Jens Hillje, Alessandro Renda (DE/IT)

Sorry, this entry is only available in Italian.

Un progetto di ZONA K

Una chiamata pubblica, decine di lavoratrici e lavoratori che rispondono. È l’inizio del progetto che si è concretizzato nell’ultimo anno con incontri, laboratori teatrali, ricerca, video documentari, canzoni di protesta, cortei, un pretesto (America di Kafka), tre attori, un regista e un dramaturg.

Il “lavoro” come fil rouge. Il lavoro come aspirazione, come scelta obbligata, come fonte di sostentamento, ma soprattutto come motore che delinea le traiettorie, definisce autostima e convinzioni personali, rischia di plasmare i nostri valori e determina dove e con chi trascorriamo la maggior parte del tempo.

Ma il lavoro definisce veramente chi siamo? Quanto risponde alle nostre aspettative? Quanto peso ha nella nostra vita e nelle scelte che facciamo? Può oggi rappresentare un punto di osservazione sullo stato di salute della società, soprattutto dopo la fase acuta dell’emergenza sanitaria?

Non siamo niente, saremo tutto è la traduzione letterale di un verso de L’internazionale scritto dal poeta e rivoluzionario Eugène Pottier 150 anni fa. Non siamo niente, saremo tutto è anche il progetto teatrale prodotto da ZONA K, in cui Jens Hillje e Alessandro Renda hanno coinvolto lavoratrici e lavoratori di diversi settori, per esplorare storie individuali e affrontare il tema da differenti prospettive: possiamo specchiarci nelle storie lavorative altrui per sentirci più interconnessi? Quanto condiziona le nostre esistenze il rispetto di una volontà o di una vocazione? Comprendere felicità o insoddisfazioni individuali ci aiuta a valutare il benessere collettivo? Il concatenamento di storie diventa uno strumento di indagine per trasformare l’esperienza collettiva in una narrazione condivisa, un coro pensato come opera d’arte totale e scultura sociale per riabbracciare un desiderio di comunità e, attraverso il teatro, trovare nuove forme di rappresentazione della realtà.


info spettacolo e biglietti: Biglietteria Teatro degli Impavidi +393464026006 (anche su WhatsApp)
teatroimpavidi@associazionescarti.it

c/o e in collaborazione con  Teatro degli Impavidi di Sarzana (SP)


regia: Alessandro Renda; dramaturg: Jens Hillje; con: Roberto Corradino, Milena Costanzo, Matteo Gatta, i cittadini e le cittadine della chiamata pubblica di La Spezia e Milano e con i cori Four Steps Choir, Coro F.de André, Batebalengo, diretti da Gloria Clemente e Pietro Sinigaglia; scenografia: Denise Carnini e Francesca Pedrocchi; disegno luci: Mario Loprevite; editing e visual effect video: Francesco Tedde (Antropotopia); foto: Luca Del Pia; produzione ZONA K (MI); co-produzione: Pergine Festival (TN), Associazione 47|04 (GO); produzione esecutiva Valentina Picariello e Renata Viola; organizzazione Federica Bruscaglioni; con il sostegno e la collaborazione di Fuori Luogo La Spezia/Gli Scarti; in collaborazione con Olinda onlus, Project For People, Stratagemmi Prospettive Teatrali

Il progetto è realizzato con il sostegno della Fondazione Compagnia di San Paolo nell’ambito di Art Waves Produzioni di cultura contemporanea e con il sostegno di Fondazione Cariplo e del Comune di Milano

Alessandro Renda è attore, regista e filmmaker nel Teatro delle Albe di Ravenna. Si avvicina alla compagnia fin da adolescente partecipando ai laboratori della non-scuola, pratica teatral-pedagogica antiaccademica creata da Marco Martinelli. Nel 1998 viene scelto per interpretare uno dei dodici “palotini” dello spettacolo I Polacchi, testo e regia di Martinelli e da allora è attore e regista della compagnia. Dal 2001 è guida nei laboratori non-scuola. Dal 2003 si occupa di video, realizzando proiezioni per la scena o “traduzioni” in video di molti spettacoli del Teatro delle Albe e documentari su esperienze teatrali in giro per il mondo della compagnia.

Jens Hillje (Germania, 1968) dal 1989 al 1995 studia Arti applicate all’Università di Perugia, studi che prosegue a Hildesheim e a Berlino. Dal 1990 lavora nella scena del teatro indipendente tedesco come attore, autore e regista. Nel 1996 ha fondato insieme a Thomas Ostermeier lo spazio ‘Barracke’ al Deutsches Theater. Dal 1999 fino al 2009 è Chief-dramaturg e membro della direzione artistica della Schaubühne di Berlino con Thomas Ostermeier e la coreografa Sasha Waltz: con loro crea un ensemble permanente di danza e prosa di rilievo internazionale. In qualità di dramaturg lavora con i maggiori esponenti del teatro europeo: oltre a Ostermeier, Yael Ronen, Falk Richter, Luk Perceval, Sebastian Nübling, Nurkan Erpulat. Durante il suo periodo alla Schaubühne, Jens Hillje ha creato il F.I.N.D Festival nel 2000. Il festival per la drammaturgia internazionale e contemporanea ha presentato autori emergenti della scena teatrale e oggi è uno dei più rinomati festival in Germania. Dalla stagione 2013/14, Jens Hillje è co-direttore artistico e Chief-dramaturg del Gorki, insieme a Shermin Langhoff. Dal 2021 è free dramaturg. Nell’estate 2019 è stato insignito del Leone d’Oro alla carriera alla Biennale di Venezia.

A cosa servono, ancora, i miti greci?

Sorry, this entry is only available in Italian.

Ateatro Bolzano29
in collaborazione con
EngrammaTeatro dei Borgia e ZONA K

presentano

A cosa servono, ancora, i miti greci?
in occasione della pubblicazione del numero 194 della rivista “Engramma”

c/o Bolzano29, via Bolzano 29A, Milano (Metro M1 Rovereto)

Intervengono:
Monica Centanni (direttore di “Engramma” e professore ordinario di Lingua e Letteratura greca, Università Iuav di Venezia e Università di Catania),
Maddalena Giovannelli (docente Storia del Teatro presso USI-Università della Svizzera Italiana, Lugano),
Daniela Sacco (ricercatrice e docente presso l’Università Iuav di Venezia), Gianpiero Borgia (Regista).

Conduce Oliviero Ponte di Pino (presidente di Ateatro).

“What’s Hecuba to him?”
Che cos’è Ecuba per lui, cos’è lui per Ecuba? Perché dovrebbe piangere per lei?
Fa chiedere Shakespeare ad Amleto.

Questo numero della rivista “Engramma”, incentrato sull’esperienza teorica e pratica di Teatro dei Borgia, è nato per tentare di rispondere a una domanda: “A cosa servono, ancora, i miti greci?”.
Rilanciamo la domanda di Amleto: “Cosa sono Medea, Filottete, Eracle per noi?”.
“Perché dobbiamo piangere per loro? Servono ancora i nomi, le storie, le figure del mito? Possono i miti greci dire il nostro presente?”.
La stessa domanda che dà il titolo al Seminario di studi che si è tenuto a Trani il 21 e il 22 maggio 2022 per iniziativa di Teatro dei Borgia e della rivista “Engramma”.

Vai alla trilogia LA CITTA’ DEI MITI di Teatro dei Borgia

Season

CHIAMATA PUBBLICA
TEATRO PARTECIPATO

Sorry, this entry is only available in Italian.

NON SIAMO NIENTE, SAREMO TUTTO

 ZONA K lancia un grande progetto internazionale di teatro partecipato in collaborazione con Gli Scarti/Fuori Luogo di La Spezia.

Una “chiamata” alla cittadinanza di Milano per partecipare direttamente e in prima persona:
“Abbiamo bisogno di persone del territorio, di lavoratori e lavoratrici di alcuni settori che abbiano voglia di essere coinvolte all’interno di un percorso di indagine e di testimonianza che porterà ad una grande performance finale e che vuole coinvolgere direttamente le comunità cittadine sul tema del lavoro e dei suoi cambiamenti dopo l’esperienza della pandemia”.

La direzione artistica è di Jens Hillje (dramaturg berlinese, Leone d’oro alla Biennale 2019) e di Alessandro Renda (Teatro delle Albe di Ravenna) ideato e prodotto da ZONA K.

A CHI è rivolta la call?
–       Lavoratrici/lavoratori del mondo della SCUOLA E ISTRUZIONE (insegnanti, personale ata, studenti/studentesse)
–    Lavoratrici/lavoratori del mondo della SANITA’ e ASSISTENZA SOCIALE (infermieri/e, farmacisti/e, OSS, medici, caregivers etc)
–       Lavoratrici/lavoratori del mondo FOOD/DRINK, DELIVERY e COMMERCIO (ristoratori/trici, baristi/e, camerieri/e, riders, commessi/e di supermercato)

Oltre alle persone appartenenti alle suddette categorie possono partecipare anche coloro che abbiano voglia di condividere testimonianze indirette e la propria esperienza rispetto alle tematiche del progetto.

*NON è richiesta alcuna preparazione o esperienza teatrale pregressa e la partecipazione è gratuita

 


Domenica 22 maggio 2022 ore 18.30 – 20.30 ci troveremo a ZONA K (Via Spalato 11, vicino ple Lagosta, quartiere Isola) per raccontare il progetto e le differenti modalità di partecipazione:

  1. Semplice raccolta di testimonianze (anche video)
  2. Partecipazione ai successivi incontri del 30 maggio e 6 giugno (ore 18.30 – 20.30)
  3. Partecipazione performance finale (in autunno, data da definire)

Con noi ci sarà il regista Alessandro Renda.

Per partecipare o chiedere informazioni scrivi a stagione@zonak.it.

Deadline adesioni di partecipazione venerdì 20 maggio 2022.


 

 

IL PROGETTO
Soprattutto in questi ultimi 30 anni di libero mercato e privatizzazioni sono state deluse molte possibilità di una società più giusta e la competizione è diventata la condizione che definisce le relazioni umane, trasformando i cittadini in consumatori, frantumando il tessuto sociale e le identità individuali. L’esperienza della pandemia ha messo fortemente in discussione l’idea di economia e società neoliberista. Ma se da un lato questa fase ha ulteriormente evidenziato gli squilibri sociali e provocato sofferenze e contrasti tra lavoratori, dall’altro ha sviluppato e fatto riemergere desideri di solidarietà, promuovendo la ricerca di buone pratiche. Come raccontare questa fase così confusa? Il teatro ci consente di evitare le strettoie del quotidiano, sprofondando storie, volti e esperienze in mondi “altri” capaci di leggere la realtà in tutta la sua complessità.

Il coro è alle origini del teatro, da rito a vero e proprio personaggio collettivo. Il coro nel teatro greco antico ha fondato il teatro europeo, rappresentando la cittadinanza della polis. Attraverso il coro possiamo manifestarci nella nostra individualità ma anche nello spirito più profondo di appartenenza a un gruppo.

Non siamo niente, saremo tutto è un progetto teatrale prodotto da ZONA K che si svilupperà tra il territorio di La Spezia e altre località italiane tra cui Milano, Pergine, Ravenna. L’idea è quella di lavorare con cori di non professionisti appartenenti a alcune categorie specifiche di lavoratori. Per affrontare le storture dei meccanismi lavorativi e lo sfruttamento alla base di tanti processi economici e non solo della nostra società, si è deciso di scegliere gruppi di lavoratori in grado di riflettere lo smantellamento delle politiche welfare avvenuto in maniera sostanziale negli ultimi decenni. Non si tratta di raccontare questi lavoratori lasciandoli nelle loro categorie di appartenenza, ma di esplorare delle storie individuali per affrontare il tema da una differente prospettiva: quanto siamo consapevoli degli effetti delle nostre scelte? Delle nostre responsabilità? Quanto siamo coinvolti nei processi che spesso condanniamo? Il coro diventa strumento di indagine che permette di trasformare l’esperienza collettiva in una narrazione condivisa, un coro pensato come opera d’arte totale e scultura sociale. Un ensemble vivo che unirà le esperienze lavorative contemporanee, mentre l’Internazionale, l’inno di emancipazione e liberazione, depositario di memorie ed esperienze di 150 anni di lotta per il giusto riconoscimento economico e politico del lavoro, sarà un puntello per verificare l’attualità di quei versi.

POST

What define POST?

Etymologically the answer is easy, something that comes later in time or conceptual terms. The society we live in seems to be an endless catalogue of posts. We are in a post-democracy, citizens are post-materialist, capitalism has become post-capitalism, not to go into the more complex and philosophical definitions of post-structuralism, post-modernism and deconstructionism. Even the very concept of truth can no longer be separated from post-truth, voted by the Oxford Dictionary as word of the year for 2016. Everything is questioned, reconsidered, studied in its continuous evolution. It is as if certain principles and doctrines, which formed the basis of a certain culture in the second half of the 20th century, can no longer keep up with the times without having made room for a new political, cultural and social sensibility. Is it fair to ask whether a new progressive culture is possible for the 21st century? Is politics capable of formulating a new, compelling vision that (re)brings people together and is not just an expression of power?

We are not in a position to give answers, for us POST is still the time of questions that every change brings. It is the moment we find ourselves living. The ‘after’ of which the contours are not yet clear. It is not the criticism or the overcoming of what we have done and experienced so far, it is the time of uncertainty, of the need to reconsider positions and choices made so far without fully seeing the next step. It is more than a season’s headline, a well-crafted claim by a good copywriter. It is our present that we continue to look at with an artistic and political eye. It is looking for a new position, finding a new balance between creativity and proximity, between artistic research and audience engagement, between relationships and growth. POST is the start of a new path of openness, a broader view, reflections and comparisons. It is a stimulus for other thoughts, not necessarily our own.

And in this reservoir of suggestions, we started to measure ourselves with new possibilities, parallel actions, not substituting but complementary to the presentation of a theatre season. The first step was to call Jens Hillje as visiting dramaturg. A leading figure of European theatre, Golden Lion for Lifetime Achievement in 2019, Hillje has accompanied months of reflection and will be dramaturg of the new production of ZONA K that will be staged in November.

Therefore, the necessary awareness has matured – this is political and social – not to give up the centrality of people, whether they are spectators, artists, non-professionals, workers, students. Participatory and urban shows, productions and co-productions that arise from the direct involvement of citizens, training of younger targets, storytelling of artistic processes, meetings with artists, networks with other theatres thanks to common visions and synergic work, are all elements of the same puzzle that will be built in future years.

In this outlined framework, enclosed in the POST hat, Gob Squad and their latest production find their place 1984: Back to No Future, a nostalgic and pop look at the past and the future; the shouted words of Pasolini brought to the stage by Anagoor, the old men in tights of Massimo Furlan‘s “Superman”, Mats Staub with the delicacy of his interviews; the urban shows of Elisabetta Consonni and Teatro dei Borgia; the new production Non siamo niente, saremo tutto by Jens Hillje and Alessandro Renda on the distortions of society that brings a chorus of workers on stage, to close with a participatory performance on contemporary activism by Dreams Come True, Hichmoul Pilon, anthropie, collettivo Siamo ovunque. Eight shows, eight complex projects to present and narrate.

To close POST is also – much more simply – “a communication tool, a textual message with the function of opinion, comment or intervention”.

 

Teatro Dei Borgia (IT)

The City of Myths is a metropolitan poetic dream. It is a trilogy composed of three stories, Eracle, l’invisibile Filottete dimenticato e Medea per strada, which can be seen individually or in succession.

In these stories Medea, Eracle and Filottete are three heroes of the contemporary world. However, they are not heroes from above, they are not descendants, they are not children of gods. On the contrary, they are heroes of the margins, of the periphery, who speak to us of their real tragedies: prostitution, the fall into poverty and abandonment. Elena Cotugno and Gianpiero Borgia have worked on this trilogy for a long time together with many people: social workers, doctors, health workers and psychologists. They have come a long way with them, until the road began to work on them. The result is a trilogy of performances in which the mythical figures of Eracle, Filottete and Medea are projected into the contemporary world and identified respectively with a separated parent, an incurably ill abandoned person and a foreign prostitute.

The trilogy is a political art action that crosses the city and accompanies spectators to places of marginalization, illuminating corners of the urban landscape through the cone of light of Myth.

_______________________________

23 + 24 + 28 + 30 September + 1 + 2 October h. 16.45
ERACLE, L’INVISIBILE by Euripide

A disturbing parallelism between the classical hero, Heracles, divine in his proverbial strength, and a marginalised figure in contemporary society, the homeless. Christian Di Domenico plays the role of a separated parent and brings to the stage the economic, social and psychological hardships that have dragged him into the darkest despair. An immersive performance that, starting from myth and Euripides’ tragedy, comes straight to our days.

Duration 65 mins.
With Christian Di Domenico; Words by Fabrizio Sinisi; Project and direction Gianpiero Alighiero Borgia; Sociological advice Domenico Bizzarro; Production Teatro Dei Borgia; In co-production with Centro Teatrale Bresciano and Teatro Stabile del Friuli Venezia Giulia

_______________________________

23 + 24 + 28 + 30 September + 1 + 2 October h. 18.15
FILOTTETE DIMENTICATO by Sofocle

In Sofocle’ tragedy, Ulisse returns after ten years to look for Filottete, left alone on the island of Lemnos after seriously injuring his leg. For the Teatro dei Borgia, the contemporary PhiloFilottetectetes we have to deal with is a sick person suffering from a neurodegenerative disease and left alone in a nursing home. Daniele Nuccetelli gives body and voice to the feelings of someone who, in a situation of great suffering, is left to his own devices, staging a delicate and complex theme that touches on the family realities of today.

Duration 60 mins.
With Daniele Nuccetelli; Words by Fabrizio Sinisi; Project and direction Gianpiero Alighiero Borgia; Clinical advice Laura Bonanni; Production Teatro Dei Borgia; In co-production with Centro Teatrale Bresciano and Teatro Stabile del Friuli Venezia Giulia
_______________________________

20 + 21 + 27 + 28 September h. 19.30
23 + 24 + 30 September + 1 + 2 October in the Trilogy of Myths* formula
MEDEA PER STRADA by Euripide

This is the tragedy of the foreigner, reinterpreted through the strength of the myth of Medea interpreted by Elena Cotugno. The performance tells the story of a woman who escaped from her own country, arrived in Italy and ended up as a prostitute for the love of a man with whom she has two children. As with Medea, hope, love and faith in a better destiny are extinguished in an obsessive despair that culminates in a tragic epilogue.

Duration 70 mins.
With Elena Cotugno; Words by Fabrizio Sinisi and Elena Cotugno; Project and direction Gianpiero Alighiero Borgia; Production Teatro Dei Borgia; In co-production with Centro Teatrale Bresciano and Teatro Stabile del Friuli Venezia Giulia
_______________________________

23 + 24 + 30 September + 1 + 2 October h. 15.15 and h. 16.45
TRILOGIA DEI MITI (Medea per strada + Eracle, l’invisibile + Filottete dimenticato)

On these dates the performances can be enjoyed in succession in the Trilogy formula.
The route, lasting a total of 3 hours and 30 minutes, is reserved for 7 spectators only.
To take part, reservations must be made at biglietti@zonak.it

XXXXXXXXX
XXXXXXXXX

COME
HOW TO
In order to participate in the CITTÀ DEI MITI, membership of ZONA K is compulsory. The request must be sent online simultaneously with the purchase of tickets. The membership card will be issued free of charge c/o Olinda onlus on the evening of the performance together with the tickets purchased.

The performances can be seen individually or in the Trilogy formula.



WHEN
Medea per strada
20 + 21 + 27 + 28 September h. 19.30
23 + 24 + 30 September + 1 + 2 October in the Trilogy of Myths* formula
___________________________________________
Eracle, l’invisibile
23 + 24 + 28 + 30 September + 1 + 2 October h. 16.45
___________________________________________
Filottete dimenticato
23 + 24 + 28 + 30 September + 1 + 2 October h. 18.15
___________________________________________
*Triology of Myths (Medea per strada + Eracle, l’invisibile + Filottete dimenticato)
23 + 24 + 30 September + 1 + 2 October h. 15.15 and h. 16.45
Duration 3 hours 30 min. For 7 spectators only.

WHERE
c/o Olinda onlus, ex. Osp. Paolo Pini, via Ippocrate 47 Milano – M3 Affori FN


ONLINE TICKET OFFICE
Single show: full price ticket € 10,00 + € 1,00 pre-sale
Eracle, l’invisibile + Filottete dimenticato: € 7.50 + € 0.50 pre-sale, for each performance on the same evening

COMPULSORY BOOKING ON biglietti@zonak.it
Trilogy: € 24.00 to be paid in advance by bank transfer



IMPORTANT

Please arrive at Olinda onlus at least 15 min. before the performance to collect your tickets.
Punctuality is required. Access is not guaranteed once the performance has started.


Teatro dei Borgia is a theatre company founded by Gianpiero Alighiero Borgia and Elena Cotugno based in Barletta. Gianpiero Borgia is director, theatre actor and co-director of Teatro dei Borgia. Over the years, in addition to having signed numerous shows, he has worked as an acting coach and created and directed numerous workshops and cultural projects. Elena Cotugno is an actress, theatre author and co-director of the company. Her training is defined as nomadic and international: in 2007 she attended a course at the London Academy of Music and Dramatic Art (L.A.M.D.A.). Since then he has continued his training, researching with the masters Jurij Alschitz and Anatolij Vasil’ev and also beginning his first collaborations with Gianpiero Borgia. He is twice, in 2017 and 2019, a finalist for the Ubu Prize. In 2021 he received the Le Maschere del Teatro Award as best emerging actor/actress.

Elisabetta Consonni (IT)

“The first man who, having fenced in a piece of land, thought to say ‘this is mine’ and found people stupid enough to believe him, was the true founder of civil society. How many crimes, how many wars, how many murders, how much misery and error would mankind have been spared if, tearing out the pegs or filling in the ditch, he had shouted to his fellows: ‘Beware of listening to this impostor! If you forget that the fruits belong to everyone and the earth belongs to no one, you are lost!'” (J.J. Rousseau , Origin of Inequality, 1754)

Ti voglio un bene pubblico is an urban game that reflects on dividing infrastructures such as gates, walls, fences.  So much of what surrounds us is made up of walls and fences; understanding their meaning, from time to time, is a necessary civic practice. It is significant to note that the article of the civil code that regulates the construction of fences on land to define private property is called ‘ius escludendi alios’: to determine one’s own by excluding the other. When does a wall stop protecting and start dividing, segregating and excluding? And when a public space is fenced off and access to it is restricted, how much of that public space remains? When a wall is put up, how much of what is behind it can we not know?


In collaboration with Farout_Festival

urban performance ● in Italian ● duration 120 min.

c/o Barona district ● Church of San Giovanni Bono, via S. Vigilio


A project by Elisabetta Consonni for BASE Milano in collaboration with and ZONA K.
Concept and direction: Elisabetta Consonni, in collaboration with Sara Catellani, sociological consultancy: Adriano Cancellieri, artistic consultancy: Cristina Pancini, organisation: Chiara Panceri.
Co-production: BASE Milano, Fattoria Vittadini and ZONA K

Project winner OPEN /// CONTEMPORARY [URBAN] CREATION 2019.  It has been produced and realized by: Pergine Festival 2019 // Gorizia, In/visible Cities 2019// Terni, Indisciplinarte, 2019 // Milan, Zona K, 2019 // Padua, La Città che Verrà 2020 // 2020 PIA| Palazzina Indiano Arte-Florence: Exhibition. TVUBP- Esposizione Attraversabile di Materiali // Quartiere Celadina- Bergamo. Orlando Festival 2021 // Modena, Villaggio artigiano, Periferico Festival 2021.

Elisabetta Consonni received a writing grant from IN SITU, the European platform for artistic creation in public space, in the framework of the (UN)COMMON SPACES project, co-funded by the Creative Europe programme of the European Union.

   

Elisabetta Consonni choreographs everything, human and inhuman beings, mobile and immobile objects, maps, interstices and spatial holiday groups. She weaves networks of relationships, subtle and strong, like sugar glass.Graduated in Communication with a final thesis on the social construction of the body in dance and graduated from The Place-London, Elisabetta Consonni then deepened her research in performing art living in Holland (2004-2009) and Poland (2013-2015). Her works aim to expand the practice of choreography by looking for performative devices to incorporate social dynamics and issues. Her activism in the social and civic sphere, takes the artistic form of a research process (documented in ergonomicaproject.wordpress.com) that since 2013 investigates the use and social meaning of public space and the declination of choreographic skills in community practices.

Photo by Samantha Cinquini

Jens Hillje, Alessandro Renda (DE/IT)

A ZONA K project

One often overhears the expression that has become common: “do we work to live or do we live to work?”. The term ‘work’ describes any transfer of energy, so a more open answer might be that ‘we work to exchange energy’. A type of energy, that produced by work, which like love, music and mourning, is one of the few concepts that anthropologists and sociologists manage to recognize whenever they venture into foreign lands to decipher cultural and social aspects. Many of the choices we make at work shape our future trajectories, define our self-esteem and beliefs, shape many of our values and determine where and with whom we spend most of our time.

But does our work really define who we are? And how do we work in an age that wants us to be more and more productive? We often run the risk of living at too high a pace that leads us to conditions of disorientation, anxiety or even anger and antisocial behaviour. Competition has become the defining condition of human relationships, shattering the social fabric and individual identities.

Work can also be a key observation point for assessing the health of a society. There are also many jobs that are done out of passion or joy, not out of compulsion. Through work, we should enhance everyone’s passions and abilities, promoting dignity and personal satisfaction. And not just ‘toil’, as in the etymology of the word.

Non siamo niente, saremo tutto is the literal translation of a line from The International written by the poet and revolutionary Eugène Pottier 150 years ago. We are nothing, we shall be everything is also the theatrical project in which Jens Hillje and Alessandro Renda try to tell the story of workers without leaving them in their own categories, exploring individual stories to approach the theme from a different perspective: can we mirror ourselves in the work stories of others to feel more interconnected? How aware are we of the effects of our choices? How much does following vocations, making choices or being chosen condition our lives? Does understanding individual happiness or unhappiness help us to understand collective happiness and unhappiness? What mutations is this pandemic period bringing?

The chorus of stories becomes an investigative tool to transform the collective experience into a shared narrative, a chorus conceived as a total work of art and social sculpture to re-embrace a desire for community and, through theatre, find new forms of representation of reality.

Non siamo niente, saremo tutto is a theatrical project produced by ZONA K that develops between the territory of La Spezia and other Italian locations including Milan, Pergine, and Ravenna.


show info

c/o and in collaboration with Olinda onlus, ex. Osp. Paolo Pini, via Ippocrate 45 Milano – M3 Affori FN


directed by Alessandro Renda; dramaturg Jens Hillje; with Roberto Corradino, Milena Costanzo, Matteo Gatta, the citizens of La Spezia and Milan, and the Four Steps Choir and Coro Ragazzi F. De André of La Spezia, Batebalengo conducted by Gloria Clemente and Pietro Sinigaglia; set design Denise Carnini and Francesca Guarnone; lighting design Mario Loprevite; video shooting Alessandro Renda and Francesco Tedde; editing and visual effect: Francesco Tedde (Antropotopia); photos Luca Del Pia; production ZONA K (MI); co-production Pergine Festival (TN), Association 47|04 (GO); executive production Valentina Picariello and Renata Viola; organization Federica Bruscaglioni; with the support and collaboration of Fuori Luogo La Spezia/Gli Scarti; in collaboration with Olinda onlus, Project For People, Stratagemmi Prospettive Teatrali.

The project is realized with the support of Fondazione Compagnia di San Paolo in the context of Art Waves Produzioni di cultura contemporanea and with the support of Fondazione Cariplo and the Municipality of Milan
and presented within STOP project presented for Milano è Viva

Alessandro Renda is an actor, director and filmmaker in the Teatro delle Albe in Ravenna. He joined the company when he was a teenager, participating in the non-school workshops, an anti-academic theatrical-pedagogical practice created by Marco Martinelli. In 1998 he was chosen to play one of the twelve “palotini” in the play I Polacchi, text and direction by Martinelli, and since then he has been actor and director of the company. Since 2001 he has been guiding the non-school workshops. Since 2003 he has been working on videos, making projections for the stage or video “translations” of many Teatro delle Albe shows and documentaries on the company’s theatrical experiences around the world.

Jens Hillje (Germany, 1968) studied applied arts at the University of Perugia from 1989 to 1995, continuing his studies in Hildesheim and Berlin. Since 1990 he has been working in the German independent theatre scene as actor, author and director. In 1996, together with Thomas Ostermeier, he founded the space ‘Barracke’ at the Deutsches Theater. From 1999 until 2009 he was chief dramaturg and member of the artistic direction of the Schaubühne in Berlin with Thomas Ostermeier and choreographer Sasha Waltz: with them he created a permanent dance and drama ensemble of international importance. As dramaturg, he worked with leading European theatre figures: in addition to Ostermeier, Yael Ronen, Falk Richter, Luk Perceval, Sebastian Nübling, Nurkan Erpulat. During his time at the Schaubühne, Jens Hillje created the F.I.N.D Festival in 2000. The festival for international and contemporary playwrights presented emerging authors from the theatre scene and today is one of the most renowned festivals in Germany. Since the 2013/14 season, Jens Hillje has been co-artistic director and Chief-dramaturg of the Gorki, together with Shermin Langhoff. Since 2021 he has been free dramaturg. In summer 2019, he was awarded the Golden Lion for Lifetime Achievement at the Venice Biennale.

AA.VV.

Since 2021 ZONA K is among the partners who joined the Call for Digital Residencies conceived and promoted by Centro di Residenza della Toscana (Armunia – CapoTrave/Kilowatt), in partnership with Associazione Marchigiana Attività Teatrali AMAT, Cooperativa Anghiari Dance Hub, ATCL Lazio for Spazio Rossellini, the Emilia-Romagna Residency Centre (L’Arboreto Teatro Dimora di Mondaino – La Corte Ospitale), the Fondazione Luzzati Teatro della Tosse in Genoa, joined this year by Fondazione Piemonte dal Vivo – Lavanderia a Vapore and Fondazione Romaeuropa.

Now in its third edition, the call aims at stimulating performing arts artists to explore the digital space, as a further or different declination of their authorial research.

The selected artistic projects will be presented to the public during the Digital Residencies Week at the end of November.

Dreams Come True, Hichmoul Pilon, anthropie, collettivo Siamo ovunque

A participatory performance in which the audience reads aloud the testimonies from anti-fascists, feminists, anti-capitalists, anti-racists, anti-specialists, hackers, and people fighting for the rights of migrants, against all forms of social oppression, for the rights of LGBTQIA+ people, against ecocides, for the rights of sex workers, against police violence, for the rights of undocumented immigrants, for self-determination and empowerment of all workers, against job insecurity, against the current prison system and for Zone to Defend.

The project was conceived during a tour in Hong Kong in 2019, where where one of the promoters of the project mets some protesters of the pro-democracy movement: within 20 years Hong Kong will be entirely Chinese and their freedom of expression is rapidly diminishing. From their stories came the desire to share aspects of political engagement: the act of courage, which gives the strength to fight your way out of an oppressive or precarious situation, and the tools, tactics and practical advice useful to all activists, here or elsewhere.

Siamo Ovunque is a collection of emotional and inspirational resources: activists’ stories, tactics, tools and strategies, recorded as written texts or transcribed from oral histories to form an archive of contemporary activism.

 


info participatory performance ● in Italian ● duration 120 min.

c/o ZONA K – admission with prior 2022 membership


 

A project conceived and produced by: Dreams Come True, Hichmoul Pilon Production and collectif anthropie (Geneva, Switzerland) editorial committee and text collection in the Bologna area: collectif Siamo ovunque (Bologna, Italy) co-production: République éphémère, Geneva; Le Grütli, Geneva; l’Abri, Geneva; Aargauer Kunsthaus, (in progress) with the support of: Pro Helvetia – fondation suisse pour la culture, Office fédéral de la culture et République et canton de Genève, Ville de Genève, Loterie Romande, Fondation Ernst Göhner, Pour-cent culturel Migros, Fondation Jan Michalski pour l’écriture et la littérature, Fondation suisse des artistes interprètes SIS and Fondazione Cariplo

 

Post, il tempo delle domande

Media partner of  POST, the theatre season, could only be Q code Magazine, an independent magazine that prefers multimedia. It is geopoetic, that is, it tells geopolitics through stories, it is an open place for those who have passion, competence and ability to say it, it is a quarterly paper magazine to return to a slow and thoughtful reading. It is resistant, stubborn and abrasive. It believes in collaboration and sharing between sister organizations. It is edited by Angelo Miotto and Christian Elia, and in its nine years of life has hosted hundreds of signatures from all over the world.

Post, il tempo delle domande is the name of the Q Code podcast for ZONA K .
We have chosen keywords, related to the shows of the season.
The audio essays are by Angelo Miotto.

Listen to the podcasts by clicking HERE

 

Gob Squad (GB/DE)

“Who controls the past controls the future. Who controls the present controls the past.”
George Orwell: “Nineteen Eighty-Four”

Gob Squad travel back to 1984, back to the good old analogue days when life was simple and there were only three channels on TV. It’s a perilous journey: they might get lost in music, lost in nostalgia or both. But once they arrive, they discover their younger selves: caught up in the Cold War, fearful of nuclear catastrophe, trying to shape who they might become.

As they sift through the fragments of their teenage bedrooms, they reconstruct their own personal past, and the music drags them into a psychedelic virtual world of disembodied avatars. Under surveillance and under pressure, they fight, dance, build a nuclear shelter and try to dismantle what may have been written into their programming codes. Were these teenagers in control of their bodies, their fate and their ability to change things? Or were they following ready-made templates, part of a larger plan? Can they re-programme their own story, and influence the currents of history? Or at least see it through different eyes? As Gob Squad warp time and go back to a past which saw ‘No Future’, are they able to shed light on the present, and gain a perspective on what lies ahead?

 

 

The new production follows in the tradition of other works by Gob Squad, which reimagine and recast YouTube videos, Hollywood films and Andy Warhol art movies. The project brings to a head the company’s ongoing examination of the mechanisms of power inherent in our image-saturated world and the relationship of personal experience to political reality. In Gob Squad’s work, everyday life and magic, banality and utopia, reality and entertainment are all set on a collision course. The audience is invited into a world of light and shadow to bear witness to an experiment in performative science-fiction and imaginary time-travel. Nothing less than the future itself is at stake…

 


info in English and Italian – duration 90 min.

c/o Teatro Out Off, via Mac Mahon 16


 

Concept and Direction Gob Squad; Performance Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Bastian Trost, Simon Will, Damian Rebgetz and Tatiana Saphir; Sound Design
Sebastian Bark, Catalina Fernandez; Sound Mix Isabel Gonzalez Toro; Video Design Miles Chalcraft, Noam Gorbat; Costume Design Ingken Benesch; Set Design Amina Nouns; Lighting Design and Technical Management
Chris Umney, Max Wegner; Dramaturgy and Production Management Christina Runge; VR Consultancy, Development and Design Joris Weijdom; Artistic Collaboration Mat Hand; Directing Assistant Valeria Germain; Costume Assistant Simon Kernen; Set Design Assistant Stella Nikisch; VR Assistant Diede Tap; Directing Intern Rodrigo Zorzanelli Cavalcanti; Gob Squad Management Eva Hartmann; PR/Communications Alexandra Lauck; UK Producer Ayla Suveren.
A production by Gob Squad. In co-production with HAU Hebbel am Ufer Berlin, The Public Theater NY (USA), Schauspiel Leipzig, Anuja Ghosalkar / Drama Queen & Goethe-Institut/Max Mueller Bhavan Mumbai (India), HELLERAU – European Center for the Arts Dresden, Sort / Hvid Copenhagen and Teater Momentum Odense (Denmark).

 

GOB SQUAD is a bisexual, binational and bilingual (English/German) art collective. They have been devising, directing and performing together since 1994, working where theatre meets art, media and real life. Gob Squad have been looking for new ways to combine media and performance, producing theatre, video installations, radio plays, interactive live films and urban interventions.
Founded in Nottingham in 1994, while its members were still at Nottingham Trent and Giessen Universities, Berlin has been the group’s creative home since 1999. The main members are Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Bastian Trost and Simon Will. Other artists are invited to collaborate on particular projects. The group is managed by Eva Hartmann.

 

under the patronage of

Gob Squad (DE/GB)

This is a workshop aimed at anyone who wants to present themselves on stage:
performers, actors, dancers and also visual artists or writers
who have an interest to be on stage but have not yet tried

A few years before Gob Squad was founded, almost 30 years ago, one of the performers auditioned for a place at drama school. During an audition they said to her:
“Have you ever actually been in a theatre? Because what you are doing here has nothing to do with acting – you’re just playing yourself!”. She didn’t get the place, and went on to found the company with other like-minded non-actors. In Gob Squad’s work, everyone always plays themselves. Roles are sometimes tried on or tried out briefly, but like a child in an ill-fitting mask, the real person is always visible behind it, with their hopes, desires and insecurities.

In this workshop, two members of the collective will share some methods for putting themselves into their work, blending the personal, political and performative. The session will explore Gob Squad’s approach to text, improvisation and game-play.

 


The workshop will take place
– at Teatro Out Off (via Mac Mahon 16 – Milan)
– in English language
– if reached the minimum number of participants

Cost € 60,00. Registration deadline 14 March 2022.

To apply fill in the form click HERE


 

GOB SQUAD is a bisexual, binational and bilingual (English/German) art collective. They have been devising, directing and performing together since 1994, working where theatre meets art, media and real life. Gob Squad have been looking for new ways to combine media and performance, producing theatre, video installations, radio plays, interactive live films and urban interventions.
Founded in Nottingham in 1994, while its members were still at Nottingham Trent and Giessen Universities, Berlin has been the group’s creative home since 1999. The main members are Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Bastian Trost and Simon Will. Other artists are invited to collaborate on particular projects. The group is managed by Eva Hartmann.

 

pic. Garrett Davis / Capture Imaging

CHIAMATA PUBBLICA PER SUPERMEN OVER 60

Sorry, this entry is only available in Italian.

ZONA K e Casa degli Artisti Milano annunciano una
CHIAMATA PUBBLICA PER OVER 60 per partecipare a

BLUE TIRED HEROES” DI MASSIMO FURLAN
performance urbana fuori dal comune intorno all’immagine del supereroe

termine invio candidature: 10 maggio 2022

 

 

E se Superman fosse invecchiato?

Massimo Furlan è un artista svizzero multidisciplinare che ama creare immagini, quadri viventi, in cui l’occhio vaga, osservando la composizione, l’equilibrio, i colori e la stravaganza.

Questo suo lavoro, presentato all’interno della stagione teatrale di ZONA K, mostra con grande umorismo e ironia corpi invecchiati che interpretano un Superman che finalmente può vivere la sua età reale, in contrasto con l’immagine di eterna giovinezza tipica dei supereroi.

Blue Tired Heroes è una performance urbana in cui un gruppo di anziani supereroi gioca con l’immobilità e le azioni quotidiane: cammina lentamente tra le strade di Milano, si siede sulle panchine, entra nei supermercati, si appoggia agli alberi dei parchi, attende il tram alla fermata…

 

CERCHIAMO 11 PERSONE tra i 60 e i 70 anni  CHE VOGLIONO CONDIVIDERE UN’ESPERIENZA DIVERTENTE E INTENSA.

NON È RICHIESTA NESSUNA QUALITÀ PARTICOLARE NELL’INTERPRETAZIONE.
OCCORRE SOLO ESSERE SE STESSI E POSSEDERE UNA BUONA DOSE  DI AUTOIRONIA E SENSO DELL’UMORISMO.

UNICA CARATTERISTICA RICHIESTA: AVERE PIU’ DI 60 ANNI (SUPERMAN È DEL 1934!)

 


Vuoi partecipare e diventare un Superman? Ecco cosa fare!
Manda la tua candidatura scrivendo una mail a stagione@zonak.it allegando una tua foto a figura intera e il tuo numero di cellulare entro e non oltre il 10 maggio 2022.

È richiesta la presenza su tutti e 3 i giorni del progetto, 27, 28 e 29 maggio 2022.

La partecipazione si svolge su base volontaria. Verranno rimborsate eventuali spese di trasporto di A/R per e dal luogo delle prove e della performance.


 

LE PROVE SI SVOLGERANNO NEL POMERIGGIO DI VENERDÌ 27 MAGGIO
Ci troveremo presso Casa degli Artisti (zona Garibaldi) per conoscerci e incontrare il regista Massimo Furlan. Cammineremo lungo il percorso individuato (3 km circa tra Garibaldi e Sarpi), provando le pose da supereroe suggerite dai luoghi che incontreremo lungo il tragitto.
Durata dell’impegno, 4 ore circa.

LA PERFORMANCE SI TERRA’ SABATO 28 E DOMENICA 29 MAGGIO, NEL POMERIGGIO
Si va in scena! Si indossano i costumi da Superman e si percorre il tragitto compiendo le azioni e le pose provate. Il pubblico sarà formato da passanti, abitanti delle vie delle zone Garibaldi e Sarpi, e ovviamente da tutti gli amici che vorranno assistere alla performance.
Durata impegno, 3 ore circa al giorno.

 

IL PROGRAMMA IN BREVE

Venerdì 27 maggio ore 15.00 – 19.00 (indicativo): incontro e prove con il regista, ritrovo c/o Casa degli Artisti, Corso Garibaldi 89/A, angolo via Tommaso da Cazzaniga – M2 Moscova –

Sabato 28 e Domenica 29 maggio ore 16.30 – 19.30 (indicativo): 1 passeggiata di circa 1h30 al giorno in città, ritrovo c/o Casa degli Artisti.
Durata dell’impegno, 3 ore circa al giorno.

Domenica 29 maggio, dopo lo spettacolo, festeggeremo insieme con un bell’aperitivo!

Anagoor (IT)

 

A poetic text by Pasolini, little known but with a disruptive expressive force, a non-finite in the author’s magmatic laboratory, a jumble of words and images, of sound and pain, an expression of power and the ways in which man succumbs to it, with the emblematic title: L’italiano è ladro (The Italian is a Thief). Here the voice and the poetic word, accompanied by the sound design of the staging, reach the public in their increasingly lacerating and at times disturbing symbolic significance.

 

 

In 1955, a fragment of Pier Paolo Pasolini’s L’Italiano è ladro (The Italian is a Thief) was published in a fascicle of the literary magazine “Nuova Corrente”, the only printed trace of a multi-lingual poem of long gestation composed between 1947 and the second half of the 1950s. Because of its openness to the representation of the popular classes and its tendency towards narrativity, this work, despite having passed almost unnoticed, is undoubtedly a representative witness to the poetic season of the 1950s and the cultural and literary political history in which it is embedded. Anagoor attempts to restore the fervour and complexity of a boiling writing, of a thought and a language that were then becoming a system and a vision, illuminating the theatrical virulence that seems to pulsate beneath the poetic verse. The company chooses to mediate this complexity by comparing the different versions of the text and illustrating the workshop of the Friulian poet, before leaving the language free to break the banks and overwhelm the ear like a torrent that drags along recent transformations and ancient pain.

 


info duration 80 min.

c/o Teatro Out Off, via Mac Mahon 16


 

Voices: Luca Altavilla, Marco Menegoni Mediation: Lisa Gasparotto Sound: Mauro Martinuz Direction: Simone Derai Production Anagoor 2016 Co-production Stanze 2016, Centrale Fies

 

The Anagoor company, which takes its name from Dino Buzzati’s short story Le mura di Anagoor (The Walls of Anagoor), was founded in 2000 in Castelfranco Veneto on the initiative of Simone Derai and Paola Dallan, who were later joined by Marco Menegoni, Moreno Callegari, Mauro Martinuz, Giulio Favotto, Silvia Bragagnolo and many others, making the experience a community project. Since 2008, Anagoor has been based in the Treviso countryside, at La Conigliera, a burrow farm converted by the company into its own atelier. With this choice, the desire to preserve the architecture of the place and the wish to keep a name that would reveal its history, Anagoor experiments with the possibility of stopping pieces of a changing civilization to graft them into a new vision. Anagoor’s theatre responds to an iconic aesthetic that precipitates into different final formats where the performing arts and the hypermedia scene enter into dialogue; it penetrates the territories of other artistic disciplines and yet forcefully claims, by virtue of the nature of this art, to remain theatre.

photo by Silvia Bragagnolo©

Wundertruppe (IT)

ATTENTION: EVENING DEPARTURE TIME HAS BENNE BROUGHT FORWARD TO 19.00

– SECTION OUT OF MILAN –

It is a sound path with headphones that will take place in the town of Baranzate, a group walk, an experience at the same time personal and shared inhabited by voices, sounds, literary fragments and testimonies around the theme of loneliness. The performance crosses significant places in the city that are identified in the days leading up to it, thanks to the study of the topography and history of the city and (when possible) thanks to encounters with local people. Two figures accompany the public: the first is a point of reference, guiding the route; the other crosses the space, directs the gaze, gets lost, plays with the limit. The route follows the sun and its light.

 

 

 

The performance takes place at dawn and/or at dusk: at dawn the city wakes up, a few people inhabit it with their silent and solitary presence; at dusk, on the other hand, it can swarm with passers-by and within this collectivity a sense of solitude can arise, willingly or unwillingly. The reality of the landscape becomes part of the performance, resonates with the words in the headphones and allows the unexpected to manifest itself and become a story. One walks, at the same time, alone and in company to find oneself at the end in a temporary square and express a desire.

Baranzate was chosen by the collective because of the intense social activities born in the area over the years, and it is also a place of affection and growth for one of the members of the collective.

 


in collaboration with Associazione Quarantasettezeroquattro in Gorizia

info urban headphone performance

c/o Municipality of Baranzate (Mi)

departure at 6.30 a.m. Meeting point piazza Giovanni Falcone – Baranzate
departure at 20.00 meeting point via Gorizia, 61 – Baranzate

BASIC INFORMATION TO PARTICIPATE:
A document will be requested as a deposit for the use of the navigator.
As this is a route with obligatory stages, the departure time cannot be postponed. The walk takes about 80 minutes and will be done on foot. The place of arrival is 10 min. walk from the place of departure. It is recommended to wear comfortable shoes and a waterproof jacket in case of light rain; in case of heavy rain the event will be cancelled.


 

Conceived and directed by Collettivo Wundertruppe: Natalie Norma Fella, Marie-Hélène Massy Emond and Giulia Tollis with the voices of Natalie Norma Fella Marie-Hélène Massy Emond and Giulia Tollis, Sandro Pivotti and people met in Italy, Canada and online original music Marie-Hélène Massy Emond sound design Renato Rinaldi special thanks to Luca Oldani, Riccardo Tabilio and Jonathan Zenti for their help on stage and in the studio production Wundertruppe in co-production with Petit Théâtre du Vieux Noranda (Rouyn Noranda, QC -Canada) / Associazione Quarantasettezeroquattro – Gorizia with the support of MOVIN’UP Performing Arts of MiBACT and GAI – Giovani Artisti Italiani / ARTEFICI – Residenze Creative FVG 2019 di Artisti Associati – Gorizia / Conseil des Arts du Canada (Canada) / Associazione IFOTES | ARTESS – Udine. Project supported with funds from the Otto per Mille della Chiesa Valdese

 

Wundertruppe is a person and a collective at the same time. Wundertruppe is the name under which, since 2016, Natalie Norma Fella has presented her projects. Each work makes use of the collaboration of artists, technicians, consultants, thinkers; the principle of this collective is to combine skills and interests according to the nature and needs of the various projects. The works of Wundertruppe are: “40 A.D. | Etiquette for an Earthquake”, “WK -Wunderkammer,” and “Piazza della Solitudine”.

 

photo Alvise Crovato

Mariano Pensotti/Grupo Marea (AR)

– COLLABORATIONS SECTION–

El Público (Buenos Aires), The Audience (Athens) and The Public/Het Publiek (Brussels) are three films about a theatre audience and the city they live in. They are also three plays that we only know through the narration of the spectators. The starting point of the three films is the same: there is an audience going to see a performance in a theatre. The audience takes their seats before the performance starts, they read the programme, they chat.

The show starts but we do not see it.

There is an ellipsis. We see the audience leaving the theatre immediately after the end of the performance. Apparently the play they saw was incredible, an extremely complex performance about a real story hidden in the recent history of the city. All the spectators are moved by what they saw.

We follow some people leaving the theatre. We will see the stories of these 11 people during the 24 hours after they have seen the performance and to what extent what they have seen has influenced their lives. Each story is a short film.

The personal stories of the audience are very different and have a variety of conflicts, there are some stories with a strong plot and others that are more focused on everyday life. But at some point everyone talks to another person about the play they have seen and we have not. They all tell a different scene from the play. By following their stories and listening to their narration of the play, the real audience can reconstruct the play that the fictitious audience has seen.

What are the stories of the people who go together to see a play? How much are their lives transformed by that experience? To what extent is what they have seen modified by their memories? What is it like to become a character in your own city? What is the effect of transforming the audience into protagonists?

 

 


projection:
12 May THE AUDIENCE – length 80 min
13 May EL PUBLICO – length 90 min
14 May HET PUBLIEK – length 80 min

in collaboration with Piccolo Teatro di Milano – Teatro d’Europa

film info ● in original language with subtitles

c/o ZONA K – free entrance with 2022 membership required 24 hours before the event, click here, do it now

booking recommended: biglietti@zonak.it – 393.8767162


 

Written and Directed by Mariano Pensotti Art Director Mariana Tirantte Music Diego Vainer Cinematography/DOP María Soledad Rodríguez Artistic Production Florencia Wasser Assistant Director Agustín Gagliardi.
THE AUDIENCE was commissioned and produced by Onassis Stegi.
EL PUBLICO is a co-production between Festival Internacional de Buenos Aires and Grupo Marea.
HET PUBLIEK was commissioned by Kunstenfestivaldesarts in co-production with Wrong Men, Théâtre des Martyrs and Shelter prod.

 

Mariano Pensotti (Buenos Aires, 1973) studied cinema, visual arts and theatre. His performances have been presented in Argentina and in major international festivals around the world. He has received numerous prizes and awards including: the Rozenmacher, Clarin and F Prizes; and grants from Unesco-Aschberg, Rockefeller Foundation, Fundación Antorchas and Casa de América de Madrid. He founded Grupo Marea together with set designer Mariana Tirantte, musician Diego Vainer and producer Florencia Wasser.

 

Lisandro Rodríguez (AR)

In order to enter, in addition to booking, it is compulsory to send the membership application/renewal for the year 2022 at least 24 hours before the performance.
For this event the fee of € 2,00 is not due. Send the request

 

– COLLABORATIONS SECTION –

Extremophile (‘extreme’ with the suffix -philos, from the Greek philéô, to love) is the adjective assigned to those organisms capable of growing and thriving in extreme conditions, i.e. in hostile environments, due to high temperature, acidity or salt concentration. They are therefore those who, as ‘lovers’ of extreme habitats, live differently from the rest of the living.

This is what happens to the protagonists of Alexandra Badea’s work – as the title suggests – which traverses three (or more) stories of love and restlessness. A ministry chief of staff falls in love with a left-wing militant, while a teacher blows himself up in front of a school; a marine biologist is torn between working as a researcher and working for a powerful multinational corporation that devastates the seabed; an Israeli soldier, who pilots drones from a distance, watches his enemies make love on the terraces of their homes.

Rodríguez stages the text by bringing into dialogue the faults and the forgotten dreams, the intimate and the political, and says: “when these characters talk about their work and link it to love, in some way they are also talking about a world that is becoming unbearable”.

 

At the end of the first performance on 19 May, the company and the director will meet the audience.

 


a project by Piccolo Teatro di Milano – Teatro d’Europa, presented in the festival “Presente Indicativo” 

show ● national premiere ● in Spanish ● duration 80 min.

free entrance ● Sold Out

In order to enter, in addition to booking, it is compulsory to send the membership application/renewal for the year 2022 at least 24 hours before the performance.
For this event the fee of € 2,00 is not due. Send the request, click here



by Alexandra Badea directed by Lisandro Rodríguez with Ariel Bar-On, Anabela Brogioli, Zoilo Garcés, Lisandro Rodríguez music “Mundo cruel”: Guillermo Rodríguez lights Matías Sendón production Débora Staiff, Estudio Los Vidrios in collaboration with ZONA K. Thanks to the Instituto Cervantes for their collaboration.

 

Mats Staub (CH)

A ZONA K/Mittelfest2022 production

Mats Staub’s artistic projects take us on a journey to the four corners of the world, inviting us to take time to listen and watch. Without resorting to facile spectacle, Mats Staub has over the years developed an exceptionally coherent poetry that gives us portraits of intense humanity. With refined delicacy and meticulous formal rigour, his works explore our most intimate and personal dimension, confronting us with the multilayered complexity of our time.

Which deaths and which births have influenced and changed my life so far? Who have I welcomed, who have I lost and said farewell to – and what has happened to me in the process?

The latest long-term project by Mats Staub asks about existential experiences. It approaches universal themes through individual experiences and in relation to local contexts. In every place it is presented it brings people together to talk to each other about their experiences of death and birth.

Death and Birth in My Life by Mats Staub is being made for the first time in Italy with the co-production of ZONA K and Mittelfest. The Italian version began with research work in Milan and Lombardia, and at the same time in Friuli Venezia Giulia: through the involvement of associations, specific categories of workers, and through more or less close contacts, about 30 people of different ages were identified who were willing to tell their personal stories. The aim of the research was to identify five possible pairs of interviewees who could discuss these issues by exchanging experiences, memories and considerations: people who did not know each other and who could meet for the first time on this occasion. This meeting gave rise to a free conversation, based on simple guidelines provided by the director: Gaia and Guido, Ambra and Fabrizio, Giovanna and Jana, Elisabetta and Elena, Massimo and Diego talked for a couple of hours, filmed by a video camera but in a situation made intimate by the lights and the two chairs placed opposite each other.

An immersive experience in which you will have the impression of being with them: a small group of strangers who meet to listen to stories, in a suspended time where you can allow yourself to reflect on death and birth.

From 23 to 31 July 2022, the video installation will be presented at Mittelfest2022.

 


info video installation for 20 viewers
Sunday and Monday off ● in Italian and original language with subtitles ● duration 120 min. with a break

c/o ZONA K – entry with 2022 membership


 

Idea, Concept, Direction: Mats Staub; With Sharon & Hlengiwe, Ahmed & Basso, Erika & Charlotte, Avril & Eric, Giovanna & Jana, Fabrizio & Ambra, Elena & Elisabetta, Massimo & Diego; Camera: Benno Seidel, Matthias Stickel; Scenography: Monika Schori; Dramaturgical Associate: Simone von Büren, Elisabeth Schack; Collaboration Milan: Cinzia Schincariol; Research: Tim Harrison (Manchester), Maia Marie (Magaliesburg), Patrick Mudekereza (Lubumbashi), Dada Kahindo (Kinshasa), Marcus Rehberger (Basel), Nele Beinborn (Frankfurt), Wolfram Sander (Hannover), Leo Saftic (Perg), Celya Larré (Paris), Justin Murphy (Dublin), Federica Di Rosa (Milan); Technical Direction: Hanno Sons, Stefan Göbel; Postproduction: Benno Seidel; Translation, Subtitles: Simona Weber, Cinzia Schincariol, Matthias Stickel, Benno Seidel; Interpreter for Milan: Laura Canonica; Production Management: Barbara Simsa, Elisabeth Schack; Production: zwischen_produktionen; Co-production: Kaserne Basel, SICK! Festival Manchester, Künstlerhaus Mousonturm Frankfurt, Festival Theaterformen Hannover, Festival der Regionen, Spielart Festival Munich, Centre culturel suisse Paris, Migros-Kulturprozent, Dublin Theatre Festival, zona_k Milan, Mittelfest2022; Funding: Fachausschuss Tanz und Theater BS/BL, Pro Helvetia Swiss Arts Council, Christoph Merian Stiftung, Ernst Göhner Stiftung, con il sostegno di Fondazione Cariplo

Azione performativa inserita in “IntercettAzioni” – Centro di Residenza Artistica della Lombardia: un progetto di Circuito CLAPS e ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire, con il contributo di Regione Lombardia, MiBACT e Fondazione Cariplo.

Mats Staub (1972) was born and educated in Switzerland but now lives and works in Berlin. He studied theatre, journalism and religious studies in Bern, Fribourg and Berlin. He worked as a journalist for various publications (1996-2001) and as a dramaturgical consultant at the Neumarkt Theater in Zurich (2002-2004). Since 2004 he has been developing his own artistic projects that combine the codes of theatre and art, literature and science. The ever-expanding audio installation My Grandparents | Memory Bureau (2008) was presented among others at the Wiener Festwochen in Vienna (2009) and the Historisches Museum in Frankfurt (2012). The video installation 21 – Memories of Growing Up also grows as it travels from city to city and is continuously presented in new forms, for example at the Künstlerhaus Mousonturm in Frankfurt (2012), the Museum of Communication in Bern (2013), the Wiener Festwochen in Vienna (2015), the Adelaide Festival (2018) and the Edinburgh Festival Fringe (2019). In 2020 he is honoured with the Swiss Theatre Award.

 

photo ©Tanja Dorendorf / T+T Fotografie

Massimo Furlan (CH)

Swiss-Italian multidisciplinary artist Massimo Furlan brings a new poetic and non-conformist performance to Milan. In Blue Tired Heroes, a group of “supermen seniors” roam the city to impose, in a series of tableaux as burlesque as they are delicate, the physical tests of ageing on this superhero figure trapped in his eternal youth… with “performer” inhabitants.

Superman was born in 1933. Since then, the character of Clark Kent has remained frozen in his eternal youth as a “superhero”, passing from one decade of glory to the next. But what if he finally assumed his true age? Wearing only pyjamas and blue trousers, red socks and a cape as accessories, Massimo Furlan answers the question by unleashing a strange commando of about fifteen elderly people from the city who take over the public space. Aged bodies and wrinkled faces shake our imagination to show, with humour, the evidence of the passage of time. Embodied by fifteen volunteer residents, these “tired blue heroes” play with humour and self-irony, their age and their image, which is far removed from the build of a bodybuilder.

 

 

In the continuum of a series of works experimented in the public space around the figure of Superman (Superman Cosmic Green, Love Story Superman), Blue Tired Heroes questions the notion of the heroic figure and the ghost of the superman accepted in the popular imagination, substituting a profoundly humanist incarnation of the passing of time. Funny, intense, tender, this extraordinary journey of ordinary men tells us a lot about the ability of the “superhero” to save the world, perhaps through a smile, a burst of laughter, a burlesque vision and a poetic and collective appropriation of public space?

 


in collaboration with Casa degli Artisti di Milano

itinerant urban performance

starting pointCasa degli Artisti di Milano – Via Tommaso da Cazzaniga, angolo, Corso Garibaldi, 89/A


 

Direction Massimo Furlan; Dramaturgy Claire de Ribaupierre; Costumes Severine Besson; Distribution and production Jérôme Pique; Administration Noémie Doutreleau; Production Numero23Prod.

 

After studying at the Ecole des Beaux-Arts in Lausanne, Swiss set designer and visual artist Massimo Furlan worked with various dance and theatre companies. In 2003, he founded his own company dedicated to the performing arts, Numéro23Prod., to question the act of representation outside the confines of genres. His multiple performances, essentially articulated around humour and contrast, question popular manifestations and the notion of the team, the themes of image, duration, childhood, memory and play.

 

photo ©Pierre Nydegger et Laure Cellier

YOU TUBE channel

Discover all the videos of ZONA K’s activities
Theatre season – Productions – Projects – Teaching – Workshops