasco – Università di Padova

*supportato dal Ministero dell’Ambiente, Energia e Protezione della Natura della Turingia;

**supportato dal Ministero della Cultura e della Scienza della Renania Settentrionale – Vestfalia;
*** finanziata da POC Regione Campania 2014-2020.

Vai a ECOGLA XI Un omaggio presuntuoso alla grande ombra di Andrea Zanzotto

La compagnia Anagoor è fondata da Simone Derai e Paola Dallan a Castelfranco Veneto nel 2000, configurandosi fin da subito come un esperimento di collettività. Oggi alla direzione di Simone Derai e Marco Menegoni si affiancano le presenze costanti di Patrizia Vercesi, Mauro Martinuz e Giulio Favotto, Monica Tonietto, Gayané Movsisyan, Massimo Simonetto mentre continuano a unirsi artisti e professionisti che ne arricchiscono il percorso e ne rimarcano la natura di collettivo. Il teatro di Anagoor risponde a un’estetica iconica che precipita in diversi formati finali dove performing art, filosofia, letteratura e scena ipermediale entrano in dialogo, pretendendo tuttavia, con forza e in virtù della natura di quest’arte, di rimanere teatro. Dal 2008 Anagoor ha la sua sede nella campagna trevigiana, presso La Conigliera, allevamento cunicolo convertito in atelier e dal 2010 fa parte del progetto Fies Factory di Centrale Fies – art work space. Michele Mele e Annalisa Grisi completano il team seguendo management e curatela del progetto artistico.


Participatory theatre play
At Cittadella Dei Giovani
Viale Giuseppe Garibaldi, 7, 11100 Aosta AO

info and bookings: 016535971 –

Does work really define who we are?
How well does it meet our expectations?
How much weight does it bear on our lives and on the choices we make?

A participatory performance on working men and women, a choir of instances and inquiries.

A public call, tens of workers which respond and a chorus. The “work” like fil rouge. Work as an aspiration, a forced choice, a source of sustenance, but most of all as a motor which derails trajectories, defines self esteem and personal beliefs, and which determines where and who with we spend most of or time. But does work truly define who we really are? How well does it meet out expectations? How much weight does it bare on our life and the choices we make? Does comprehending happiness or individual dissatisfactions help us evaluate collective wellbeing? The concatenation of stories becomes an investigative instrument to transform the collective experience into a shared narration, a hymn thought as a total art piece to re-hug a communities wish, and, through theatre, find new forms of representing reality. 

a ZONA K project, direction Alessandro Renda, scenic implant Fabio Cherstich, testo Riccardo Spagnulo, con Matteo Gatta. Alessandra Renda, i cittadini and the coro di Aosta, production ZONA K co-porduction Teatro delle Albe

The project is realised with the support of the Fondazione Compagnia di San Paolo in the scope of Art Waves Produzioni of contemporary culture and with the support of Fondazione Cariplo and the Comune di Milano
Alessandro Renda is an actor of the Teatro delle Albe di Ravenna and from 2001 he is a “guide” in the laboratories of the “non-scuola”, pratica teatral-pedagogica antiaccademica delle Albe, with different experiences in Italy and abroad.

Photos Alessandro Renda

BÜRGERBÜHNE – La scena dei cittadini


Participatory show | duration 120 min

At condominium of viale Lombardia 65, Milan

Free participation
Obligatory booking on

10+1. “ Alla ricerca della pubblica felicità” (On the search for the public happiness) is a parcipitatory theatrical performance idealised and realised together with a group of citizens which took part at the BÜRGERBÜHNE theatrical laboratory – La scena dei cittadini (the citizen’s scene)

10 rooms, 10 themes, 10 questions which need to urgently dealt with and told through a performative action in the interior of the condominium on viale Lombardia 65.

The public is suggested to observe and listen but most of all to respond and act. Is it possible to find the collective happiness? And how? Through stories real and imaginary, games and provocations, reality and fiction we move towards the inside of a path which won’t be equivalent for everyone. 

17 citizens- a class representative of the city- make themselves authors and actors to bring to stage, with irony, their point of view of Milan. 

A Zona K project direction and dramaturgy Federica Di Rosa of and with Massimo Amati, Fiorenza Auriemma, Eleonora Bedon, Isabella Fazio, Maria Teresa Gimelli, Paolo Grulla, Fabio Lastella, Ele- na Lerra, Mattia Martini, Cristina Meneguzzo, Sara Pennati, Giovanna Piccardo, Emanuela Sitzia, Irmtraut Tonndorf, Arianna Tuzzolino, Xina Veronese, Alessandro Zemella laboratory conducted by Federica Di Rosa with the support of Leda Peccatori


Event inserted in the schedule of


Urban walk for 20 participants only | Duration 270 min.

c/o Urban spaces*

“L’uomo che cammina ” (The walking man) is a landscape performance, a walking journey of about four hours for 20 spectators at a time. A figure, shadowy and elusive, strolls through the city. Through her journey, the landscape opens up and hides from the eyes of the audience, which follows at a distance, as if spying, poised between identification and detachment.

Starting from the graphic novel by Jiro Taniguchi, DOM- builds a dramaturgy of spaces to delve deeper and deeper into the tangle of the city, and let the living experience of walking become the pretext for a hand-to-hand with reality. The protagonist of the Milanese remake is the writer and playwright Antonio Moresco. Walking in his footsteps and following his figure from behind, the audience finds itself immersed in a phantasmagorical sequence plan. The spaces follow one another – a square, a station, a cathedral, a swamp, a wasteland, a motel, a swimming pool – and are interwoven with solitary writings and tales of nocturnal journeys.

After the original productions in 2018 and 2019, realised thanks to the collaboration between ZONA K and Danae festival, the project is now also offered in the English version for the international meeting (Un)Common Spaces.

a project by DOM- 
creation, dramaturgy and direction Leonardo Delogu, Valerio Sirna 
with Antonio Moresco 
and with Paola Galassi, Isabella Macchi, Achraf Saiklaroussi 
with the guidance of Sathya Nardelli
and with the participation of the students of ITSOS Albe Steiner
freely inspired by the comic strip of the same name by  Jiro Taniguchi L’uomo che cammina 
sound processing of the text “Camminare da solo di notte di Antonio Moresco” curated by Fabio Zuffanti 
with the voice of Gabriele Portoghese 
in the English version audioguide sound processing Lorenzo Danesin 
English translation of the texts  Richard Courtenay Dixon 
video project by di Studio Azzurro curated by Alberto Danelli, Alexey Demichev, Laura Marcolini, Martina Rosa 
co-production Sardegna Teatro e ZONA K, co-production 2018 and 2019 edition Teatro delle Moire  with the collaboration of Terzo Paesaggio 
thanks for the collaboration Museo del Novecento, Abbazia di Chiaravalle and Pizza 3 Corvetto.

Students of ITSOS Albe Steiner are Johan Boccalini, Alessandro Delbosio, Deva Diminutto Formiconi, Claudia Ghielietti, Aurora Gigliotti, Manuel Giuliano, Eleanna Marseglia, Giada Mura, Sam Nalgrati, Mariangela Valle.

*The starting location will be communicated by text message the day before the performance.
It will be necessary to give ZONA K your mobile phone number.
Comfortable clothing and shoes are recommended.
Walk not appropriate for persons with reduced mobility.

DOM- is a research project born in 2013 from the collaboration between artists Leonardo Delogu and Valerio Sirna. DOM- investigates the language of performing arts, contaminating it with the militant approach of the Environmental Humanities and with the instances and imaginaries of feminist and queer ecologies. The research revolves around the relationship between bodies and territories, investigating the knot of permeability and observing how power, nature, culture and marginality interact in public space. DOM- constructs performance works, walks, gardens, texts, lectures and debates, audiovisual works, workshops, DJ sets and parties.
Antonio Moresco, Italian writer [Mantua, born 1947]. After completing a difficult apprenticeship of which he gives an account in Lettere a nessuno (1997), critically documenting the difficulty of emerging from the condition of being an underground writer and rejected by the Italian publishing world, in 1993 he published the collection of short stories Clandestinità (Clandestinity), in which the themes that substantiate his work are already present, rendered in a dry and hyperrealist style that increases its dramatic impact: that of loneliness, first and foremost, traversed by a dream dimension as estrangement from the self, which is accompanied by the recurring motif of a harried search for meaning that unravels through oblique and unstable paths. The core of Moresco's oeuvre revolves around the vast work Games of Eternity, written over a period of 35 years, consisting of Gli esordi (1998), Canti del caos (published in two volumes in 2001 and 2003) and Gli increati (2015). His other works include: La cipolla (1995), Lo sbrego (2005), Scritti di viaggio, di combattimento e di sogno (2005), Merda e luce (2007), La lucina (2013), Fiaba d'amore (2014), I randagi (2014), Piccola fiaba un po' da ridere e un po' da piangere (2015), L'addio (2016), Fiabe da Antonio Moresco (2017) and, both in 2018, L'adorazione e la lotta and Il grido.
Founder in 2003 of the blog Indian Nation, in 2005 he created the online and print magazine Il primo amore.

Sergi Casero Nieto (ES)


Performance in the Spanish language with subtitles in Italian | duration 55 min

On Friday, Nov. 10, at the end of the performance, there will be a meeting open for the audience with Sergi Casero and Angelo Miotto (journalist and co-director of Q Code Magazine) and Maddalena Giovannelli of Stratagemmi Prospettive Teatrali

At ZONA K, via Spalato 11

“Why to I barely know my grandma’s past?”

El Pacto del Olvido is a theatrical monologue which looks into the historic silence on the civil war and Francisco Franco’s reign in Spain, on his intergenerational transmission and the effects he has had on those who were born after the dictatorship.

The performance combines personal experiences, historical stories and documents collected during the research Casero conducted around the “Il Patto dell’oblio” affair, a Spanish amnesty law which passed soon after the the dictators Francisco Franco’s death in 1975 which impedes the investigation on the crimes committed during the 40 years of rule. In the monologue Casero tries to rebuild an incomplete national historiography through the recounts of the grandma who witnessed the civil war. It deals however with a fragmented narration, fruit of an auto-censorship at this point internalised at transgenerational level. This performative work is born from the reflection which, to confront Spain’s recent political violence, it is necessary to reveal the habits of domestic oppression on which oblivion has been woven into generation after generation, idem for the aftermath which this historic omission has produced in the successive descendents of families such as Casero’s.

Autofiction and historical analysis go hand in hand in this memory exercise which, through the language of light, examines the surroundings of the collective silence, inviting the spectator to explore the empty gaps of memory in which decades of furtively repressed decades of pain are insinuated. With the intention of intimately toning down the trauma provoked by the official speech which talks about winners and wins as collectives with no personal background, Casera investigates the varying generational behaviours respecting the institutionalised amnesia, incarnated in their relatives.

Until what point can silence push itself before becoming oblivion?

Ideation and direction Sergi Casero Nieto author Testo di Sergi Casero Nieto with citations and fragments of Jorge Luís Borges, Federico García Lorca, text of memory of Clara Valverde interpreted by Sergi Casero Nieto assistant to the dramaturgy Mónica Molins Duran assistance Elsa Casanova Sempé English translation Vincent Sanchís Puerto Italian translation Sofia Breschiane scenography, stage and stage objects Sergi Casero light design Sergi Casero with the supervision and help of Mifuel Angel Ruz Velasco costumes Sara Clemente graphic design Sergi Casero distribution Domenico Garogalo production Centrale Fies / Live Works residence Centro de Residencias Matadero Madrid

Sergi Casero Nieto (Barcelona, 1991) His work occurs at the intersection between design, action and research. In his work he explores the use of performance as an instrument to represent the results of research, paying particular attention to the projection of scenographic techniques. The historical information becomes physically present in his work, delving deeper into counter-narrations such as the oral testimonies or the collective memory, putting into discussion the hegemonic narrations through the presentation of multiple past perspectives. His work has been presented, amongst the other European institutions, at the Veem House for Performance (Amsterdam), at the Het Nieuwe Instituut (Rotterdam), at the Van Abbe Museum (Eindhoven), at the Arts Santa Mònica (Barcellona) and at the Centrale Fies (Dro, Italia).

Photos by Roberta Segata

Mauro Pescio (IT)

Sorry, this entry is only available in Italian.

Tratto da Podcast Io ero il Milanese di Raiplay Sound

Spettacolo teatrale | durata 75 min

c/o Casa Circondariale“Francesco Di Cataldo” San Vittore
Piazza G. Filangieri 2 – Milano

Guarda le repliche del 17 e 18 novembre c/o ZONA K

Uno spettacolo nato come podcast dalla penna di un attore-scrittore, Non è la storia di un eroe è la restituzione live del podcast Io ero il Milanese di e con Mauro Pescio. Lo spettacolo è il racconto di un uomo che nella vita ha fatto tante scelte sbagliate, un uomo con cui la sfortuna si è accanita, un uomo che ha toccato il fondo, ma che da quel fondo si è rialzato. La storia di Lorenzo è diventata un podcast, intitolato Io ero il Milanese, prodotto da RaiPlay Sound, diventato un vero e proprio caso nel 2022. Partito in sordina, grazie al passaparola il podcast ha conquistato il pubblico superando i 700 mila ascolti. Ora la storia di Lorenzo S. potrà essere conosciuta dal vivo: lo spazio teatrale è, per antonomasia, lo spazio della rivoluzione, adatto quindi a dare voce alla rivoluzione personale di Lorenzo S. e alla sua storia difficile, dura, ma anche piena di speranza.

di Mauro Pescio e Lorenzo S. con Mauro Pescio e la partecipazione straordinaria del Coro La Nave di San Vittore a cura di Associazione Amici della Nave, Associazione Verso Itaca, ZONA K 

Mauro Pescio, autore radiofonico e teatrale. Dopo essersi diplomato alla Civica Scuola di Teatro Paolo Grassi di Milano si trasferisce a Roma dove fonda una compagnia teatrale con cui lavora per dieci anni. Dal 2012 è autore di “Voi siete qui” per Radio24 e dal 2015 di “Pascal” di Radio2. Per Audible ha scritto “La piena”, prima produzione italiana di Amazon di un podcast teatrale. Dal 2017 collabora con Radio3 per la trasmissione di audiodocumentari “Tre soldi”.

Mauro Pescio (IT)


Theatrical show | duration 75 min


A show born as a podcast from the pen of an actor-writer, Non è la storia di un eroe is the return of the podcast Io ero il Milanese of and with Mauro Pescio. The show is the telling of a man which in life has made many wrong choices, a man which unluckiness has gotten fierce to, a man who’s touched the bottom, but from which he risen back. Lorenzo’s story became a podcast, titled Io ero il Milanese, produced by RaiPlay Sound, become a real and true case in 2022. It took off quietly, and thanks to word of mouth it conquered the public, overtaking 700 thousand plays. Now Lorenzo S.’s story can be known live: theatre space is, per antonomasia, the space of the revolution, hence suitable to give voice to the personal revolution of Lorenzo S. And his past, difficult, tough, but also full of hope.

of Mauro Pescio e Lorenzo S. with Mauro Pescio and the special participation of Coro Amici della Nave di San Vittore under the cure of Associazione Amici della Nave, Associazione Verso Itaca, ZONA K 

Mauro Pescio, radio and theatrical author. After graduating from Civica Scuola di Teatro Paolo Grassi di Milano he moves to Rome where he founds a theatre company with which he works for ten years. From 2012 he is author of “Voi siete qui” for Radio24 and from 2015 Radio 2’s “Pascal”. He has written “La piena” for Audible, Amazon’s first Italian production on a theatre podcast. Since 2015 he collaborates with Radio3 for the transmission of audiodocumentaris “Tre Soldi” (A few bucks).


Sorry, this entry is only available in Italian.

Mara Oscar Cassiani, Malte & Collettivo Ønar, Martin Romeo, Simone Verduci/Ariella Vidach

Per informazioni e acquisto biglietti (3 euro) consultare il sito All’atto dell’acquisto lo spettatore riceverà tutte le informazioni necessarie. 

Si rinnova, per il quarto anno consecutivo, l’appuntamento con la Settimana delle Residenze Digitali, progettualità artistiche sperimentali, che trovano nello spazio digitale il loro habitat ideale.

La settimana si svolgerà dal 22 al 26 novembre e prevede le restituzioni dei progetti selezionati attraverso la quarta edizione del bando delle residenze digitali, un progetto ideato e promosso dal Centro di Residenza della Toscana (ArmuniaCapoTrave/Kilowatt), in partenariato con l’Associazione Marchigiana Attività Teatrali AMAT, il Centro di Residenza Emilia-Romagna (L’arboreto – Teatro DimoraLa Corte Ospitale), l’Associazione ZONA K di Milano, Fondazione Piemonte dal Vivo – Lavanderia a Vapore, a cui si aggiungono quest’anno altre due realtà: C.U.R.A. – Centro Umbro Residenze Artistiche (La Mama Umbria Umbria International – Gestioni Cinematografiche e Teatrali/ZUT – Centro Teatrale Umbro – Micro Teatro Terra Marique – Indisciplinarte) e la Fondazione Teatro Comunale Città di Vicenza.

Il programma della settimana

22 – 26 novembre dalle 16.30 alle 18.00, di CITIZENS di SIMONE VERDUCI / ARIELLA VIDACH, progetto di arte performativa e partecipativa immaginato per lo spazio virtuale che ripercorre la definizione di eterotopia enunciata dal filosofo Michele Foucault, usata per indicare quegli spazi che hanno la particolare caratteristica di essere connessi a tutti gli altri spazi, ma in modo tale da sospendere, neutralizzare o invertire l’insieme dei rapporti che essi stessi designano, riflettono o rispecchiano. Il corpo dello spettatore è il motore di questo attraversamento. Conversazioni in corso, corpi danzanti, la preghiera in una chiesa, la confusione di un mercato affollato, sono solo alcune delle situazioni che gli utenti possono incontrare durante il loro percorso, oltre alla possibilità di interagire tra loro. Le situazioni agite da rappresentazioni virtuali sono le controparti umane. La scelta del percorso influenzerà direttamente l’evolversi degli eventi, la trama e il modo in cui lo spettatore si relazionerà all’esperienza. Le musiche sono di Franco Conte.

Simone Verduci è creative technologist e new media artist. La sua ricerca è incentrata sullo sviluppo e l’applicazione di nuove tecnologie per l’arte e il design, con uno sguardo sempre attento al contemporaneo e alla multidisciplinarietà.
Ariella Vidach si forma a New York negli anni Ottanta, dove ha modo di approfondire il lavoro con i protagonisti della danza postmoderna americana. Torna a Milano nel 1990 e nel 1996 fonda la Compagnia di danza Ariella Vidach – AiEP, con la quale produce performance multimediali che affiancano alla ricerca coreografica l’interesse per il rapporto tra corpo e tecnologia. Nel 2017 AiEP riceve il “Premio Speciale” nei Premi della danza svizzera per la ricerca e l’innovazione del linguaggio.

Giovedì 23 e venerdì 24 è il momento di AI LOVE, GHOSTS AND UNCANNY VALLEYS <3 di MARA OSCAR CASSIANI. Il lavoro può essere fruito in versione online giovedì 23 dalle 11 alle 12.30 e in versione ibrida, online e in presenza alla Lavanderia a Vapore di Collegno (To), venerdì 24/11 dalle 11 alle 12.30 – in presenza replica riservata alle scuole- e dalle 19 alle 20 – durata fra i 10 e i 30 minuti).

Possiamo innamorarci di una Ai (intelligenza artificiale) e poi decidere di lasciarla? Amici virtuali, avatar che posseggono profili Instagram e ci danno consigli, Ai che diventano i partner nella vita affettiva. In molti modi, sembra la relazione perfetta, perché si potrebbe sempre fare affidamento sul compagno di intelligenza artificiale, sempre disponibile a fornire compagnia e comprensione. Mentre aumentano le relazioni reali sparite in preda al ghosting (la scomparsa di qualcuno senza spiegazioni), le relazioni con le Ai crescono. I corpi, che sembrano spesso semi coscienti con un dispositivo in mano, vivono una seconda vita emotiva e reale sulle piattaforme social e Ai. Le Ai colmano i vuoti degli umani che infondono in loro quello che Gilbert Ryle nel 1949 chiamava il Ghost, l’anima nella macchina. Eppure, questo meccanismo di estrema umanizzazione diventa aberrante: quanto più la Ai assomiglia all’umano, tanto più gli utenti sono sconvolti (effetto Uncanny Valley). Il processo di ricerca oscilla tra storytelling di YouTube e momenti di realtà aumentata e si è sviluppato anche nel corso di due residenze: la prima in Lavanderia a Vapore, che ha permesso all’artista di interrogarsi su questi temi incontrando studenti e studentesse del Liceo Curie di Collegno e dell’Università DAMS di Torino, e la seconda presso C.U.R.A. centro umbro residenze artistiche. L’obiettivo è narrare ma anche dare una dimostrazione performativa della coesistenza di un rapporto tra Ai, in forma di avatar virtuali e utenti, e l’impatto sulla presenza corpo e sul nostro comportamento dell’uso dei device come tramite comunicativo. Mara Oscar Cassiani condividerà, inoltre, il processo di ricerca, la sua poetica artistica e l’esperienza di Residenze Digitali, durante la sua permanenza a Torino, il 26 novembre in occasione di onLive Campus, progetto promosso da Piemonte dal Vivo, quest’anno nell’ambito della sesta edizione del TFI Torino Film Industry al Circolo dei lettori. onLive Campus è un contesto in cui dare visibilità alle nuove estetiche e all’impatto delle residenze dedicate alle arti digitali in dialogo con la rete, come conferma la presenza nella stessa giornata di Kamilia Kard, tra i vincitori della precedente edizione di Residenze Digitali, e di MALTE & Collettivo ØNAR, altro progetto selezionato dal bando, sempre il 26 novembre a Torino per Memissima.

Mara Oscar Cassiani è un’artista wifi-based che lavora nel campo della performance, della coreografia, dei linguaggi digitali, del ritual clubbing, esplorati attraverso pratiche performative live, sia offline che online. La sua ricerca è incentrata sulla creazione di un’iconografia contemporanea, in cui le nuove grammatiche e i rituali sono mutuati dal mondo di internet, dalle sottoculture, dagli avatar e dall’immaginario del brutal capitalismo. Il rapporto che intrattiene con il pubblico, in una dimensione allargata – sia live che mediata – viene esplorato, attraverso questi immaginari visivi, in allestimenti performati in luoghi open space o in spazi virtuali open source. La performance risultante diventa un flusso di immagini, un continuo scroll-down tra estratti di cultura avatar, folklore rituale, folklore digitale e di riappropriazione nei confronti del linguaggio capitalista. L’artista ci restituisce così un’istantanea globale, un “fast food visivo” tra kitsch, cruda ritualità e apocalisse.

Giovedì 23, dalle ore 18 alle ore 20 dal vivo presso ZONA K e per un gruppo di 100 iscritti su Telegram, (replica domenica 26 dalle 18,30 alle 20 live da Off Topic di Torino per Memissima e fruibile da un gruppo Telegram di 100 iscritti) TEATROPOSTAGGIO di GIACOMO LILLIÙ. Lo shitposting è la condivisione in una chat o sui social di contenuti volutamente scadenti o fuori contesto, con l’obiettivo di far esplodere qualsiasi possibilità di comunicazione univoca. Strumento principale di questa operazione sono i meme, dunque assemblaggi di immagini, video e testi: una dialettica tra scritto e icona assimilabile a quella tra parola e palco. Ma cosa succede se si utilizza lo shitposting per “schiantare” i paradigmi drammaturgici? Giacomo Lilliù (ideazione e curatela performativa) e Pier Lorenzo Pisano (curatela drammaturgica) hanno selezionato 5 tra i più interessanti creatori di contenuti memetici, e li hanno invitati a creare nuovo materiale insieme a 4 attori professionisti. Per la Settimana delle Residenze Digitali, il percorso di ricerca trova attuazione sull’applicazione di chat Telegram, con una performance in bilico tra dadaismo, oscenità e nichilismo semantico. Gli attori saranno chiamati a condividere piccoli atti situazionisti in foto e video, che fungeranno da base per l’operazione di risignificazione dei memer, che a loro volta ispireranno nuove situazioni agli stessi performer, in un processo di feedback in cui è impossibile arrivare al termine di un qualsiasi pensiero. D’altronde, se lo shitposting serve a far saltare le fila del discorso, nessun discorso può dirsi immune da questa tentazione a deragliare.

Giacomo Lilliù (1992) è regista e attore. Formatosi alla Scuola del Teatro Stabile delle Marche e successivamente alla LAMDA di Londra, dirige e collabora a progetti in Italia, Polonia, Regno Unito. Come attore recita per Marco Baliani, la compagnia belga Ontroerend Goed, Romeo Castellucci. Dal 2014 collabora con la compagnia MALTE, diretta da Sonia Antinori, con la quale dirige e interpreta progetti come Teoria della classe disagiata, adattamento ufficiale dell’omonimo saggio di culto. Nel 2015 crea Collettivo ØNAR, gruppo informale attraverso cui si dedica alla creazione multidisciplinare e intraprende un percorso di ibridazione fra teatrale e digitale, realizzando opere come WOE/Wastage of Events (vincitore Residenze Digitali 2021). Nel 2022 il network Fondo, istituito da Santarcangelo Festival assieme ad altri 13 enti, gli riconosce una fellowship per la sua personale ricerca artistica.

Conclude la programmazione, venerdì 24 a Vicenza, dalle 20 alle 22,30 in 5 turni da 5 persone per volta, durata 30 minuti e sabato 25 nella sua versione online dal teatro virtuale di AMAT dalle 20 alle 22 (sempre 5 turni per 5 persone alla volta)  HUMANVERSE di MARTIN ROMEO. Una ricerca sul post-umano che considera tutti gli attori presenti come parte di un ecosistema: elementi fisici, non fisici, digitali, virtuali e phigital. Il metaverso è parte di questo nuovo ecosistema-mondo con il quale dobbiamo interfacciarci in vista della nascita di una nuova “civiltà”. Humanverse ci porta a riflettere sulla questione antropologica del corpo, in una realtà in cui vengono contrapposti mondi fatti di nuove alleanze tra specie diverse e abitati da esseri permeabili, ibridi e molteplici, come le creature fantastiche inventate da Carrington. Che farcene della nostra materia quando tutto è sempre più immersivo? In un mondo sempre più propenso all’immersività, quali priorità si vuole stabilire? Lo sviluppo di queste tematiche darà vita a elaborati audiovisivi generati con piattaforme AI (MidJourney, OpenAI, ChatGPT) che saranno presentati al fine di instaurare dialoghi e scambi. Lo spettatore potrà accedere a questo ambiente sia da computer che da smartphone tramite un avatar, avrà modo di interagire fisicamente grazie all’impiego di visori Quest 2 messi a disposizione durante le restituzioni pubbliche. Potrà partecipare all’esperienza in tempo reale, vivere all’interno di questo ecosistema e farlo evolvere.

Martin Romeo è un artista multimediale Italiano cresciuto in Argentina, la cui ricerca è rivolta all’arte interattiva, spaziando tra videoinstallazioni e performance di danza. Partecipa a numerosi festival internazionali, tra cui File – Electronic Language International Festival in Brasile e all’ International Sarajevo Winter Festival in Bosnia-Erzegovina. I suoi lavori sono stati esposti al Minsheng Art Museum in Cina, all’ IMRC Center in US, e a varie biennali, tra cui la 54° Esposizione Internazionale d’Arte di Venezia e la 15° BJCEM in Grecia. Ha creato diversi progetti culturali ed è direttore artistico del Toolkit Festival di Venezia e Screening Festival di Trieste. Insegna all’Università ISIA e all’ Accademia di Belle Arti di Urbino.

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