Corso di Teatro TAM TAM

Sorry, this entry is only available in Italian.

TAM TAM è il corso dove il TEATRO incontra l’ARTE e il MOVIMENTO per giocare insieme e scoprire diverse possibilità espressive.

Il percorso teatrale – con l’interazione di diverse discipline – fornisce ai bambini stimoli e strumenti per sperimentare i linguaggi artistici e trasformare contenuti ed emozioni in azioni attraverso l’improvvisazione guidata. 

Partendo dalle caratteristiche dei singoli e con l’obiettivo di favorire il lavoro di gruppo, ogni anno TAM TAM si muove attorno a una cornice tematica, arricchita dagli spunti e dalle creazioni dei bambini, che diventa la traccia di un percorso espressivo collettivo.

Quest’anno la cornice narrativa sarà SE FOSSI: corpo, voce, ritmo, suono, immagine: questi gli elementi che utilizziamo per sperimentare le diverse trasformazioni attraverso il gioco teatrale ed espressivo e che al termine del percorso saranno strumenti di un racconto in azione da condividere con genitori e amici.

LUNEDÌ fascia 6 – 7 anni – TEATRO, ARTE E MOVIMENTO
SE FOSSI… una coccinella, un insetto, una pianta, una tartaruga? Immaginiamo di svegliarci una mattina e di ritrovarci trasformati in qualcos’altro o in qualcun altro: piante, animali, oggetti, esseri reali o immaginari diventano uno stimolo per lavorare sulla trasformazione e sul cambiamento. 

MARTEDÌ fascia 8 – 10 anni – TEATRO, MOVIMENTO e RAP
SE FOSSI… un astronauta, un esploratore, una scienziata, una sportiva? Come trasformerei il mondo? Un gioco di immaginazione e trasformazione attraverso teatro, movimento e musica rap per inventare azioni, parole, ritmo e canzoni.

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PROVA GRATUITA SU PRENOTAZIONE OBBLIGATORIA
E’ possibile partecipare gratuitamente a una lezione di prova per la fascia 6-7 anni tra lunedì 23 o 30 settembre e per la fascia 8-10 anni martedì 1 o 8 ottobre.
Il numero dei partecipanti è limitato. La prenotazione è obbligatoria: organizzazione@zonak.it – 02.97378443

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Se invece vuoi procedere subito con l’iscrizione, compila il modulo online cliccando QUI

Le lezioni si svolgono sempre il lunedì per la fascia d’età 6 – 7 anni, e il martedì per la fascia 8 – 10 anni; in entrambi i giorni l’orario è dalle 17.15 alle 18.15.
Il corso è annuale e prevede 28 appuntamenti totali compresa la lezione di prova e si attiva al raggiungimento del numero minimo dei partecipanti. È previsto un numero massimo di partecipanti. Le iscrizioni verranno registrate in base all’ordine di arrivo dei moduli con relative ricevute di pagamento.

Costo € 470,00.

 

Teatro e non solo!

Sorry, this entry is only available in Italian.

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PROVA GRATUITA SU PRENOTAZIONE OBBLIGATORIA
E’ possibile partecipare gratuitamente a una lezione di prova martedì  1 o 8 ottobre prenotando il proprio posto scrivendoci a organizzazione@zonak.it o chiamandoci allo 02.97378443. Il numero dei partecipanti è limitato.

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Se invece vuoi iscriverti subito, compila il modulo online, clicca QUI!

Le lezioni si svolgono sempre il martedì con orario dalle 14.30 alle 15.30.
Il corso è annuale e prevede 28 appuntamenti totali compresa la lezione di prova e si attiva al raggiungimento del numero minimo dei partecipanti.

Il corso è annuale e prevede 28 appuntamenti totali compresa la lezione di prova e si attiva al raggiungimento del numero minimo dei partecipanti. È previsto un numero massimo di partecipanti. Le iscrizioni verranno registrate in base all’ordine di arrivo dei moduli con relative ricevute di pagamento.

Costo € 470,00.

Guinea Pigs (IT)

EXTRA FOCUS

show | duration 80 min

c/o ZONA K, admission allowed with membership 2024

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A theatrical fiction on citizenship rights that tells the story of the transition from adolescence to adulthood of a second-generation girl grappling with the construction of her identity, conflict with her family and her relationship with her origins, and the obstacles caused by missed citizenship rights in school life and in the world of sport. The story focuses on a pivotal moment in the protagonist’s life: her turning 18, and sees her coming to terms with the desires, expectations and renunciations that this ‘milestone’ brings to her existence. The show talks about school, the relationship between generations, education, privileges acquired by birth and rights denied by law. The adolescent characters are played by girls and boys met along the production route, while adult actors and actresses represent the family and the educating community. The show marks the culmination of three years of work by the Guinea Pigs Performing Arts Laboratory with groups of teenagers in Milan and Lombardy. Every aspect of the creative process is conceived, written in collaboration, and in dialogue with the working group: a collective and transgenerational creation process where each participant finds a space for storytelling, action, and representation. L’Italia è relativa also wants to be an opportunity to reflect on the unconscious privilege that concerns a large part of the population that is already Italian and to publicly question ourselves on what is the society we are imagining or are consciously deciding not to imagine.

a performance by Giulia Tollis and Riccardo Mallus with Letizia Bravi, Ivna Lamart, Marco De Francesca and a cast of adolescents still to be defined dramaturgy Giulia Tollis direction Riccardo Mallus and Mohamed Boughanmi Rengifo video Julian Soardi set design Stefano Zullo with the collaboration of Ilenia Mia Carrozzo, Giovanni Di Ponziano, Anna Simon Hanna production Laboratorio d’Arte Performativa Guinea Pigs with the support of MiC and SIAE in the framework of the programme “Per Chi Crea“, and ZONA K, Industria Scenica, Ilinxarium multidisciplinary artistic residence, Casa degli Artisti (Milan), Compagnia Carnevale, Barrio’s Cultural Centre

Photo by the artist

Laboratorio d’Arte Performativa Guinea Pigs creates performances, installations, events, and cultural experiences that investigate social issues in theatrical spaces and urban contexts and are the result of meetings and collaborations with third parties operating in the social field and other artistic disciplines. In 2022 the company, together with the publishing house Marcos Y Marcos and the Arci Post club in Parma, planned and realised a cycle of digital and live events to promote the fruition and diffusion of poetry as part of the project Atlante Sonoro della Poesia Mondiale (Sound Atlas of World Poetry) financed by the Fondazione Cariparma.

Be Flat (BE)

touring acrobatic improvisation performance

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The two acrobats of Be Flat have prepared a unique tour of (name city) for a select group of followers. The streets of the city, the facades of the buildings and the cobblestones below are transformed into an urban circus piste. But Follow me is not only a performance to be watched, it is a playful collective journey through public space. So turn off your cell phones, tighten your shoelaces, and lets go!

directors / circusartists Ward mortier, Thomas Decaesstecker dramaturgical advice Craig Weston external viewpoint Sander De Cuyper with the support of Vlaamse gemeenschap coproduction Miramiro partners Circuscentrum, Centre des Arts scéniques, Centre des Arts de la Rue, Latitude 50, Circusplaneet, Circus in beweging et Ell Circo d’ell Fuego

Photo by Yngwie Scheerlinck.

Thomas (Tervuren 1989) and Ward (Ghent 1993) first met at a freerunning gathering in Ghent in 2008. Sharing a mutual passion for music and movement during the ensuing years has led them to a unique and solid friendship. Ward studied Chinese pole combined with acrodance at ESAC (Ecole Supérieure des Arts du Cirque, Brussels). Thomas followed training as acrobat and hand-stand artist in Santiago, Chili at the Escuela De Artes Circenses Del Circo Del Mundo. Their mutual interests, combined with their individual specialisations and experiences, guarantee a broad range of skills to be used in a gamma of contexts and situations.

Ant Hampton/Time Based Editions (UK/DE)

live collective experience | duration 80 min | in italian

c/o ZONA K, admission allowed after membership 2024
in collaboration with Ateatro

A talk with the author will be held at the end of the performance on Thursday 16 May.

Books and reading have changed and continue to change. The advent of digital, the rediscovery of orality and the audio dimension, and forms of participatory art are multiplying ‘ways of reading’ in new and innovative, yet ancient ways. Hybrid, performative, multimedia, transmedia forms are emerging… These transformations are reflected on the book as a physical object and on libraries as places of encounter and experience.

Starting from the experience of Borderline Visible, the author Ant Hampton and Stefano Parise, Director Area Biblioteche del Comune di Milano, will discuss these themes, moderated by lecturer and theatre and publishing expert Oliviero Ponte di Pino.

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“Borderline Visible is probably DocLab’s most poetic work this year, but in all its simplicity it is also the most poignant.”– NRC Handelsblad

“an extremely engaging psychogeographical framework constantly enriched by Hampton’s searching mind and razor-sharp political rage.”– Marijn Lems, Theaterkrant

Winner of the IDFA (International Documentary Festival Amsterdam) 2023 DocLab award for Creative Technologies

Ant Hampton presents the first in a new series of ‘live books’ – Time Based Editions – in which photographs and audio take you on a journey through the pages interweaving history, autobiography, literature and an urgent investigation into the hidden atrocities perpetuated on the margins of Europe.
Borderline Visible begins as a récit de voyage, a journey from Lausanne to Izmir undertaken by two artists and friends. In Greece, health problems force one of them to stop, while the other goes on to Turkey, suddenly remaining alone. The narrative turns into a moving and troubled psycho-geography. Moving from ‘we’ to ‘I’, from present to past, from the personal to the political, Ant Hampton attempts to give value and meaning to the all too human ruins of ambition, history and language. The careful process of recomposition gradually brings to light a complex constellation of Jewish history, the end of the Ottoman Empire and Sephardic diasporas, rumours, earthquakes, tourism and forced migration, mental health and dementia, swallows and TS Eliot’s The Waste Land.

In the collective experience, the spectators are invited to participate in this journey together, flipping back and forth through the pages of the book, comparing images, closing and opening their eyes, drawing lines on the maps with a finger, guided by an audio track that combines narration, music, field recordings and instructions on how to get through the book.

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After the two collective appointments, Borderline Visible will be available for individual viewing in Italian, English, French and Dutch from 18 to 26 May (excluding Mondays) at 3.30 p.m. and 5.30 p.m. at Casa degli Artisti Milano. Tickets available soon.

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By Ant Hampton Feedback David Bergé Book design Roland Brauchli Based on a project with Rita Pauls Music Perila, Oren Ambarchi Thanks to Pieter Ampe, Giorgos Antoniou, Sae Bosco and Samos Volunteers, Yannick Christian, Hani Dunia, Effi & Amir, Tim Etchells, Katy Fallon, Martin Hampton, Britt Hatzius, Leo Kay, LAPS, Camille Louis, Eva Neklyaeva, Beyhan Onur, Anelka Tavares, Prodromos Tsinikoris, Giulia de Vecchi, Anny Y

ITALIAN VERSION Translation Valentina Kastlunger Editing Valentina Picariello Voice Astrid Casali Recording Luca Ciffo Editing and sound Ant Hampton Thanks to Flora Pitrolo for proofreading and correcting the translation Produced by Quarantasettezeroquattro, Teatro Bastardo and ZONA K

Time Based Editions is an imprint of PHOTOGRAPHIC EXPANDED PUBLISHING ATHENS Created with the support of: The Resonance Foundation (Los Angeles) Bimeras (Istanbul / Berlin) Théâtre Vidy (Lausanne) Research and prototype support: Lita House of Production and Kundura Stage (Istanbul) National Theatre of Northern Greece (Thessaloniki)

More info – www.timebasededitions.com / instagram: @time_based_editions

Photo by Doc Lab

Ant Hampton (1975, DE/UK) is a British-German performance maker and writer. His work since 1999 has often involved guiding people through unrehearsed situations and interactive relations, using automated devices. His three collaborations with Tim Etchells are participative experiences for two at a time, combining audio with different engagements with the page: text and silent reading (The Quiet Volume, 2010); archive photography (Lest We See, 2015); and mark-making/ erasure (Not to Scale, 2020). In more recent years his practice has expanded into a wider investigation of risk-taking and leaps of faith, for example with The Thing – An Automatic Workshop in Everyday Disruption, created with Christophe Meierhans. These and many other of his “Autoteatro” works continue to tour internationally in over 80 language versions, some of them without anyone needing to travel – a paradoxical outcome for an art committed to liveness and presence which in turn informed his 2021 advocacy and research project: ShowingWithoutGoing.live – an Atlas. Together with David Bergé, he co-founded Time Based Editions in 2023.

Zoë Demoustier / Ultima Vez (BE)

dance | duration 60 min
in English with Italian subtitles
c/o ZONA K, admission allowed after membership 2024

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At the end of the performance on Friday 5 April there will be the meeting “The political gesture of a body-archive“.
The body-archive and gesture as instruments of an investigation into violence, at the centre of Zoë Demoustier’s work, are themes that also belong to other contemporary dance experiences.
One of the most significant is that of Arkadi Zaides and his “Archive”, in which the dancer’s body interprets the proxemics of war, calling into question the gaze of the spectator.
To these intersections is dedicated the meeting with Zoë Demoustier, moderated by Camilla Lietti and Francesca Serrazanetti (Stratagemmi).

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In Unfolding an Archive, Zoë Demoustier unfolds an image archive of 20 years of war reporting. The man behind the camera is her father Daniel Demoustier. The search for a relationship to the imagery of world events with which she grew up is like a movement from far and near. In an attempt at a reconstruction, she brings the archive to life. She dismantles the mechanisms hidden behind the archive images. Gradually, a choreography of poses and gestures is created in a broken timeline of physical memories.

« In Unfolding an Archive I investigate what news is, how journalism works, how you use images to place reality in a certain frame. But there is also a second, much more personal track: what has my father’s special job done to me? It took a long time before I dared to put that into the performance. At some point I realized I couldn’t avoid that question. And that those apparently very personal topics – how
our family functioned, the father-daughter relationship, the question of how present a parent should be – are just very universal: everyone has to deal with them. » Zoë Demoustier in HUMO

Choreography and performance Zoë Demoustier Live sound Willem Lenaerts Sound concept Willem Lenaerts & Rint Mennes Light design Harry Cole Light and technical support Pieter Kint Interview & editing Yelena Schmitz Design & Costume Annemie Boonen Research Annemie Boonen & Willem Lenaerts Dramaturgy Elowise Vandenbroecke Coaching Danielle van Vree Video and sound archive Daniel Demoustier Co-production STUK With the support of the City of Leuven, 30CC, Platform In De Maak Residences STUK, Ultima Vez, Vlaams Cultuurhuis de Brakke Grond, Voetvolk Atelier Rubigny Thanks to Shila Anaraki, Oihana Azpillaga, Jonas Beerts, Anna Bentivegna, Stijn De Cauwer, Elliot Dehaspe, Dirk De Lathauwer, Lahja Demoustier, Misha Demoustier, Hannes Dereere, Josine De Roover, Pieter Desmet, Klaas De Somer, Willem Malfliet, Hildegard De Vuyst, Silke Huysmans, Karen Joosten, Koen Theys, Maarten Van Cauwenberghe, Gerlinde Van Puymbroeck, Veerle Van Schoelant, Niek Vanoosterweyck, Bart Vanvoorden, Remo Verdickt, Cas-co Leuven, Dag van de Dans, Danstuin.

Photo by TomHerbots

Zoë Demoustier (1995) is performer and choreographer. The body is always the starting point for her visual representations. From movement she makes links with topical and committed subjects to create documentary choreographic work. Zoë made the performances nesten (fABULEUS/Anna Bentivegna & Ayrton Fraenk), Road to Nowhere (Forsiti’A/Yelena Schmitz), Born to be wild (Thespikon) and worked as a performer and assistant with Kabinet K, Michiel Vandevelde, Alma Söderberg/Manyone, Iris Bouche/Opera Ballet Vlaanderen, David Weber Krebs and Marcelo Evelin. In 2021 she was ambassador of Dance Day in which she created tomorrow’s dance makers in collaboration with De Zendelingen. From 2022 she will start a new collaboration as a choreographer at Ultima Vez. Unfolding an Archive is her first solo performance, for which she has already initiated within the Directing course at the RITCS and Cultural Studies at the KU Leuven. In the performance she uses techniques from the mime corporel tradition that she learned during her studies at the Mime Education in Amsterdam. For Unfolding an Archive she works closely with musician and sound designer Willem Lenaerts.

Mauro Pescio (IT)

IT’S NOT A HERO’S STORY

Theatrical show | duration 75 min

at ZONA K

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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).

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

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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

Vai a MEPHISTOPHELES di Anagoor

Foto Giulio Favotto

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)

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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

COME IN UN VIDEOGIOCO
Campus multidisciplinare in lingua tedesca per bambini dai 6 agli 11 anni

Sorry, this entry is only available in Italian.

Andiamo alla ricerca della nostra isola!

Inventiamo insieme un gioco interattivo: guardiamo il mondo da un punto di vista diverso e creiamo l’isola dei nostri desideri!

Costruisci le ambientazioni con materiali e immagini, trasformati nel tuo avatar e scegli i tuoi superpoteri!
Il protagonista di questo gioco sei tu!
Libera l’immaginazione e decidi tu che strada percorrere: puoi utilizzare il video, l’arte, l’interpretazione, trovare ispirazione per realizzare le tue idee in teatro o al parco. Per raggiungere l’isola che desideri, sperimenta tutte le attività: costruzione, scrittura, regia, video, recitazione… ma attenzione: funziona solo se parli in tedesco!

In questo campus multidisciplinare puoi muoverti come in un videogioco ed esercitare il tedesco divertendoti! Ti aspettiamo!

Questo il programma della giornata tipo:

ore 9.00	Accoglienza
ore 9.30 – 10.30	Giochiamo con il Video o l’Arte
ore 10.30	Merenda all’aperto
ore 11.00 – 12.30	Giochiamo con l’Arte o il Video
ore 12.30 – 14.00	Pranzo al sacco all’aperto e giochi
ore 14.00 – 16.00	Giochiamo con il Teatro
ore 16.30	Uscita

Il campus:
– è a numero chiuso, si attiva al raggiungimento del numero minimo di iscritti richiesto
– le iscrizioni si chiudono il giorno 23 giugno o al raggiungimento del numero massimo di iscritti previsto
– è organizzato in modo da rendere felice e piacevole l’esperienza a tutte le bambine e tutti i bambini e da rispondere alle normative nazionali in relazione all’attuale emergenza sanitaria

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Costo: € 190,00
Sconto del 10% a partire dal/la secondo/a iscritto/a

N.B. Merenda e pranzo sono al sacco

Il campus è a numero chiuso, si attiva al raggiungimento nel numero minimo di iscritti richiesto.
Le iscrizioni si chiudono il giorno 23 giugno o al raggiungimento del numero massimo di iscritti previsto.

CLICCA QUI E COMPILA SUBITO  IL MODULO D’ISCRIZIONE
IMPORTANTE: IL MODULO VA COMPILATO PER OGNI ISCRITTO/A E CORREDATO DI PRESA IN CARICO DEL BONIFICO

Per informazioni più generali, contattaci all’indirizzo organizzazione@zonak.it

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Videogame oder Realität? Auf der Suche nach unserer Insel 
Zusammen entwickeln wir ein interaktives Spiel: wir betrachten die Welt aus einem neuen Blickwinkel und entwerfen unsere Wunschinsel!

Baue die Räumlichkeiten aus verschiedenen Materialien und Bildern, verwandle dich in deinen Avatar und wähle deine Superkräfte. Du allein bist der Protagonist dieses Spiels!
Nutze deine Fantasie und entscheide dich für einen Weg: ob Video, Kunst oder Interpretation, sammle Inspirationen in unserem Theater oder draussen im Park.

Teste alle Aktivitäten bevor du auf deine Insel gelangst: Konstruktion, Schrift, Regie, Video, Theater… aber Achtung! Es funktioniert nur auf Deutsch!

Du kannst diese Ferienfreizeit wie ein Videospiel erleben und nebenbei spielend die deutsche Sprache trainieren. Wir erwarten dich!

Die Teilnehmerzahl
– ist begrenzt, die Ferienfreizeit findet statt, wenn die erforderliche Mindestanzahl erreicht ist
– anmeldeschluss ist der 23. Juni oder bei Erreichen der maximalen Teilnehmerzahl.
– die Freizeit ist so organisiert, dass sie zum spannenden Erlebnis für Mädchen und Jungen wird, zudem entspricht sie den nationalen Vorschriften in Bezug auf den aktuellen Gesundheitsnotfall

 

 

Foto di Francesco Ungaro da Pexels

Corso online di sceneggiatura cinematografica

Sorry, this entry is only available in Italian.

Qual è il metodo migliore per scrivere la sceneggiatura di un film?
Come dare vita ai personaggi?

Dalla creazione dell’idea di base alla costruzione della struttura e allo sviluppo del paradigma della narrazione, il corso propone un viaggio teorico e pratico sul cinema contemporaneo, attraverso nozioni tecniche sulla scrittura di una sceneggiatura e sulla fotografia.

FADE IN prevede un breve excursus sui manuali di sceneggiatura di Syd Field e di Linda Seger, sulle suggestioni critiche sul cinema di André Bazin, padre della Nouvelle Vague ed elementi di teoria dei film di Thomas Elsaesser e Malte Hagener integrati con le idee innovative di Marco Bertozzi sul documentario come riuso, performance, autobiografia.

 

I temi affrontati durante gli incontri:
1. come scrivere una grande sceneggiatura
2. la crescita del personaggio è il lievito del film
3. il soggetto del film in tre frasi. Il soggetto del film in 4 pagine
4. lo sviluppo dell’idea
5. la struttura della storia: la struttura in tre atti
6. cosa sono i subplot?
7. lo sviluppo del personaggio

___________________

Costo € 120,00 per 7 lezioni.

Per informazioni e iscrizioni:
organizzazione@zonak.it
02.97378443 – 393.8767162
___________________

Se invece vuoi procedere l’iscrizione clicca QUI 

Il percorso si attiverà al raggiungimento del numero minimo di partecipanti.

 

NINA DI MAJO

Regista, sceneggiatrice, attrice, videoartista, produttrice.

Lungometraggi
2020 – Regista sceneggiatrice del documentario collettivo Instant Corona, prodotto da Mir Cinematografica.
2016/17 – Regista , produttrice, autrice e direttore della fotografia del documentario Hans Werner Henze: la musica, l’amicizia, il gioco”, distribuito dall’Istituto Luce.
2010 – Regista e sceneggiatrice del film Matrimoni e altri disastri con Margherita Buy, Fabio Volo, Luciana Littizzetto, Marisa Berenson, Massimo De Francovich, Francesca Inaudi. Distribuito dalla 01.
2002 – Regista, soggettista e sceneggiatrice del film L’Inverno, con Valeria Bruni Tedeschi, Valeria Golino, Fabrizio Gifuni e Yorgo Voyagis. Presentato nella sezione “Panorama” alla Berlinale. Candidatura italiana all’European Howard all’Hollywood film festival. Vincitore del Globo d’oro per il miglior attore protagonista Fabrizio Gifuni e vincitore del Premio Internazionale della Fotografia. In competizione al Chicago Film Festival nella categoria New Directors.
1998 – Regista, attrice protagonista, autrice del soggetto e della sceneggiatura del film “Autunno”(1998). Con Elisabetta Piccolomini , Marco Mario De Notaris e Moni Ovadia, presentato al Festival di Venezia nella sezione Cinema del presente. Selezionato ufficialmente al Festival Venezia-Hollywood (LA), al Nice Film Festival (NY, San Francisco, Marocco, Mosca), al Festival di Amburgo.
1997 – Regista e autrice del soggetto e della sceneggiatura del cortometraggio ”Spalle al muro” (1997). Vincitore del Sacher d’oro e d’argento. Vincitore del David di Donatello come miglior cortometraggio Italiano .

Mediometraggi-Documentari /Performance video
2006 – Regista del documentario Marsyas, installazione di Anish Kapoor per la Turbine Hall, Tate Modern, London.
2005 – Regista del documentario U92 sull’installazione di Peter Greenaway “Children of Uranium”
2004 – Regista e direttore della fotografia della performance audiovisiva AFO 4, presentata al Roma Europa Festival.
2002 – Regista del documentario Merci, opere di Natalie Silva, presentato al Festival Artecinema, teatro Mercadante, Napoli.

Libri
L’inverno. L’Ancora del Mediterraneo.
Saggi e dialoghi sul cinema. Meltemi Edizioni.
Beniamino o le cose dell’altro mondo. Aracne Edizioni.

 

SEIx5

6 possible audio paths
6 video stories to discover
6 songs to listen to

DOWNLOAD THE MAP

 

 

Seix5 is a creative audio guide to discover the places, monuments and history of Milan’s Cinque Vie, through words, songs, music, anecdotes and videos.

Participants will be virtually led through the “Cinque Vie” district by means of an audio story created by ZONA K and interpreted by the duo Duperdu: a true artistic experience that conveys historical information and content, linking past and present, notions and emotions, enhancing the heritage of memories and meanings of the Cinque Vie district.

By scrolling through the virtual map, it will be possible to venture into the underground Milan of Leonardo’s Crypt and then into the narrow and mysterious Via Bagnera, or to discover the ancient crafts, to lose oneself in history and magic in the five star-shaped streets, or to find traces of the old Mediolanum.

You can decide whether to follow one of the two routes through the main stops (Piazza San Sepolcro, Piazza Mentana, the intersection of the Five Ways, Via Gorani, Via Brisa and Piazza Affari) or choose to follow the themed itineraries (Mystery, Trades, Music and Traces).

The voice of the Duperdu will accompany the journey with stories, songs and anecdotes, and at each stage a video will help immerse you in the atmosphere of the places.

 

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SEIx5 is available on izi.Travel platform
click here to participate clicca qui per partecipare

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A project by ZONA K in collaboration with Minima Theatralia. Texts and artistic coordination Federica Di Rosa narrating voice, original music, audio editing and songs by Duperdu_Marta M. Marangoni and Fabio Wolf filming and video editingDavide Stecconi graphicsStefano Orfeo Montagnana with the collaboration of Silvia Orlandi and Federica Bruscaglioni for ZONA K,Dianora Zacché and Anna Bellelli for Minima Theatralia Thanks to Michele Figlioli of Pinacoteca Ambrosiana for the images; Barbara Affaticati of SIAM for the filming authorisation; Mr Maurizio, a valuable guide within SIAM; Alberto Mereghetti of Ferramenta Mereghetti and Ludovica Ventura of B Restaurant for the interviews and availability; Lorenzo Bregant for his kindness and the action cam.

The SEIx5 project was born in response to the Municipality 1 of Milan’s tender on the enhancement of the historical, artistic and cultural heritage of the Cinque Vie. Following the Dpcm of 24 October, the project born to bring the public through the streets of the district was remodelled by ZONA K and Minima Theatralia through the creation of the virtual audio guide.

Why REALITY?

Cinemas, theatres, concert halls: when computers are switched off and live streaming platforms are closed, you are back – with due care – to experience live.

But what does it mean to return to theatre after months of lockdown from a programming point of view? How do you build a season in Covid period?

Once the often very tangled knots of compliance, with the rules, have been untangled, the organizers are faced with the challenge of proposing an offer that, more than ever before this year, has to face the target audience: it is necessary to hypothesize scenarios and diversify the offer. For the audience to return to the theatre and reactivate a virtuous participation mechanism, it is therefore essential to know artistic expectations and needs.

For this reason (as part of the project on the promotion of the audience supported with the Mibact contribution for the three-year period 2018/2020) ZONA K and Stratagemmi have taken charge of directly questioning the audience: with the collaboration of Stefano Laffi (Codici), we have developed a questionnaire to investigate the needs, uncertainties, but also ideas and proposals for the future.

The result was a somewhat unexpected picture – useful to get to know the audience in depth, even beyond the emergency situation – which helped to shape the autumn season of ZONA K, not by chance named with the questioning title “Reality?

The sample who answered the questionnaire was for the most part (8 people out of 10) curious and enthusiastic about trying out alternative forms of entertainment to the traditional ones, based on new languages and a different way of experiencing the space. Interactive devices that can be used remotely, or itinerant walks around the city: the important thing – our spectators told us – is to feel safer. Those who want to return to the theatre, but also those who are still undecided, prefer in the vast majority (87% of cases) outdoor performances. The theatre, suggests the outcome of the questionnaire, can therefore move around, cross places, and the audience is ready to follow it.

This is when the season of ZONA K starts en plein air. The dances are opened by the most famous professionals of urban scenic devices, Rimini Protokoll: they are the curators of FASE NOVE // Assolo Urbano (14 October-14 November), a tour of nine important city places from the artistic point of view. The aim of the walk is to ask ourselves about some unresolved contemporary issues that exploded with great force during the pandemic: why does art exist? And how fundamental is it in our daily lives?

And for those who are not satisfied, a second chance for an itinerant performance is also ready: the Pleiadi collective has prepared R 500 – Safari in the urban labyrinth. #Studio II (23-25 October).

And the virtual? What do spectators think about it?

Saturated with screens and video calls that mark the working days, the respondents answered loud and clear: there is no interest in the telematic vision of a show, neither deferred (an option only for 3 people out of 10) nor live streaming (for 4 out of 10). Theatre, after all, is a relationship. This is well known to the European Lord of participatory theatre, Roger Bernat, who has thought up a new home theatre project in recent months (available between 18-28 November). The ENA device invites the audience to relate, through the use of an app, with an artificial intelligence. The spectators through questions, invitations and indications have the possibility to confront face to face with a “fake” human being in an encounter that is not an end in itself, as often happens when we are dealing with bots born for commercial purposes, but aimed at creating a real dramaturgical text that will take shape from the dialogues between the spectators and ENA.

The interactive multimedia relationship is also at the centre of Play me (Origins project) by Codicefionda and Agrupación Señor Serrano (5-15 November), which can be enjoyed by one viewer at a time. The subject of investigation is the relationship of adolescents and adults with the world of gaming and real identities.

There is, however, still someone who wants to come back and sit in the audience (about 44% of respondents). For them, Agrupación Señor Serrano presents The Mountain (2-3 December) a work that deals with a very hot topic, the relationship between true and false, between news and fake news, between robots and humans, starting from a statistical consideration that involves the public: on average each of us lies three times a day. So does the truth exist? And how can we find it?

The editorial staff of Stratagemmi Prospettive Teatrali 

Meetings by Sara Chiappori & Renata Viola

The relationship with reality presses the performing arts, interrogates them and inhabits them, both object and habitat of an investigation that mixes grammar and semantics of the languages of the scene, re-discussing the concept of author and interpreter, reformulating the criteria of fruition and appropriation of space, definitively clearing the new technologies, opening explicit connections with sociology, urban planning, statistics, political discourse, economics.

ZONA K has given account of all this in the last few seasons, pointing out the critical points of reflection, ethics before aesthetics, around and within the contemporary. Hence, the need to open a theoretical window to try a further investigation that leaves room for doubts rather than certainties.

Designed for a diverse audience, spectators, operators, university students, curious and restless citizens, REALITY? has the ambition to make the languages of the scene react like in a chemical experiment with the alphabets of other disciplines, comparing artists who have worked with ZONA K and theorists who have deepened the same themes, but from the point of view of their skills.

The meetings will be published simultaneously on   e   di  ZONA K

• Monday 23 November, 6.00 p.m.
  PROLOGUE: POLITIK DER BLICKE/THE POLITICS OF LOOKS
  meeting with JENS HILLJE (artistic co-director and chief dramturg at the Maxim Gorki Theater in Berlin, Golden Lion for Lifetime Achievement Biennale Teatro 2019)

 

Then, four keywords for four dialogues

• Tuesday 24th November, 6.00 p.m.
  LANDSCAPE: dialogue between VITTORIO LINGIARDI and DOM- (IT): because it feeds new dramaturgies of the space that cross the places, putting in crisis the very notion of look. Because our relationship with the landscape involves the whole body and is always a question of relationships, with others, with the world, with rules, with time, with borders.

 

• Wednesday 25th November, 6.00 p.m.
  CRISIS dialogue between SALVATORE NATOLI and AGRUPACION SEÑOR SERRANO (ES): because “the crisis” in which we live has become a permanent and structural condition. Today, more than ever, we live in a state of emergency that forces us to reformulate new future scenarios. We are called to radically rethink everything we gave for certain and for acquired. Can all this really be considered an opportunity like the media storytelling suggests or are we on the threshold of a sort of “human revolution”?

 

• Thursday 26 November, 6.00 p.m.
  POLITICS dialogue between JUSEPPE GENNA and VALTERS SĪLIS (LV): because we have all decreed its death, or at least embarrassment and impoverishment, but we cannot do without it. So let’s go and find it where it manifests itself in its worst forms, the fascist sovereignist populist drifts, the last temptation of a West orphaned of an alternative thought to 20th century ideologies.

 

• Friday 27 November, 6.00 p.m.
  GAME/PARTICIPATION dialogue between STEFANO BARTEZZAGHI and ROGER BERNAT (ES): because the playful approach can be the key, but also the trap. If contemporary performance has accustomed us to enjoy the theatrical fact as a game, are we willing to give up in terms of attention, concentration, intellectual effort? The game, however, is not only a deresponsible escape, it can also be a very serious business.

REALITY?

In the presentation of the Reality 2020 season we told our vision of reality that did not want to translate into a philosophical disquisition or a flattening on the spectacularization of contemporary media. It was a title that wanted to close a three-year period where ample space was given to artists who have done their research and art from the Theater of Reality. A three-year period that started with Power and continued with Economy in which we felt the need to analyze and interpret the present, always keeping an eye on the so-called reality data as a rudder that keeps the course despite the brazen and unrepentant political propaganda that does not fear neither the self-contradiction nor the explicit lie.

Of that season – which should have been structured in the Global, Human and Virtual focuses – we just had time to present the special event that went beyond the focus but which for us had the symbolic flavor of a first show that ZONA K brought into Casa degli Artisti.

Then everything, as for everyone, stopped. The companies were first warned, then put on stand by, and finally the shows were canceled. Suddenly our strength, our distinctive trait, our identity and consistency in design choices and consolidated international relationships have become our boomerang. How to keep up a season that would have included numerous European artists? How to reopen a space where the distancing measures force to have no more than 20 spectators? How to look beyond the obstacle to imagine and build a new reality?

The word “new” was enough to re-tune us and to start again from where we left off. If it is a new reality that we have to live, then our season can be called REALITY ?. The question mark not only closes a questioning sentence, but also summarizes the amazement, perplexity and ultimately the hope that this is not really a new world to be invented, but a phase, a parenthesis not to be archived and from which to start again.

We therefore start from the desire to find a new meaning to reality, new perspectives, new ways of enjoying culture thanks to a continuous comparison with some of the artists who have accompanied us most in recent years. Thus the new autumn season that has emerged continues the path started where possible and leaves much more space for those distinctive features that have characterized our work in past years: complex projects, urban performances, shows for a few spectators at a time, collaboration with theaters larger to accommodate artists who need the stage. The most important novelty is the desire to give more space and time to the shows in the season with, on our part, an important productive effort: many of the shows we offer are real productions and co-productions. It is a choice that was already in the making and that found a boost in the pandemic: to continue working on an annual season, but with even more our projects that are able to sustain a long life and that do not run out in the space of a few reruns. 

Events:

15 – 24 September 2020
UNDER COVID
Gianmarco Maraviglia
curated by Chiara Oggioni Tiepolo
[photographic exhibition]

Collettivo MMM (IT)

Radio Olimpia, Bomba libera tutt!, a playing field and mobile radio station hosted by a California camper, is coming to Milan.

On the playing field, set up in the new square in Via Toce in the Isola district, a series of competitions will take place in which the public, divided into teams, will challenge each other in an unprecedented form of contemporary performing Olympics.
All the games are inspired by performances by well-known and lesser-known artists.

The disciplines will be introduced live from the playing field, and the competitions will be accompanied and refereed. Each action will be commented on in the radio commentary and winners and losers will be presented.
There will be in-depth content on the performances of the artists mentioned and on the themes referred to in the games: public space, the moment of celebration, the game, non-productive time, in a succession of challenges, interviews with “special guests” and the participants who bring the frequencies in the squares of Radio Olimpia, Bomba Libera tutti, to life!

 

________________________

Team game|Performance – duration 100 min. – in Italian
c/o Piazza Aperta di via Toce, Milan [Tram 2, 4].

In case of rain the event will be cancelled.
________________________

 

Created, realized and performed by Collettivo MMM: Martino Ferro, Maria Caterina Frani, Maria Pecchioli Production Pergine Festival, in co-production with ZONA K Il Giardino delle Esperidi Festival, In\Visible Cities / Contaminazioni digitali and with the support of Indisciplinarte and Periferico Festival
Winner of Open_Contemporary Urban Creation. Ph. Giulia Lenzi

 

BIO
The MMM Collective (Maria Pecchioli, Martino Ferro and Maria Caterina Frani) has collaborated in the past in the activation of performative-radiophonic formats (Forever, Maria di Sant’Elena, MMFight), has co-directed with the Fosca association the Frau Frisör Fosca space dedicated to languages and artistic contaminations, proposing an interdisciplinary programme aimed at citizens.
The relationship with the context, the ability to involve and promote the individual and the group, the sharing of practices and visions are the basis of the common path. Maria Pecchioli is an artist and producer of cross-media platforms, performer and film maker. Martino Ferro is a writer and screenwriter for film and television. Maria Caterina Frani is an actress, performer, speaker and assistant director.

Gianmarco Maraviglia

ZONA K has always been attentive to the language of photography and how it represents reality. So we have decided to reopen our premises with a photographic exhibition that tells with clarity and modesty what has happened and that has upset our daily lives to better understand that question mark on our near future.

… … … … … … … … … … … … … … … … … … … … … … … … … … … … … …

It’s as if something jammed and then broke. Broken time, reality, habits. The sense of freedom, the lightness, a certain arrogance in taking life for granted, even. That life.
Then the day came when everything changed. The light-heartedness was wiped out, a typically Italian gesture was cancelled, the ‘normal’ flow of habits and days was swept away. We have discovered ourselves vulnerable, the universe to be conquered has shrunk to the point of entering our homes. Once the certainties had been pulverised, the scaffolding stripped away, we clung to the only certainties that were still solid.

We have waited, as if we were locked in a bunker, for another entity to give us the green light once again. Our existence has been entrusted first to a bulletin, then to technologies. The word ‘control’ took on the reassuring hues of a cloak of protection.
And finally the reopening. Hurrah. So here we all are in the streets, in a hurry and with the urgency to regain possession of the time that once was, the almost physical need to convince ourselves that it was all over, past, ready to be forgotten.

And yet. We pretended nothing had happened, we wanted nothing to happen. But something still doesn’t work. And it is only now, probably, now that the emotions are settling and sedimenting, that we have the courage and lucidity to understand how much that fracture of the normal has really fixed itself inside us irreversibly. Gianmarco Maraviglia wanted to tell ‘his’ covid, in a narrative somewhere between an intimate account and a photojournalistic investigation, while avoiding the more detailed dimension of the disease. But he too was faced with the dilemma of “misalignment”. How, then, to visually represent and synthesise the change in the sequence of reality that our lives have undergone? Thus was born the glitch, the system error. Images of “matrixian” suggestion that leave open a question about our near future.

Opening – 15 September 2020, 7 pm
On display – 15 to 24 September 2020

Tuesday – Sunday 17.00 – 21.00 Monday 17.00 – 19.00

Free entrance limited to max 20 people at the same time

DER MOND – LA LUNA

Sorry, this entry is only available in Italian.

Un progetto di ZONA K, in collaborazione con BAM Biblioteca degli Alberi di Milano, inserito nel programma Milano Summer School – Comune di Milano

Prima di tornare finalmente a scuola, sei pront_ a partire per un viaggio sulla LUNA?
Cosa vuoi portare con te? Cosa scoprirai lassù?

Tra passeggiate lunari, creature immaginarie, parole, suoni e immagini, i bambini lavoreranno con un’artista/videomaker e con un esperto di arti circensi e teatrali. Con loro inventeranno un incredibile viaggio sulla LUNA utilizzando corpo, voce e immaginazione, supportati da strumenti audio e video.
Tutte le attività proposte sono volte a stimolare bambine e bambini a utilizzare la lingua tedesca in modo giocoso e creativo.

Il campus si svolgerà lungo l’arco della giornata e le attività saranno condotte sia all’interno di ZONA K sia all’aperto, nella bellissima BAM Biblioteca degli Alberi di Milano,  in uno spazio riservato tutto per noi.

 

Si prevede la possibilità di organizzare un massimo di due gruppi di 7 bambini ciascuno, così come indicato dalle linee guida del Comune di Milano.

Questo il programma della giornata tipo:

ore 9.00	accoglienza Gruppo 1
ore 9.15	accoglienza Gruppo 2
ore 9.30 – 10.30	Gruppo 1: Audio – Gruppo 2: Movimento
ore 10.30	Merenda all’aperto
ore 11.00 – 12.30	Gruppo 1: Video – Gruppo 2: Teatro
ore 12.30 – 14.00	Pranzo al sacco all’aperto e giochi
ore 14.00 – 15.00	Gruppo 1: Movimento – Gruppo 2: Audio
ore 15.00 – 16.00	Gruppo 1: Teatro – Gruppo 2: Video
ore 16.00	Uscita Gruppo 1
ore 16.15	Uscita Gruppo 2

Il campus è organizzato in modo da rendere felice e piacevole l’esperienza a tutte le bambine e tutti i bambini e di rispondere alle normative nazionali in relazione all’attuale emergenza sanitaria (DPCM del 17/05/2020 e del 11/06/2020 e Ordinanze della Regione Lombardia n. 547 del 17/05/2020 e n. 566 del 12/06/2020)
____________________________________

Costo: € 190,00
Sconto del 10% a partire dal/la secondo/a iscritto/a e per n. 1 BAM FRIENDS*.
I due sconti non sono cumulabili.
*Al primo incontro verrà chiesta visione della tessera relativa.

N.B. E’ richiesto il pranzo al sacco

Il campus è a numero chiuso, si attiva al raggiungimento nel numero minimo di iscritti richiesto.
Le iscrizioni si chiudono il giorno 21 agosto o al raggiungimento del numero massimo di iscritti previsto.

CLICCA QUI E COMPILA SUBITO  IL MODULO D’ISCRIZIONE
IMPORTANTE: IL MODULO VA COMPILATO PER OGNI ISCRITTO/A E CORREDATO DI PRESA IN CARICO DEL BONIFICO

Per informazioni più generali, contattaci all’indirizzo organizzazione@zonak.it

 

DER MOND – LA LUNA
MULTIDISZIPLINARISCHER FERIENCAMPUS IN DEUTSCHER SPRACHE
FÜR KINDER VON 6 BIS 11 JAHREN
Vom 31. August bis 4. September

Seid ihr bereit, mit uns zum Mond zu fliegen? Was möchtet ihr mitnehmen?
Und was meint ihr könnt ihr dort oben entdecken?

Zwischen Mondspaziergängen, imaginären Kreaturen, Worten, Klängen und Bildern werden die Kinder mit einer Künstlerin und Videokünstlerin und einem Experten für Zirkus- und Theaterkunst arbeiten und ihre Reise zum Mond mit Körper, Stimme und Vorstellungskraft erfinden, unterstützt durch Audio- und Videoequipment.

Die vorgeschlagenen Aktivitäten zielen darauf ab, Kinder zum spielerischen und kreativen Gebrauch der deutschen Sprache anzuregen.

Der Campus findet von 9.00 bis 16.00 Uhr statt.

Die Aktivitäten werden sowohl drinnen in den Räumlichkeiten von ZONE K, als auch draußen in einem in der BAM für uns reservierten Bereich durchgeführt.

Gemäß den Richtlinien der Stadt Mailand können maximal zwei Gruppen von je 7 Kindern teilnehmen.

Beiden Gruppen werden voneinander getrennt das folgende Programm machen:

9.00 Empfang	Gruppe 1 (Büros)
9.15 Empfang	Gruppe 2 (Haupteingang)
9.30 – 10.30	Gruppe 1: Audio – Gruppe 2: Bewegung
10.30	Imbiss im Freien
11.00 – 12.30	Gruppe 1: Video – Gruppe 2: Theater
12.30 – 14.00	Mittagessen und Spiele im Freien
14.00 – 15.00	Gruppe 1: Bewegung – Gruppe 2: Audio
15.00 – 16.00	Gruppe 1: Theater – Gruppe 2: Video
16.00 Ausgang	Gruppe 1: Büros
16.15 Ausgang	Gruppe 2: Haupteingang

 

Wir möchten Sie darauf hinweisen, dass jedes Kind sein eigenes Lunchpaket mitbringen muss.

DIE UNTERWASSERWELT – IL MONDO SOTTOMARINO

Sorry, this entry is only available in Italian.

Un progetto di ZONA K, in collaborazione con BAM Biblioteca degli Alberi di Milano, inserito nel programma Milano Summer School – Comune di Milano

Cosa c’è nel mondo sottomarino?
Andiamo a scoprirlo!
Pesci colorati e piante stranissime, sirene e tesori abbandonati dai pirati… e tanto altro ancora!

Giochiamo col corpo e con la musica, costruiamo oggetti e immagini, creiamo insieme il nostro mondo acquatico!

Tutte le attività proposte sono volte a stimolare bambine e bambini a utilizzare la lingua tedesca in modo giocoso e creativo.

Le attività saranno condotte sia all’interno di ZONA K sia all’aperto, nella bellissima BAM Biblioteca degli Alberi di Milano,  in uno spazio riservato tutto per noi.

Il campus si svolgerà per mezza giornata con i seguenti orari:
I GRUPPO 8.30 – 12.00
II GRUPPO 14.00 – 17.30
Ogni gruppo sarà composto da un massimo di 5 bambini, così come indicato dalle linee guida del Comune di Milano.

Questo il programma della giornata tipo:

 

ore 8.30	Accoglienza Gruppo 1
ore 9.00 – 10.30	Movimento Gruppo 1
ore 10.30 – 11.00	Merenda all’aperto Gruppo 1
ore 11.00 – 12.00	Arte Gruppo 1
ore 12.00	Uscita Gruppo 1
ore 14.00	Accoglienza Gruppo 2
ore 14.30 – 16.00	Movimento Gruppo 2
ore 16.00 – 16.30	Merenda all’aperto Gruppo 2
ore 16.30 – 17.30	Arte Gruppo 2
ore 17.30	Uscita Gruppo 2

Il campus è organizzato in modo da rendere felice e piacevole l’esperienza a tutte le bambine e tutti i bambini e di rispondere alle normative nazionali in relazione all’attuale emergenza sanitaria (DPCM del 17/05/2020 e del 11/06/2020 e Ordinanze della Regione Lombardia n. 547 del 17/05/2020 e n. 566 del 12/06/2020)
____________________________________

Costo: € 150,00
Sconto del 10% a partire dal/la secondo/a iscritto/a e per  n.1 BAM FRIENDS*.
I due sconti non sono cumulabili.
*Al primo incontro verrà chiesta visione della tessera relativa.

Il campus è a numero chiuso, si attiva al raggiungimento nel numero minimo di iscritti richiesto.
Le iscrizioni si chiudono il giorno 21 agosto o al raggiungimento del numero massimo di iscritti previsto.

CLICCA QUI E COMPILA SUBITO  IL MODULO D’ISCRIZIONE PER IL GRUPPO MATTINA

CLICCA QUI E COMPILA SUBITO  IL MODULO D’ISCRIZIONE PER IL GRUPPO POMERIGGIO

IMPORTANTE: IL MODULO VA COMPILATO PER OGNI ISCRITTO/A E CORREDATO DI PRESA IN CARICO DEL BONIFICO

Per informazioni più generali, contattaci all’indirizzo organizzazione@zonak.it

 

 

Die Unterwasserwelt – Il mondo sottomarino
Ein kreativer Campus mit Bewegung in deutscher Sprache für Kindergartenkinder
Vom 31. August bis zum 4. September 2020.

Was gibt es alles unter Wasser? Finden wir es gemeinsam heraus !
Bunte Fische, die seltsamsten Pflanzen, Meerjungfrauen, vergessene Piratenschätze….

Wir spielen mit “Leib und Seele”, mit viel Musik, konstruieren Objekte und Bilder und erschaffen unsere eigene Unterwasserwelt.

Unsere vorgeschlagenen Aktivitäten sind darauf abgestimmt, alle Kinder auf spielerische und kreative Weise anzuregen, die deutsche Sprache zu benutzen.

Der Campus wird halbtags angeboten und alle Aktivitäten werden sowohl in unseren Räumlichkeiten von ZONA K als auch in einem für uns reservierten Gelände im Freien ( auf dem BAM: Biblioteca degli Alberi di Milano) stattfinden.

Unsere Aktivitäten werden zu folgenden Uhrzeiten stattfinden:
Gruppe  1 : 8.30 – 12.00
Gruppe 2 : 14.00 – 17.30

Jede Gruppe besteht aus höchstens 5 Kindern, so wie es die Richtlinien der Stadt Mailand vorsehen.

Audience survey

AMID FEARS, GOOD NEWS FROM THE PUBLIC

The Theatre has been one of the main victims of the pandemic. Without belittling the very serious damage suffered by the artistic staff and the entire production chain of the performing arts, there is a positive note that, in the midst of so much discouragement, brings a certain relief: the public has felt the absence of the theatre, and is eager to return to it.

This is one of the data that emerges clearly from the questionnaire designed and disseminated by ZONA K and Stratagemmi, with the support of Codici Ricerche, between May and June 2020: a crucial period, immediately following the lockdown.
The questionnaire aimed to find out what people’s feelings and expectations were about the reopening of the theatres, which had to be imagined in a different way from the pre-Covid period; making a virtue of necessity, the creators of the survey used this opportunity for dialogue with the public to sound out questions that only partly have to do with the emergency situation of the last few months. For example: how much artistic proposals accessible via telematics are actually appreciated; what is the relationship of the public with experimental languages and forms; how much the spatial context in which the performance takes place influences the spectators’ appreciation.

The survey produced valuable and at times unpredictable results: just think of the widespread enthusiasm for open-air performances, which certainly does not find an adequate response in the seasonal programmes of our theatres. Or the evident disaffection towards remote, telematic artistic fruition: an experience that spectators are definitely satiated with.

There is also – and this bodes well – a certain confidence in theatres as regards their compliance with health and hygiene requirements in order to prevent the risk of an epidemic resurgence: the interviewees declare more impatience than fear, suggesting that for them the theatre is not only an essential meeting place, but also a safe, reliable place.

In short: the data that emerge are by no means obvious, and can help us to understand where to start again, and in what directions.

Certainly, as shown by the numerous encouragements that the interviewees attached to the questionnaire, the public is there, and is cheering for the theatre.

See the results of the questionnaire

 

Foto by Cristina Lorenzi for ZONA K, BODIES IN URBAN SPACES 2017 di Cie. Willi Dorner

FOCUS HUMAN

Last focus of the season, HUMAN offers performances that address the times of today by placing man and his rights, his strengths, his contradictions and sufferings at the centre. After the short century, which showed the brutality of humanity and also the ability to get involved again, what have we become? Who do we want to be?

Hobsbawn said that the 1900s had ended in a global disorder of an unclear nature and without a clear mechanism to end or control it. Are we facing the new twenties, with the naïve and glitzy consciousness of what is happening around us?

Will the homo sapiens, well defined and described by Harari, be able to make sense of the world he created? And understand global developments and distinguish the mistake from what is correct?

 

These, the shows of FOCUS VIRTUAL.

October – November
RIMINI PROTOKOLL (DE)
NIGHT SHIFT
[Travelling show]
A ZONA K production in collaboration with Casa degli Artisti

c/o places in the city

 

22 – 23 October
BABILONIA TEATRI (IT)
GIULIO
[show]

c/o ZONA K

 

12 – 13 November
M. Anderson, I. Kralj THEATRE GIGANTE – A. Renda TEATRO DELLE ALBE /RAVENNA TEATRO (U.S.A/IT)
IN THE BELLY OF THE BEAST
[show]

c/o ZONA K

 

28 – 29November
AGRUPACIÓN SEÑOR SERRANO (ES)
THE MOUNTAIN
[multimedia show]
A ZONA K co-production presented in collaboration with Olinda Onlus

c/o TeatroLaCucina

 

26 – 29 novembre

CONVENTION
At the end of not only the year but also of the three-year period and of a path that until today has led us to invite the most representative names of that genre defined Theatre of reality, we will dedicate two days to a convention of reflection and comparison on what future prospects they are outlined in the relationship and in the action of the theatre on reality.
An important opportunity to take stock of the current situation in Europe but also to open up new questions and questions. For the occasion, some of the artists hosted over the years and the operators and critics most sensitive to the topic will be invited.

c/o ZONA K and other places in the city

 

Discover the entire programme of the Theatre Season 2020 REALITY

 

Photo ©Rocco Rorandelli / TerraProject

Agrupación Señor Serrano (ES)

There is a widely diffused image that traces the history of ideas: climbing a mountain, overcoming all difficulties to reach its top and, once there, being able to see the world “as it is”. Reaching the truth and not just shadows and reflections. It is a beautiful image in all respects.

But is it really so? Often looking from above you can see nothing but clouds and fog covering everything or a landscape that changes according to the time of day or the weather. What is the world like then? How is the truth? Is there the truth? Is the truth the top of a mountain to be crowned and that’s all, or rather a cold and inhospitable path that must be continually walked?

In The Mountain, the latest show by the award-winning Catalan company, the first expedition to Everest converges, the outcome of which is still uncertain today, Orson Welles sowing panic with his radio program The War of the Worlds, badminton players who they play baseball, a fake news website, a drone scanning the audience, lots of snow, mobile screens, fragmented images, and Vladimir Putin speaking content with trust and truth.

A white and diaphanous stage. Miniatures to scale on practicables, a radio studio, a reproduction of Everest, portable projection screens and film tripods form a space halfway between a TV set, a museum and a badminton court. A network of ideas, stories, images, actions and concepts is the basis of The Mountain’s dramaturgical framework. With these materials, unfolded in layers that mix, creating unexpected connections, the show presents itself as an unmapped exploration of the myth of truth.

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A ZONA K co-production presented in collaboration with Olinda/Da vicino nessuno è normale

c/o Olinda/Da vicino nessuno è normale, Ex O.P. Paolo Pini – via Ippocrate, 45

Info: multimedia show – duration 70 min. – in English with Italian subtitles
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creation Agrupación Señor Serrano dramaturgy and direction Àlex Serrano, Pau Palacios, Ferran Dordal performance Anna Pérez Moya, Àlex Serrano, Pau Palacios, David Muñiz management Art Republic A GREC production Festival de Barcelona, ​​Teatre Lliure, Conde Duque Centro de Cultura Contemporánea, CSS Stable Theater of Innovation of Friuli – Venezia Giulia, Teatro Stabile del Veneto – National Theater, ZONA K, Monty Kultuurfaktorij, Grand Theater, Feikes Huis With the support of Departament de Cultura de la Generalitat, Graner – Mercat de les Flors. Photo: © Jordi Soler

THEATRE GIGANTE-TEATRO DELLE ALBE/RAVENNA TEATRO (USA-IT)

FOCUS: HUMAN

 

In Edgar Allan Poe’s story The man of the crowd, a chaotic and unpredictable world is described in which fascination and horror coexist. We are all witnesses and actors in a show where roles and origins are mixed in incessant movement. The crowd appears as a mysterious and disturbing entity that overpowers and annihilates the individual. Starting from the ideas of Poe’s story, the show explores the darkness that has characterised these last decades. Unhappiness, insecurity, suffering and uncertainty trigger fear and violence, a regression compared to the level of “civilization”, laboriously conquered and by now considered consolidated in Europe like in the United States, in India like in Australia and elsewhere. We live in a world that is more connected but less integrated. Resentment has become a global epidemic. We are stuck in the belly of a beast. Who is this beast? Are we this beast? Are they? Who are they? Think with your gut, when you have forgotten about your heart.

 

Conceived, written and performed by Isabelle Kralj, Mark Anderson and Alessandro Renda, the show is a gathering of three different countries, three cultures, different stories and languages, but with the same fears, the same questions, the same desires, the same insecurities. In the Belly of the Beast builds a multi-layered structure of stories, using different stylistic approaches and languages, alternating reality and dream, alienation and solidarity, irony and poetry. Between past and present. On the stage of the Theatre Season 2020 REALITY, a diverse and frantic humanity, figures of today and shadows from the past who present themselves through monologues and dialogues, music, video and movement.

________________________

c/o ZONA K

Info: show • duration 80 min. • in English, Slovenian and Italian with surtitles

Standard ticket: 15 € – Students/under 26/over 65/groups 10€

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By and with Mark Anderson, Isabelle Kralj, Alessandro Renda, production Theatre Gigante (USA), Teatro delle Albe / Ravenna Teatro (IT)

 

 

In 2014, the show of the Teatro delle Albe Noise in the waters (by Marco Martinelli, with Alessandro Renda on stage) was on tour in the United States, guest at the La Mama Theater in New York, then in New Jersey and in Chicago. In Chicago, thanks to the invitation of Thomas Simpson (associate professor at Northwestern University of Chicago and translator in English of many important Italian authors, including Marco Martinelli), Isabelle Kralj and Mark Anderson, co-directors of Gigante Theater, attended the show and decided to host it in their city, Milwaukee (Wisconsin). That is how a fertile collaboration began that brought Alessandro Renda back to the United States the year after. The artistic bond between Isabelle Kralj, Mark Anderson and Alessandro Renda has been renewed in Italy, in Ravenna. The In the Belly of the Beast project is a new collaboration between the two companies in search of harmony, resonances and differences between poetry. It is the first co-production of the Teatro delle Albe with an American company and for the Giant Theatre it is the first co-production with a European company.

BABILONIA TEATRI (IT)

FOCUS: HUMAN

For the 2020 Theatre Season REALITY Valeria Raimondi and Enrico Castellani discuss together the Regeni story in the new show Giulio, dedicated to the student tortured and killed in Cairo in February 2016. A resolute investigation on the border between information and propaganda, between power and crime, between reason of state and inviolable rights, which questions the apparatus of the law, violence and the profound meaning of being free citizens in a free state.

Giulio Regeni is not just a news story.

Giulio Regeni makes us asking ourselves what a State means. What does justice mean. What does power mean. What does the police mean? What does trial mean. What does legality mean. What does prison mean. What public opinion means. What journalism and freedom of information mean.

Giulio Regeni makes us asking ourselves the fundamental questions of social and civil life.

He makes us thinking about the concept of responsibility, of humanity, of strength.

The concepts and issues we are dealing with in our lifes, literature and theatre from Greeks to Shakespeare to us. Giulio Regeni is a starting point to reflect on all this.

 

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c/o ZONA K

To participate you must send a request for the annual membership within the day before the show, click HERE to do it NOW

Info: show • duration 60 min. • in Italian

Standard ticket: 15 € – Students/under 26/over 65/groups 10€

Part of the subscription shows

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By Valeria Raimondi and Enrico Castellani, cast to be decided, production: Teatro Metastasio di Prato with Babilonia Teatri

 

Babilonia Teatri is one of the most innovative companies in the contemporary theatre scene, distinguishing itself for a language by many defined as pop, rock, punk. It has become relevant in the Italian scene for its irreverent and divergent gaze on the world of today. Over the years Babilonia Teatri has won numerous awards. In addition to the main Italian cities, the company’s shows have been hosted numerous times also abroad, from France to Germany, from Austria to Hungary, from Bosnia and Herzegovina to Croatia, from Colombia to Russia. Enrico Castellani and Valeria Raimondi, founders of the company in 2006, are the artistic directors of Babilonia Teatri. Playwrights, authors, directors and actors, Castellani and Raimondi are based in Verona.

RIMINI PROTOKOLL (DE)

FOCUS: HUMAN

In the 2020 Theatre Season REALITY of ZONA K the multi-award winning German collective Rimini Protokoll will bring the truck to Milan that in 2006 was transformed into an audience on wheels capable of transporting 50 spectators through the city: seated on one side, they will look through a large window the urban reality that will become a stage.

During the residency at Casa degli Artisti, which took place between May and September 2019, five selected artists developed a project for the truck around the theme of night work together with Rimini Protokoll.

The truck will transport spectators through the suburbs of the city and will focus the spotlights on what normally moves in the dark and in the invisible. Who works at night? How? Who pays? The submerged economy or the backbone and the backstage of the most brilliant day performances? What places host the jobs that begin when others stop and the jobs that have no beginning or an end?

 

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A ZONA K production in collaboration con Casa degli Artisti

c/o places in the city

Info: spettacolo itinerante per 50 spectators • in Italian

Standard ticket: 20 € – Students/under 26/over 65/gruppi: 15 €

Part of the subscription shows

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Credits

 

Helgard Haug, Stefan Kaegi and Daniel Wetzel founded the theatre-label Rimini Protokoll in 2000 and have since worked in different constellations under this name. With their work they look for new perspectives on the reality.

Work by work they have expanded the means of the theatre to create a poetic and unique style, that revolutionised contemporary European theatre. Rimini Protokoll often develops their stage-works, scenic interventions, performative installations and audio plays together with experts who have gained their knowledge and skills beyond the theatre. Furthermore, they like to transpose rooms or social structures into theatrical formats. Many of their works feature interactivity and a playful use of technology.
Rimini Protokoll has been awarded with numerous important prizes, such as the Mülheimer Dramatikerpreis for “Karl Marx: Das Kapital, Erster Band”, the German theatre award Faust, the Grand Prix Theatre from the Swiss Federal Office for Culture, the European Theatre Award, the Silver Lion at the Theatre Biennale in Venice, and the German Audio Play Award and the War Blinded Audio Play Prize.

FOCUS VIRTUAL

In the present, increasingly built on virtual reality, augmented reality, reality shows and fake news, a reflection dedicated to virtual reality could not miss. How much does the immersive experience, now increasingly rampant, allow us to deepen our reality or is it reduced to a simple act of gamification?

Some studies argue that virtual reality can be interpreted as a machine of empathy capable of making us experience different and difficult situations. Is there a difference between policemen who wear VR to imagine themselves as criminals and spectators who virtually experience the violence suffered by migrants? Is there a precise boundary between reality and fiction?

 

These, the shows of FOCUS VIRTUAL.

cancelled
SILKE HUYSMANS & HANNES DEREERE | CAMPO (BE)
PLEASANT ISLAND
[multidisciplinary documentary theatre]
presented in collaboration with Fattoria Vittadini

c/o Fattoria Vittadini

 

postposed
MAMMALIAN DIVING REFLEX (Canada)
THE LAST MINUTES BEFORE MARS
[multimedia perfomance]
A project of ZONA K and FOG Triennale Milano Performing Arts

c/o ZONA K

 

13 + 14 and 16 + 17, and from 20 to 24 May
CODICEFIONDA (IT)
PLAY ME (Origins Project)
A ZONA K production
[one-to-one performance]

c/o ZONA K

 

Discover the complete programme of Theatre Season 2020 REALITY

 

pic. by © Michele Borzoni / TerraProject

ROGER BERNAT/FFF (ES)

The show is canceled, according to the regional ordinance of 04/03/20 and will be rescheduled.

FOCUS: GLOBAL

Catalan director Roger Bernat returns to ZONA K for the 2020 REALITY Theatre Season with a show that is about a highly topical theme.

In 2012, some inhabitants of Ceuta left their families to go to Syria. During the weeks that they were in Turkey and Damascus, they called their relatives regularly. The police tapped their phones and all recorded conversations were subsequently included in the dossier of the trial that took place in Madrid. The verdict was the conviction of eleven people for participation in the recruitment network of the Islamic State. It was the first trial in Spain against the collaborators of the Islamic State. The dossier is the heart of this show: an immersion not only in words of the suicide bombers but also of the people close to them, the translators, the police and the judges who followed the interceptions.

Three actresses read or repeat the telephone conversations of Samra, Sanae and Nayua, wives of three jihadists who immolated themselves in Syria during summer 2012. Their conversations are simultaneous. The audience, equipped with a 3-channel wireless headphone, must navigate through words to reconstruct the facts, as did the secret services a few years earlier. At the end of the show, no two spectators will have listened to the same conversation.

 

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c/o ZONA K

To participate you must send a request for the annual membership within the day before the show, click HERE to do it NOW

Info: show • duration 60 min. • in Italian

Standard ticket: 15€ – Students/under 26/over 65/gruppi: 10€

Part of the subscription shows
________________________

 

Performers: Silvia Calderoni, Matilde Facheris, Woody Neri and Giulia Salvarani, video design, technical direction and assistant director: Txalo Toloza, sound: Cristóbal Saavedra Vial, graphics: Marie-Klara González, general coordination: Helena Febrés Fraylich, coordination in Morocco: Arts I Love and Ahmed Hammoud, thanks to: DABATEATR (Rabat), Daha-Wassa (Rabat), Laura Gutiérrez, Toni Serra, JMBerenguer and Txiki Berraondo, show produced by Elèctrica Produccions (Barcelona), MUCEM (Marseille), Marche Teatro (Ancona ), Triennale Teatro dell’Arte (Milan), Festival Grec 2017 (Barcelona) and Temporada Alta (Girona), with the help of Les Bancs Publics / Les Rencontres à l’échelle (Marseille)

 

Roger Bernat, a Catalan artist and director, after having started his architecture and painting studies, studied dramaturgy and direction at the Institut del Teatre in Barcelona where he graduated in 1996, winning the extraordinary recognition. In the early years he worked as a director, playwright and performer with the General Elèctrica company which he directs together with Tomás Aragay. In 2008 he founded Roger Bernat/FFF and begins to create performances in which the audience takes the stage and becomes the protagonist. “Spectators are immersed in a device that invites them to obey or conspire, and in any case to pay with their own bodies and commitment.” The first participatory performance is Domini Públic (2008), followed by Pura Coincidencia (2009), La consagración de la Primavera (2010), Please continue (Hamlet) (2011), Pendiente de voto (2012), RE-presentation: Numax (2013), Desplazamiento del Palacio de la Moneda (2014), Numax-Fagor-plus (2014), We need to talk (2015), No se registran conversaciones de interés (2016-17) and The place of the Thing (2017 ).

 

 

FOCUS GLOBAL

Guinea Pigs (IT)

The #nuovipoveri show by the young Milanese company Guinea Pigs is a multi-disciplinary research path that investigates the relation between economy and society, self-perception, representation and self-narration of wealth and poverty. Istat speaks of 5 million poor people out of a population that exceeds 42 million inhabitants: the poor exceed 11% of the total population. There are the absolute poor who cannot face a minimum expenditure necessary to purchase basic necessities and services and the relative poor who live with an average monthly expenditure equal to or less than € 667.05. So Istat says that a poor person is someone who can’t meet the minimum consumption standards, who can’t spend money because he doesn’t have enough.

The Treccani dictionary defines a poor person as “the one who has scarce economic means, who lacks the necessary money and all that money can procure”, etymologically “the one who produces little”. #nuovipoveri is a project about money and its contradictions, about the power it has to change the balance and relationship dynamics, about how days are spent, the happiness of families and the construction of the identity of an entire society. Poverty of means and resources, of relationships, of ideas and knowledge, of concrete possibilities in imagining one’s own present and a possible future. Who are the new poor nowadays? How do they describe themselves? To society? And again how do they describe their society? And how much is true in this self-narration?

 

________________________
Info: show • duration 80 min. • in Italian
________________________

 

by and with: Letizia Bravi and Marco De Francesca, playwriting: Giulia Tollis, video: Julian Soardi sound design: Gianluca Agostini, set design: Stefano Zullo, light design: Martino Minzoni, direction: Riccardo Mallus, production: Ecate, in collaboration with Guinea Pigs, with support of ZONA K and Next – Laboratorio delle idee per la produzione e distribuzione dello Spettacolo dal Vivo Lombardo – Edition 2019/2020 and the support of Teatro delle Moire. Thanks to Il Magazzino of Antonio Mingarelli. A performative action included in “IntercettAzioni” Centro di Residenza Artistica della Lombardia: a project of Circuito CLAPS and Industria Scenica, Milano Musica, Teatro delle Moire, ZONA K, with support of the Regione Lombardia, MIC and Fondazione Cariplo

 

BIO
Guinea Pigs was created in 2014 in Milan. The first artistic project was the show Acts of War (2016). In 2017, in collaboration with the Out Off Theatre in Milan, they produced the show Casca la terra by Fabio Chiriatti, with whom they won the Siae Sillumina 2016 call for proposals. Also in 2017, they start the research path and creation of site specific projects between installation and performance In struggle with reality. The first stage, Sovra/Esposizioni, will be presented during the IT Festival. The second stage, Is the future a trap?, is co-produced by the Castel dei Mondi Festival and sees the collaboration of Guinea Pigs with the Equilibrio Dinamico Dance Company and Anelo1997 lab of architecture and roman sculpture. In 2019, in collaboration with Museocity, they carried out theatrical and performative activities within various museums in Milan as part of the AMUSE project of the Cariplo Foundation.

VALTERS SĪLIS (LV)

The show is canceled, according to the regional ordinance of 23/02/20 and will be rescheduled.

FOCUS: GLOBAL

In the 2020 Theatre Season REALITY comes the new creation of the Latvian director Valter Sīlis, Being a nationalist. It was written by the dramaturg Matīss Gricmanis. It is inspired by Gricmanis’ personal experience as an assistant to a well-known nationalist member of the Latvian Parliament.

What and who is part of the world of a nationalist today? Do the interests of the state or their own interests win? How do you measure friends and who are the patriots?

In the world of a nationalist, the interests of the state are more important than its own. Friends are like-minded people, and they don’t care about small everyday problems or world affairs. The enemies are many, but they are well known. True values ​​are about to rise once again, despite the fact that in today’s materialistic world they have lost their value. But Sīlis tells us that to live in this world full of challenges, one must first wake up in order to change one’s reality.

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c/o ZONA K
To participate you must send a request for the annual membership within the day before the show, click HERE to do it NOW

Info: show • duration 90 min. • in Latvian with subtitles in Italian

Standard tickets: 15 € – Students/under 26/over 65/groups: 10 €

Part of the subscription shows

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Written by: Matīss Gricmanis, direction: Valters Sīlis with: Jānis Kronis, Āris Matesovičs, Ance Strazda, scene: Uģis Bērziņs; light: Lauris Johansons, production: Dirty Deal Teatro

 

Matīss Gricmanis is a writer and a playwright who writes for theatre, cinema and television. From a young age he worked in politics, later conveying his experience in stage writing. In 2018 he won the contest of the new Versmė drama festival of the Lithuanian National Drama Theatre with his show “Narrow Margins of a Normative Lifestyle”, based on the diaries of a homosexual who lived during the Latvian Soviet regime. Valters Sīlis is one of the most important directors of the Baltic scene. In his work he always pays particular attention to the complexity of the human experience, bringing the most marginal and vulnerable individuals in the foreground.

FOCUS GLOBAL

EVE #1

Sorry, this entry is only available in Italian.

 

Torna a Danae Filippo Michelangelo Ceredi con la sua seconda creazione.
EVE #1 esplora il nostro rapporto con la memoria degli avvenimenti del nuovo millennio attraverso le immagini. Dal 2001 ad oggi la comunicazione visuale ha assunto un ruolo predominante e la nostra capacità di ricevere le informazioni è stata fortemente modificata. Il ricordo dei fatti di rilevanza globale verte sempre più spesso su immagini di grandi traumi o di disastri, disegnando un panorama tragico del mondo. La sovrabbondanza di stimoli visivi ha mortificato l’immaginazione e ha generato assuefazione all’orrore. EVE #1 è una rievocazione delle immagini che costruiscono l’immaginario contemporaneo e un tentativo di riprendere uno sguardo più lucido sul presente.

PRIMA ASSOLUTA
di e con Filippo Michelangelo Ceredi assistenti al progetto Clara Federica Crescini, Sara Gambini Rossano
disegno luci Adriana Renna accompagnamento alla realizzazione Alessandra De Santis e Attilio Nicoli Cristiani – Teatro delle Moire una produzione di Filippo Michelangelo Ceredi, Teatro delle Moire/Danae Festival, Lenz Fondazione/Natura Dèi Teatri Festival con il sostegno di IntercettAzioni – Centro di Residenza Artistica della Lombardia (un progetto di Circuito CLAPS e Teatro delle Moire, Industria Scenica, Milano Musica, ZONA K)

durata 50′

 

INFO E PRENOTAZIONI
+39 02 39820636 | +39 338 8139995 | info@teatrodellemoire.it
Prenotazione consigliata

 

 

Filippo Michelangelo Ceredi, dopo la laurea in filosofia a Milano, lavora come assistente alla regia di Marco Bechis nel film Il sorriso del capo (2011), in collaborazione con Istituto Luce, e nella serie web Il rumore della memoria (2014). Assiste Iacopo Patierno nella realizzazione della serie web per il progetto italo-mozambicano Il teatro fa bene (2016) e dirige lavori da videomaker. Dal 2012 inizia una formazione teatrale seguendo i laboratori del Teatro delle Moire e lavorando come tecnico per progetti teatrali. Nel 2016 debutta a Danae Festival con Between Me and P., presentato successivamente a Santarcangelo Festival 2017.

CONCERTO

Sorry, this entry is only available in Italian.

Francesco Michele Laterza, regista e performer, ritorna a Danae, dopo aver presentato nel 2017 la performance dissacrante tutta al maschile Acquafuocofuochissimo. Questa volta si cimenta in un duetto insieme alla poliedrica artista Floor Robert, performer, disegnatrice e autrice, premiata nel 2008 con la menzione speciale del Premio Hystrio. Concerto è un concerto dell’immaginazione. Uno spettacolo teatrale che sogna di essere una performance musicale. Il lavoro muove da una raccolta di sogni trascritti e trasformati in canzoni originali o materiali performativi con l’idea di costruire un coro di forze, voci e immagini al limite del paradosso che dialogano all’ interno di un assurdo concerto in perpetuo mutamento.

PRIMA ASSOLUTA
di Francesco Michele Laterza con Francesco Michele Laterza e Floor Robert foto di Fabio Artese coproduzione Teatro delle Moire/Danae Festival con il sostegno di IntercettAzioni – Centro di Residenza Artistica della Lombardia (un progetto di Circuito CLAPS e Teatro delle Moire, Industria Scenica, Milano Musica, ZONA K)

durata 50′

 

INFO E PRENOTAZIONI
+39 02 39820636 | +39 338 8139995 | info@teatrodellemoire.it
Prenotazione consigliata

 

 

 

Francesco Michele Laterza, performer, regista e coreografo, dopo aver lavorato come interprete per diverse compagnie italiane (DOM-,Teatro Valdoca, Strasse, Famiglia Fuché, Inquanto teatro), intraprende un percorso autoriale mettendo al centro della sua ricerca la relazione tra corpo e processi di costruzione dell’identità attraverso la sperimentazione di diverse modalità performative. Nel 2015 con il progetto Acquafuocofuochissimo è coreografo residente presso Anghiari Dance Hub e vincitore del bando Assemblaggi Provvisori indetto dalla Tenuta dello Scompiglio di Vorno (Lucca). Dal 2017 è artista associato del progetto Officina Lachesi Lab curato dal Teatro delle Moire, Danae Festival di Milano. Nel 2018 è tra gli artisti selezionati nel workshop È il corpo che decide a cura di Marcello Maloberti con la performance Esercizi sullo spazio, al Museo del Novecento di Milano. È ideatore e conduttore di progetti di formazione e ricerca teatrale e di laboratori incentrati sullo studio del gesto.

LIVE SESSION

Sorry, this entry is only available in Italian.

Matita è un concerto da guardare, colorare, disegnare. Un ensemble di disegnatori ritmici attorno a un tavolo microfonato, che amplifica il suono di matite, penne, pennarelli. Un pianoforte li accompagna, li guida, li insegue in un dialogo musicale.
L’atto del disegnare si trasforma in un gesto ritmico, visivo e sonoro, che accompagna e dà forma e struttura alla musica. Il concerto è la presentazione ufficiale del nuovo live da palco, si avvale di nuovi visuals curati dal gruppo stesso, con la collaborazione dell’artista visivo Daniele Spanò.

Antonello Raggi piano elettrico ed elettronica
Fabio Bonelli matite, penne, pennarelli
Francesco Campanozzi pennarelli, penne, matite
Antonello Raggi, Daniele Spanò, Matita visuals

durata 50 minuti

 

INFO E PRENOTAZIONI
+39 02 39820636 | +39 338 8139995 | info@teatrodellemoire.it
Prenotazione consigliata

 

 

 

 

Fabio Bonelli è un musicista e creativo cresciuto musicalmente come chitarrista dei milaus.
Dal 2007 ha sviluppato numerosi progetti, alla continua ricerca di un’unione tra quotidianità e incanto: Musica da cucina (concrete folk per chitarra e tavolo apparecchiato), Matita (collettivo di disegnatori ritmici), dBEETH (DJ set di musica classica su vinile), Sit In Music (indie pop per essere umano e band di pupazzetti), Kosmophon (concerto per chitarra e vecchi vinili di musica etnica), Sii Bih Dii (improvvisazioni aperte su vinili per birdwatchers). Ha creato colonne sonore per documentari (INSOLITO CINEMA, DON’T MOVIE) e per teatro (Gruppo Teatro Campestre), creato installazioni sonore/sound design per rassegne collaborando con artisti visivi (Audiovisiva, Container Art, Tamara Ferioli, Dome Bulfaro, Leonardo Nava).
Ha suonato, tra gli altri, alla Triennale e al Museo della Scienza e della Tecnica (Milano), MITO
Fringe (Milano), Milano Piano City (Milano), Frison (Freiburg, Svizzera), MONA FOMA 2011
(Hobart, Tasmania), Linz 09(Linz, Austria), Città dell’arte/Fondazione Pistoletto (Biella),Teatro Eliseo (Roma), Silencio (Parigi, Francia), RomaEuropa (Roma), Castello di Rivoli(Rivoli, TO), MAXXI Museo Nazionale delle Arti del XXI secolo (Roma).
Di lui hanno parlato La Repubblica, LeMonde Magazine, ARTE TV, RTSI Radio Televisione
della Svizzera Italiana, Rai Due “TG2 Costume e società”, Radio Tre “Piazza Verdi”, Radio Tre
“Alza il Volume”, France Culture “L’atelier interieur” e numerose testate giornalistichemusicali sia cartacee (Insound) che online (Rockit, Onda Rock)

EUROPA! EUROPA!

EUROPA! EUROPA! is the common thread running through the season. We must talk about Europe today. We feel it is more essential than ever to devote an entire year to a theme that affects us all closely and is redefining new political, economic, social and cultural geographies. We, who were born in Europe, who grew up with the idea, with the ideal of Europe, think it is right to talk about it again, and again, despite or precisely because it is at a fragile and complex moment. And we want to talk about that Europe which was born from the war, which grew up with the ideals of democracy, which is immobilized in the face of new scenarios that are difficult to predict, in the language that belongs to us.

We want to follow the flow of celebrations, anniversaries and commemorations – the so-called English re-enactments – that mark our time and our memory, but also imagine and invent possible scenarios. Because from Europe we have internalized the open borders, the cultural routes, the possible networks, and we can no longer do without them.

WAR, DEMOCRACY, URBAN and NOW will be the focuses that will decline our idea of Europe, today that Brexit is a reality, that populism is at the gates and with it thousands of people. The challenge is open, with all the risks that this entails.

With the 2017 edition, ZONA K’s theatre and multidisciplinary season reaches its 5th year of activity. An important anniversary for an activity that has grown fast, so fast that every now and then it overwhelms and surprises even us. An anniversary that we are happy to celebrate also thanks to the Sandra Angelini Prize awarded by Retecritica for the Best Organizational Project 2016.And thanks to the collaborations with old and new friends that this year allow us to realize a truly extraordinary season: C.L.A.P.Spettacolodalvivo, Danae Festival, la Casa della Memoria, Olinda, Stanze and Triennale Teatro dell’Arte.

 

 

 

 

REPORTER ANCH’IO!

Sorry, this entry is only available in Italian.

Il laboratorio è annullato : ( e non è uno scherzo di carnevale.

Diventa video-giornalista per un giorno:  andiamo insieme a caccia di storie e di… oggetti di valore!

 

ore 10.30 – 12.00 dai 4 ai 6 anni
Porta con te il tuo giocattolo preferito: racconteremo una storia in stop motion… e i protagonisti sarete voi!

 

ore 14.30 – 17.00 dai 7 agli 11 anni
Porta un oggetto a cui sei affezionato: racconteremo la sua storia con il teatro e il video… e poi via!
In giro per il quartiere a scovare tante altre storie!

Ingresso laboratori: 10 euro (materna) – 12 euro (elementari)
Prenotazioni: biglietti@zonak.it fino al raggiungimento del numero massimo di partecipanti

Money makes you happy

Overturning the old adage, which denies this power of money, means going to see how a new, ethical finance has grown and spread, and what tools are suitable and necessary to educate and educate us in the economic and financial field.

Among the tools that have been experimented on a global scale with particular success, from the farmers of poor lands to the supporters of some Western political forces, there is microcredit.

An evening of dialogue on these themes.

Speakers: Ugo Biggeri, president of Banca Etica and Matteo Zagaria, director of CreSud, an Italian company that has been financing microcredit in the southern hemisphere for 20 years.

The evening will be moderated by Angelo Miotto.
Edited by Q Code Mag.

 

pic. by Freepick

Mauro Pescio (IT)

In a focus where the shows tell about financial/mathematical mechanisms, related to money, we thought of a show that touches more the human aspect and tells about lived lives. And it is in this perspective that we host My cousin (Limited edition) by Mauro Pescio who, in his own way, has conducted a sort of sociological survey that tells about our daily lives.

In this show Mauro Pescio will introduce us to real life stories of people he met. He chose narratives that were capable of challenging our expectations of the world. A boy who experienced video poker addiction, a former porn star, a high school girl who survived the 2018 Valentine’s Day massacre on a Florida campus, a son of a policeman killed by the Br, a couple in crisis for futile reasons. In other words, he sought out true stories that seemed fictional.

He put no limits on the topics: the stories can be about big events or small things, tragic or comic situations, in short, any life experience that can give us an original and meaningful point of view of reality. Letting himself be guided by the conviction that the more we try to understand the world, the more elusive and deceptive the world becomes, and that only in the experiences of human beings we can go looking for some kind of answer capable of containing a kernel of truth.

 

 

Show  – in Italian

By Mauro Pescio With Mauro Pescio, Giulia Valli and Stefano Malatesta and with the friendly participation of some friends, colleagues and various humanity in the process of definition

 

Mauro Pescio, radio and theater author, lives in Rome. After graduating from the Civica Scuola di Teatro Paolo Grassi in Milan, he moved to Rome where he founded a theater company with which he worked for ten years. Since 2012 he is the author of “Voi siete qui” for Radio24 and since 2015 of “Pascal” for Radio2. Since 2017 he has been collaborating with Radio3 for the audio-documentary show “Tre soldi”. For Audible he wrote “La piena”, Amazon’s first Italian production of a theatrical podcast.

 

KTO Theatre (PL)

A wandering theatre show without words

A theatre production inspired by poetic works of T.S. Eliot.

The show depicts a single day in the life of an individual of the 21st century. The contemporary “Everyman”, whose life is “suspended” between Home and Work for a corporation, identifies his or her “pathway through life” as a “pathway to work”.
The peregrination in search of the meaning of life comes into view through everyday toil, deprived of spirituality, love and beauty.
The world of the “Pererginus” is a “digital” civilization – sad, terrifying and grotesque, where consumerism turns into a dominant religion. A shop window is the home of the Peregrinus of the 21st century.
A mobile character of the show exposes the adventures of the protagonist in various contexts of urban space. Homo Peregrinus is a formatted human being stripped of emotionality, predictable and bereft of individual characteristics.

This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper
T.S. Eliot

The show has been presented in many cities in Poland as well as in Canada, China, Croatia, England, France, Georgia, Germany, Iran, Italy, Korea, Lithuania, Romania (Tony Bulandra Award for the best street performance in Targoviste), Russia, Spain and USA.

 

 

Itinerant Performance  – no words
A ZONA K project in collaboration with Fattoria Vittadini and FESTIVAL DEL SILENZIO

 

Script, music selection and stage direction: Jerzy Zon Mask concept: Spitfire Company Masks design: Joanna Jaśko-Sroka Stage movement and choreography:  Eryk Makohon Performers: Karolina Bondaronek, Paulina Lasyk, Grażyna Srebrny-Rosa, Justyna Wójcik, Marta Zoń, Sławek Bendykowski, Bartek Cieniawa, Paweł Monsiel/Krzysztof Tyszko, Michał Orzyłowski

 

The KTO is a theatre that creates shows for the street. Its performances have been attended by over 1.5 million people. Since 1 January 2005 the KTO has the status of a municipal theatre of Krakow. The director of the KTO Theatre is Jerzy Zon. The KTO Theatre has staged numerous open-air performances of the most important historical events in Polish and European history: “De la Revolution” on the occasion of the 200th anniversary of the French Revolution, “The Refugees”, an installation about the fall of the Berlin Wall, “The Polish Chronicle” on the occasion of Poland’s entry into Europe, to name a few. In addition, KTO Theatre has organised 31 editions of the International Street Theatre Festival in Krakow as well as other cultural projects.

Annie Dorsen (USA)

A microphone, a screen, the text running in overlay, two minutes to perform in front of the audience. Singers? No, in their place are other great artists who have gone down in history for their passion, their eloquence, their words.

Spokaoke is a participatory event that invites the audience to declaim speeches just as they would sing songs in a karaoke bar. Fifty speech-videos loaded into a karaoke device and available in a catalog that viewers can browse through: political speeches, public speeches, theatrical monologues, eulogies, trial testimony, etc. Some are familiar to the point of being considered icons (“I have a dream,” “Mr. Gorbachev, tear down this wall”); others are less well known; some are part of our history, others part of the collective imagination.

Reciting these old speeches means recognizing them for what they are: fragments of history and folk art. Here is an opportunity to pay homage to some of the greatest hit makers of all time and thus resurrect triumphs and traumas from our distant and near past.

If karaoke offers us the opportunity to recognize a shared ownership of pop music heritage, Spokaoke allows us to play with a legacy of spoken artifacts by constructing a Top10 of collective discourse.

 

 

Participatory performance – in Italian
A project by ZONA K with Stanze

 

Conception: Annie Dorsen Sound design: Vladimir Kudryatsev and Uli Ertl Assistance: Lola Harney Management: Natasha Katerinopoulos Co-production steirischer herbst (Graz) Black Box Teater (Oslo)

 

Annie Dorsen is a New York-based filmmaker and writer whose works explore the intersection of algorithms and live performance. Her most recent project, The Slow Room, premiered at Performance Space in New York City in Fall 2018. Previous projects, including The great outdoors (2017), Yesterday Tomorrow (2015), A piece of work (2013), and Hello hi there (2010), have been widely performed in the United States and other countries. She contributes to and writes for The Drama Review, Theatre Magazine, Etcetera, Frakcija, and Performing Arts Journal (PAJ).

La ballata dei Lenna (IT)

The show comes to life from the reading of The Pale King, the last novel published posthumously by the American David Foster Wallace, dedicated to the heroic everyday life of a group of officials of the Internal Revenue Service of a provincial town in the USA, with the intention of investigating boredom, and the ability / inability of the human being to survive the bureaucracy. Of The Pale King, a novel left unfinished, following DFW’s suicide, only shreds of unfinished stories remain in which we can glimpse the fragmented existences of the protagonists, and breathe DFW’s torment in trying at all costs to find a meaning to human existence.

Starting from here, La Ballata dei Lenna through a path of identification with the author, has conducted over several months, a search within several offices of the Internal Revenue Service in our country, with the intent to investigate a world that in the common imagination of heroic has very little. The material has produced an original dramaturgy that plays with the fragmentary nature of the novel to give life to a docuteatro that gives, together with the viewers’ eyes, a new sense to the work.

 

 

Performance – in Italian

 

By Paola Di Mitri Directed by Nicola Di Chio, Paola Di Mitri, Miriam Fieno With Nicola Di Chio, Paola Di Mitri, Miriam Fieno Narrator Alex Cendron Lights and visual concept Gennaro Maria Cedrangolo and Eleonora Diana Video and filming Vieri Brini and Irene Dionisio Costumes Valentina Menegatti Production La Ballata dei Lenna Executive production ACTI Teatri Indipendenti Production support Hangar Creatività, ZONA K Milano, Factory Compagnia Transadriatica, Principio Attivo Teatro In collaboration with Scuola Holden

 

La Ballata dei Lenna is a theatrical research collective founded by Nicola Di Chio, Paola Di Mitri and Miriam Fieno that was founded in 2012 at the Civica Accademia d’Arte Drammatica “Nico Pepe” in Udine, where the three actors trained and graduated. The company’s work focuses on the study of the relationships between the community and its daily life, in an attempt to highlight the points of friction of the contemporary imagination. The idea of theater as a collective representation leads the company to research and use a variety of languages, ranging from the centrality of the actor to its decomposition, from the word to the movement, from sound to image. The three artists ground their work in a perspective that encompasses the art of authorship, the craft of performance, and the role of stage manager.

FOCUS ECOLOGY

Climate change, green economy, ecological economics…

The UN defines the green economy as a real perspective. A perspective for which a growth of income and employment are driven by investments whose goal is to reduce pollution, increase renewable energy, make resources more efficient and avoid the loss of biodiversity.

Climate change is a fact: the temperatures are increasing, the precipitation pattern is changing, the ice and snow are melting and the average sea level is rising globally.

Nonetheless the differences towards that science that Darwin referred to as “economy of nature” and that in 1866 was given the name of ecology, are still too many.

Although scientists tell us that we have entered in a so called time of “Anthropocene”, in which the terrestrial environment is strongly conditioned from the effects of human actions, we assist to a global schizophrenia. On one side political, social and economic forecasts are predicting devastating news about the planet’s future, supported by protectionist initiatives, nationalistic closures, and the discussion of the 2015 Paris agreements. On the other hand the birth of transnational movements are in favor of the environment, and new generations are aware of the risks and especially the development of economic investments in energetic camp that let us hope that the green economy will not only remain a dream.

 

SPECIAL RESIDENCES:

•  28 – 29 September 2019
  ELISABETTA CONSONNI with POLIPO (IT)
  I LOVE YOU PUBLIC
  [itinerat performance]
• 3 – 6 October 2019
  MICHELE LOSI/PLEIADI ART PRODUCTIONS (IT)
  R 500 – SAFARI IN THE URBAN LABYRINTH #STUDIO I. THE ISLAND THAT DOESN’T EXIST
  [itinerat performance]
  

11 – 14, 16 and 18 – 20 
DOM- LEONARDO DELOGU, VALERIO SIRNA (IT)
L’UOMO CHE CAMMINA
A ZONA K and DANAE FESTIVAL project
[itinerat]

16 October 2019
ANDY FIELD (GB)
Masterclass

19 – 20 October 2019
ANDY FIELD (GB)
LOOKOUT “a one on one meeting with a city view”
[performance]

23 October 2019
ČERNOBYL’: A CATASTROPHE, A POINT OF DEPARTURE AND AWARENESS.
[meeting] by Q Code Magazine

26 – 27 October 2019
BERLIN (BE)
ZVIZDAL [CHERNOBYL, SO FAR – SO CLOSE]
[performance] c/o TeatroLaCucina

 

 

 

Deflorian/Tagliarini (IT)

Scavi is a collateral project to Quasi niente, a performance freely inspired by the film Deserto rosso by Michelangelo Antonioni, a work around the figure of the film’s protagonist, Giuliana, a “wild woman dressed elegantly” who takes on the marginality that has always attracted the two artists.

Scavi is a collateral project to Quasi niente, a performance freely inspired by the film Deserto rosso by Michelangelo Antonioni, a work around the figure of the film’s protagonist, Giuliana, a “wild woman dressed elegantly” who takes on the marginality that has always attracted the two artists.

Scavi is a performance that wants to be the public restitution of the “discoveries” in the investigation phase of the work on the new creation.

Digging patiently, as archaeologists do, to find a note in the margin, an unexpressed thought, a barely sketched idea, the photograph of an unedited scene. It is the encounter with the creative process, a vast, dense, raw material, of which the work is only the tip of the iceberg. This is how Daria Deflorian and Antonio Tagliarini, together with Francesco Alberici, approached Michelangelo Antonioni’s first color film, Il deserto rosso. At ZONA K they will return the discoveries of their excavations.

 

A project ZONA K and Triennale Teatro dell’Arte
Included in the program of FOG Triennale Milano Performing Arts.

Show –  in Italian

 

A project by Daria Deflorian and Antonio Tagliarini Written and performed by Francesco Alberici, Daria Deflorian and Antonio Tagliarini Literary advice Morena Campani Accompaniment and international distribution Francesca Corona Organization Anna Damiani Photos Elizabeth Carecchio Coproduction A.D. and Festival di Santarcangelo In collaboration with Istituto Italiano di Cultura di Parigi Production residence Carrozzerie | n.o.t Roma

 

Daria Deflorian and Antonio Tagliarini are authors, directors and performers. Their first work dates back to 2008, Rewind, homage to Cafè Müller by Pina Bausch. In 2009 they staged From A to D and Back Again. Between 2010 and 2011 they worked on the “Reality Project” which, starting from the diaries of a Cracow housewife, gave life to two works: the installation/performance czeczy/cose (2011) and the show Reality (2012), a work for which Daria Deflorian won the 2012 Ubu Award as best leading actress. Ce ne andiamo per non darvi altre preoccupazioni debuted in 2013 (2014 Ubu Award as best Italian new play while in 2016 it received the Critics’ Award as best foreign play in Quebec, Canada). They created two site specific: Il posto (2014) created and presented in Milan at Casa Museo Boschi/Di Stefano for the project “Stanze” and Quando non so cosa fare cosa faccio (2015). The sky is not a backdrop premiered in 2016 in Lausanne. The show Almost Nothing premiered in October 2018.

Francesco Alberici (1988), completed his classical studies and graduated in Economics and Business at Bocconi University in Milan. He graduates as an actor at the school Quelli di Grock and works in several shows of the same company. With the collective FRIGOPRODUZIONI, of which he is founder together with Claudia Marsicano and Daniele Turconi, he realizes Socialmente and Tropicana, works thanks to which the group obtains several awards. In 2015 he participates in the theatrical specialization course “Il corpo nelle parole” of the Centro Teatrale Santa Cristina. In 2016 he begins a collaboration with Daria Deflorian and Antonio Tagliarini, which leads him to take part in the projects Il cielo non è un fondale, Quasi niente and Scavi.

Michele Losi/ Pleiadi Art Productions (IT)

R 500 – Safari in the urban labyrinth #studio I. Neverland is an itinerant and participatory performance that leads the public to explore nature, sometimes hidden from our eyes, and its complex relationship with urban architecture and inhabitants, in a narrow 500-metre radius between ZONA K and the Biblioteca degli Alberi.

The performance is the result of a collective work of artistic research and scientific analysis of this specific 500-metre radius: performers, ecologists, architects and musicians give life to an engaging and unique urban safari, composed of sound fragments, stories, visions and encounters.

 

Urban game for 66 spectators – in Italian

 

A project by Pleiadi, Campsirago Residenza, in collaboration with ZONA K (I), The Intrnational Accademy for Natural Arts (NL), BAM – Biblioteca degli Alberi Milano (I), With the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia (a project of Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire) artistic and scientific team Michele Losi, Sjoerd Wagenaar, Sofia Bolognini, Liliana Benini, Luca Maria Baldini, Emilio Padoa Schioppa, Studio Pasta Madre collective.

 

Pleiadi Art Productions was founded in 2015 as part of Campsirago Residenza. It is an open and multidisciplinary production project that stems from the theatrical and performance experience of Michele Losi and the artistic experience of actress Mariasofia Alleva, together with Riccardo Calabrò, playwright, Marialuisa Bafunno, set designer, Stefania Coretti, costume designer and visual artist, Alberto Sansone, videomaker, Diego Dioguardi, sound designer, musician and DJ. It focuses on experimentation in the field of performing art, theatre in the landscape and site-specific productions. Pleiadi is a place open to artists from different disciplines and backgrounds who share the aim of creating art also for those who are not used to it: for those who, for example, have never been to the theatre or have stopped coming.

DOM- with Antonio Moresco (IT)

Art is about making everything false and seeming true.
Art is to make everything true and seem false.
“Realism is the impossible” – W. Siti

After the great success of the last season, the extraordinary operation of DOM- returns, which, starting from the graphic novel by Jiro Taniguchi, builds a dramaturgy of spaces in which to let explode the border between centre and suburbs, between urban and third landscape, between human and non-human.

A man, the writer and playwright Antonio Moresco, walks through the city. Through his journey, the landscape opens up and hides from the eyes of the public, who follow him at a distance, as if to spy on him, poised between identification and detachment.

The spaces follow one another as in an uninterrupted sequence – a square, a station, a cathedral, an uncultivated field, a swamp, a public swimming pool, a motel. The living experience of walking becomes the pretext for a hand-to-hand encounter with reality.

 

A ZONA K and Danae Festival project
Urban, itinerant performance for 15 spectators only.

 

Conceived, dramaturgy and direction by DOM- / Leonardo Delogu, Valerio Sirna Production Teatro Stabile dell’Umbria, ZONA K, Danae Festival, Terzo paesaggio With Antonio Moresco and with Paola Galassi and Isabella Macchi With the participation of the students of ITAS Giulio Natta of Milan Organisation and guidance Francesca Agabiti Freely inspired by the comic strip by Jiro Taniguchi – L’uomo che cammina Unpublished texts by Antonio Moresco Video project Studio Azzurro Edited by Alberto Danelli, Laura Marcolini, Martina Rosa Original music Fabio Zuffanti Sound processing Lorenzo Danesin Collaboration Museo Del Novecento, Milano Sport, Abbazia di Chiaravalle, Hotel Corvetto With the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia (a project of Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire)

 

 

DOM- is a project born in 2013 from the collaboration between the artists Leonardo Delogu, Valerio Sirna and Hélène Gautier. It investigates the language of the performing arts, with particular attention to the relationship between body and landscape, and is committed to the transmission of peculiar practices of dwelling, linked to the space and time of artistic creation. DOM- builds performance events, seminars, walks, writings, gardens, installations, videos, photographic reportages.

Antonio Moresco, Italian writer [Mantua, born 1947]. After completing a difficult apprenticeship, which he recounts in Letters to No One (1997), critically documenting the difficulty of emerging from the condition of being a writer.
After completing a difficult apprenticeship, which he describes in Lettere a nessuno (1997), critically documenting the difficulty of emerging from the condition of being an underground writer rejected by the Italian publishing world, in 1993 he published the collection of short stories Clandestinità (Clandestinity), in which the themes that underpin his work are already present, rendered in a dry and hyper-realistic style that increases its dramatic impact: loneliness, first and foremost, crossed by a dimension of dreaming as estrangement from the self, which is accompanied by the recurring motif of a frantic search for meaning that unravels through oblique and unstable paths. The fulcrum of Moresco’s work revolves around the vast work Giochi dell’eternità (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 Nazione indiana, in 2005 he created the online and print magazine Il primo amore.

Berlin (BE)

Ukraine. About a thousand inhabitants have returned to the contaminated territories of the Exclusion Zone within a 30 km radius of Chernobyl. They are called samosiols: those who have returned.

Pétro and Nadia never left.

When journalist and writer Cathy Blisson met them in 2009, Pétro and Nadia (both in their eighties) were the only two inhabitants of a ghost village just 4km long. Following the nuclear disaster that exploded on the night of 26-27 April 1986, Zvizdal was declared unfit for human habitation. A dramatic event that affected the lives of hundreds of thousands of Ukrainians, Russians and Belarusians. Status: officially designated for evacuation.

25 years after ‘Chernobyl’, Pétro and Nadia still live there, alone, surrounded by a forest that is slowly growing old with them. In the company of a guard dog, a skinny cow, a llama and a few chickens, they spend their days invoking Stalin and all the saints, waiting for the village to repopulate sooner or later.

A long-term project (from 2011 to 2015), Zvizdal unfolds through the passing of the seasons in a world where danger, invisible, is everywhere. A reflection on isolation, the question of survival, solitude and waiting for death.

 

Multimedia performance – in Italian
In collaboration with and c/o
Olinda/TeatroLaCucina, Ex O.P. Paolo Pini – via Ippocrate, 45

 

 

Concept: Bart Baele, Yves Degryse, Cathy Blisson With Nadia Pylypivna Lubenoce and Pétro Opanassovitch-Lubenoc Scenes Manu Siebens, Ina Peeters, Berlin Interviews Yves Degryse, Cathy Blisson Camera and editing Bart Baele, Geert De Vleesschauwer Sound recording Toon Meuris, Bas de Caluwé, Manu Siebens, Karel Verstreken Translation Olga Mitronina Music composition Peter Van Laerhoven Co-production Het Zuidelijk Toneel (Tilbourg); PACT Zollverein (Essen); Dublin Theatre Festival; Kunstenfestivaldesarts (Brussels); BIT Teatergarasjen (Bergen); Künstlerhaus Mousonturm (Francfort-sur-le-Main); Theaterfestival Boulevard (Den Bosch); Brighton Festival; Onassis Cultural Centre [Athène, GR]; Le CENTQUATRE-PARIS Co-production Le CENTQUATRE-PARIS; Festival d’Automne à Paris In collaboration with deSingel (Anvers) With the support of Gouvernement Flamand.

The show premiered on 12 May 2016 at Kunstenfestivaldesarts (Brussels)

 

Founders of BERLIN in 2003, directors Bart Baele and Yves Degryse decided not to choose a particular genre, but to venture into the realm of documentary and let the places of their forays guide their inspiration. This philosophy gave rise to two project cycles: Holocene (the current geological era) where the starting point is always a city or other place on the planet, and Horror Vacui (fear of the void) in which true and touching stories are delicately unravelled around a table. The Holocene cycle includes Jerusalem, Iqaluit, Bonanza, Moscow and Zvizdal. The first three episodes of Horror Vacui are Tagfish, Land’s end and Perhaps all the dragons. BERLIN are still working on both cycles. Holocene will end in the city of Berlin (hence the group’s name) with the creation of a docu-fiction project involving the inhabitants of the cities featured in the previous episodes. The company has worked in 27 different countries in recent years, within various circuits: from theatres to exhibition spaces, from festivals to special locations.

Dreaming Collectives.
Tapping Sheeps (State 3)

Sorry, this entry is only available in Italian.

 

Con la serie Stato 1-4 (di cui questo è il terzo episodio), Rimini Protokoll indaga ciò che oggi sfugge all’organizzazione e al controllo dello stato-nazione contemporaneo. Guarda all’essenza di quei poteri la cui separazione era intesa come principale meccanismo di controllo e monitoraggio delle strutture statali. Quanto questi poteri sono ancor in grado di regolare gli impeti decisivi per il cambiamento sociale odierno?

Benvenuti nell’anno 2048. L’organizzazione dell’umanità è finalmente del tutto digitalizzata. Non c’è più violenza. IRIS controlla le nostre armi. Non ci sono più incidenti stradali, perché IRIS controlla il traffico. La partecipazione democratica avviene tramite interazioni digitali. Ciò che clicchi è ciò che voti. IRIS ne misura i risultati. La democrazia è diventata liquida ed è rimasta teatro – ogni spettacolo è una sessione laboratoriale per 120 spettatori nella nuvola. Equipaggiati di tablet programmati ad hoc, i partecipanti entrano in un processo di voto permanete, tutti connessi alla nuvola attraverso i loro dispositivi digitali. Il pubblico diventa il corpo risonante che proietta le dinamiche dello sciame tipiche della rete nello spazio teatrale. Le loro decisioni si trasformano in suono. I loro dati diventano nuvole digitali. Partendo da Atene, luogo in cui la democrazia è nata e sembra oggi aver fallito, Daniel Wetzel e Ioanna Valsamidou indagano potenzialità e pericoli della digitalizzazione per il processo democratico.

 

Un progetto ZONA K e Teatro Franco Parenti

Performance – durata 90 min. ca. – in italiano
c/o Teatro Franco Parenti – Via Pier Lombardo, 14

 

Ideazione, direzione e testo: Daniel Wetzel
 Co-autore: Joanna Valsamidou
 Drammaturgia e ricerca: Julia Weinreich
 Composizione: Lambros Pigounis & Peter Breitenbach 
Direzione tecnica e disegna luci: Martin Schwemin: System Development Design interattivo: Dimitris Trakas/Renia Papathanasiou Scenografia: Magda Plevraki
 Assistenza alla regia e ricerca: Andreas Adreou Collaborazione scenografica: Guy Stefanou
 Assistenze: Nora Otte, Natasha Tsintikidi, Sarah Hoemske 
Ricerca: Annette Müller Produzione esecutiva State 3: Violetta Gyra/Paula Oevermann Produzione esecutiva per Rimini Protokoll: Anna Florin Assistente di produzione: Dimos Klimenof
 Direttore di scena: Norman Schaefer, Franz Dextor 
Luci: Olivia Walter, Thomas Wildenhain 
 Audio: Hannes Rackow/Uwe Lahmann
 Makeup: Gabriele Recknagel
 Oggetti: Reinhild Mende

 

 

RIMINI PROTOKOLL è l’etichetta per i lavori di Helgard Haug, Stefan Kaegi e Daniel Wetzel, che dal 2000 costituiscono un collettivo di registi/autori e firmano le loro opere singolarmente, a due o a tre. Il loro lavoro indaga sistematicamente la realtà attraverso il teatro, utilizzando linguaggi innovativi che hanno di fatto rivoluzionato la scena Europea. Hanno portato in scena impresari di pompe funebri, uomini d’affari africani, programmatori specializzati e grandi investitori, politici ed economisti – i cosiddetti “esperti della realtà” – a volte anche tutti insieme. Ha organizzato passeggiate urbane guidate da un navigatore elettronico, visite a domicilio nelle case, rappresentazioni statistiche in scena delle maggior città del mondo, umanoidi meccanici protagonisti del palco. Sono stati invitati innumerevoli volte al Berliner Theatertreffen e hanno vinto innumerevoli premi (il Leone d’Argento alla Biennale di Venezia, il premio tedesco Der Faust, il riconoscimento come miglior Radiodramma dell’Associazione Ciechi di Guerra tedeschi – il premio per radiodramma più importante in Germania, il Premio Teatrale Europeo, solo per citarne alcuni). Si può ben dire che da metà degli anni 2000 in poi si deve parlare del teatro d’avanguardia prima e dopo i Rimini Protokoll.

Kokoschka Revival (IT)

In Italian language there are the three S’s that many fight for: Soldi (Money), Sesso (Sex), Successo (Success). Online entertainment workers are a growing phenomenon.

Kokoschka Revival is working on the development of its latest production, a multimedia show that investigates the bizarre forms of live streaming entertainment and the phenomenon of monetising one’s image on online platforms.

It is a work that tells the story of two girls who work and live their daily lives in virtual space: two fighters who never look each other in the eye, even though they absurdly share the same space in the real world. In the era of branding the self, of dominant individualism, of the intimate and inseparable smartphone… YouFight! What are you fighting for?

YouFight! is a platform, where each user fights for a living and earns money, which he receives in the form of credit/Like from his audience (we call this currency Energy Coin). Everyone can propose the fighting game they want, and our two protagonists compete in Chess Boxing: a sport in which a round of Boxing and a round of Chess alternate. On the same platform as YouFight! you can spend your free time on other immersive entertainment services, to be enjoyed in solitude but always under the eyes of an audience.

 

Multimedia show –  In Italian
Followed by an informal participatory session of about 60 min, where the public can try out the interactive technologies.

 

 

with Ondina Quadri, Alice Raffaelli conception and direction Ana Shametaj composition music and design sound interactions Andrea Giomi graphics and design video interactions Fabio Brusadin mentor design of interactive systems Stefano Roveda dramaturg and lighting design Riccardo Calabrò scenes and costumes Marialuisa Bafunno, Giulio Olivero development of m0k1 smartphone application. pw production Kokoschka Revival with the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia (a project of Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire) 

 

Kokoschka Revival is an interdisciplinary artistic collective founded in Milan in 2013, whose research moves transversally in a dialogue between theatre, cinema and experimental music. To date, the productions consist of theatre shows, performances, experimental films and parties/happenings. The collective’s shows have been produced in national and international residencies, mainly in France and Denmark. From 2015 to 2017, the collective organized numerous parties and performance events in Macao (Milan), proposing its own idea of artistic programming.

 

SPECIAL RESIDENCIES TECHNOLOGY

 

Imaginometric Society &
Accademia di Belle Arti di Brera (IT)

The Imaginometric Society, founded by a group of students from the Brera Academy and the Milan Conservatory of Music, created the project that represented Italy at the Quadrennial Stage Design Exhibition in Prague (June 2019), which was awarded the Award for Imagination.

The Milan Experiment develops the research on human imagination begun in Prague, adding new possibilities to the Imaginometer, the instrument designed to demonstrate the first imaginometric principle: imagination is what makes us human. Admitted one by one into the heart of the Imaginometer, the Performative Machine, visitors will live an immersive, personalized and unrepeatable experience, relentlessly realising the second imaginometric principle: imagination increases by reflecting itself. The collective imagination of the Milan Experiment will draw the face of the next research, linked to the third imaginometric principle: imagination cannot be reproduced, but only recreated each time.

 

c/o Sala delle adunanze of the Istituto Lombardo, via Brera 28

 

on ACCADEMIA APERTA 2019/2020
A project of the School of Scenography, Academy of Brera and the School of Electronic Music, Conservatory of Milan in collaboration with the School of Communication and Enhancement of the Artistic Heritage, Academy of Brera, with the support of Istituto Lombardo, Academy of Sciences and Letters, with the support of IntercettAzioni – Centre for Artistic Residency of Lombardy (a project of Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire), technical sponsor EVO GROUP and with the participation of friends, young and old, of ZONA K

 

SPECIAL RESIDENCIES TECHNOLOGY

 

 

ZONA K, Codicefionda, Agrupación Señor Serrano

A button. One player. One screen.

Here are the new barbarians. Incomprehensible to the eyes of the adult world. Teenagers, hyper-connected and fragile, terrified and attracted by the image of themselves on social media, experts in sexting, video-gaming and binge drinking, owners of SmartPhones as an extension of their bodies. But what do we know about today’s teenagers?

A narrative short circuit from the origins of the video game to the origins of the iGeneration.
An immersive experience in which we meet today’s teenagers through the use of new technologies. A path of creation that narrates our identities – real and virtual – thanks to the comparison between generations.

In this performance the spectator will find himself in relation to them. He will be able to choose whether to confirm or question his own expectations, fears and prejudices. The ultimate goal will be a “performative game” to generate an unprecedented and intimate encounter.

PLAY ME (ORIGINS PROJECT) is the result of a work on the biographies of young people met during the research and dramaturgical development phase between Turin and Milan. What the sociologist Morin calls “cinema of total authenticity”.

After Generazione gLocale and thanks to the ORA! call for proposals from Compagnia San Paolo, ZONA K is once again confronted with a new production, rethinking the artistic and cultural exchange between a young author and an established artist. The collaboration with Andrea Ciommiento is confirmed, this time flanked by the Agrupación Señor Serrano – Silver Lion at the 2015 Venice Biennial and already guests of ZONA K – with the most innovative aspects of his poetics that will guide the entire production, as well as activating a debate on new participatory methods.

Multimedia performance for the single spectator
From age 17 and up, Admission every 15 min

 

production ZONA K (Milan), creation Codicefionda (Turin), dramaturgical consultancy Agrupación Señor Serrano (Barcelona), in collaboration with Fuori Luogo Festival (La Spezia), Polo del ‘900 (Turin), Festival dei Diritti Umani (Milan), Istituto Professionale Albe Steiner (Turin), Yepp Italia (Turin) and Collettivo gLocale (Milan), Dialoghi – Residenze delle arti performative a Villa Manin” (CSS Teatro stabile d’innovazione del FVG), with the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia and the Municipality of Milan.  

project direction and creation Andrea Ciommiento, multimedia creation and reference Simone Rosset, dramaturgical consultancy Álex Serrano and Pau Palacios, executive production Valentina Picariello and Valentina Kastlunger, organisation and communication Silvia Orlandi and Federica Bruscaglioni, VR application programming Luigi Sorbilli and Giuliano Poretti, creative assistance Kausar El Allam, Shady Mostafa, Imane Mouslim, Jaouher Brahim, Mattia Ghezzi, Anes Fettar, Matteo Coppola, Momo Moukett, Filippo Farina, Lorenzo Bregant, Federica Bruscaglioni, with thanks to ITAS Giulio Natta and Hotel San Guido in Milan.

“The project is realized with the support of the Compagnia di San Paolo in the context of ORA! Productions of contemporary culture”.

Visit ora.compagniadisanpaolo.it

METROMOEBIUS

Sorry, this entry is only available in Italian.

[presentazione libro con autori]

 

La storia di un uomo, Moebius, che si innamora perdutamente della voce degli annunci metropolitani e la cerca in un viaggio lungo una settimana. Incontrerà la vita quotidiana nel serpente metropolitano. Fino all’ultima fermata, quando…

Non si svela un finale. Durante la presentazione vedremo insieme le fotografie e gli scatti realizzati underground. Gli autori racconteranno la genesi del lavoro e di come, un giorno, abbiano conosciuto proprio lei, la voce della metropolitana.

Metromoebius è un progetto narrativo che nasce dentro i vagoni della metropolitana.
Osservazione quotidiana, immagini, un racconto e un progetto audio.
Una narrazione transmediale di Angelo Miotto e Leonardo Brogioni.

Le immagini fotografiche hanno dato vita finora a due mostre: PHONE PHOTOGRAPHY, collettiva ospitata al Centro Italiano della Fotografia d’Autore di Bibbiena (Ar), a cura di Giovanna Calvenzi. CORRISPONDENZE, collettiva organizzata nell’ambito del festival Il Viaggialibro a Gubbio (Pg) presso il Palazzo dei Consoli, a cura di Officine Creative Italiane.

Ingresso libero

HATE RADIO
Teatro, Storia e Media

Sorry, this entry is only available in Italian.

LOLA ARIAS

Can art be a way to revive the past? How do reality and fiction overlap? What does the expression documentary art imply? What kind of writing processes allow for this kind of project?

 

Through videos and materials from her works, Argentinean director Lola Arias talks about her experience in the field of documentary art and interdisciplinary projects using theatre, cinema and visual arts over the last decade. Arias addresses different aspects of the genesis and development of her works, where she problematises the relationship between aesthetics and politics, reality and fiction, artwork and social experiment.

 

CHIAMATA PUBBLICA
WORKSHOP MY DOCUMENTS
di LOLA ARIAS

Sorry, this entry is only available in Italian.

IL LABORATORIO
My Documents ha un formato essenziale: l’artista è sul palco con i suoi documenti.

Il workshop è rivolto a quegli artisti interessati a sviluppare una Lettura-Performance che parte da un archivio personale, da un’esperienza radicale, da una storia che li ossessiona segretamente per dare vita a ricerche che altrimenti resterebbero perse in una cartella senza nome sul computer.

Il workshop esplora, seguendo il genere della Lettura-Performance, il contagio tra arte concettuale, ricerca, teatro e propone uno spazio dove possono coesistere espressioni artistiche nate dalle diverse discipline.

 

I PARTECIPANTI
Il laboratorio è rivolto ad artisti di tutte le discipline (teatro, musica, arti visive, film, letteratura) che vogliono lavorare alla creazione di una Lettura-Performance.

Saranno selezionati 12 artisti che presenteranno un progetto basato su un’indagine personale, il diario di un’esperienza, una storia vera, propria o di qualcun altro, un’idea non realizzata, ecc.

 

COME PARTECIPARE
Per partecipare, spedisci entro e non oltre il 4 novembre 2018 a info@zonak.it una biografia di 200 parole e un testo di massimo 250 parole per descrivere il progetto che vuoi realizzare e allega vari materiali (foto, video, testi).

Biografia e testo devono essere inviati in lingua inglese.

La selezione sarà annunciata via e-mail e sul sito web di ZONA K dal 9 novembre 2018.

 

ORARIO DEL LABORATORIO
Da martedì 20 a sabato 24 novembre, tutti i giorni dalle 10:00 alle 14:00

 

RESTITUZIONE PUBBLICA
Sabato 24 novembre 2018, dalle 20.00 alle 22.00 a ZONA K

 

Importante: il workshop sarà tenuto in inglese.

E’ gradita la conoscenza della lingua; è comunque prevista la traduzione a braccio.

 

 

Lola Arias (1976) è una scrittrice, regista teatrale e performer. Collabora con artisti di diverse discipline in progetti musicali, cinematografici e artistici. Le sue produzioni giocano con le zone di sovrapposizione tra realtà e finzione. Lavora con attori, poliziotti, mendicanti, musicisti, ballerini, prostitute, bambini e animali. In Striptease (2007) il protagonista è un bambino, che striscia sul palco mentre i suoi genitori litigano al telefono. In El amor es un francotirador (2007), gli artisti raccontano storie d’ amore vere e fittizie mentre una rock band suona dal vivo. In Mi vida después (2009), sei artisti ricostruiscono la giovinezza dei loro genitori negli anni’ 70 in Argentina con foto, lettere, cassette e vecchi vestiti. In Cile ha messo in scena L’ anno in cui sono nata (2012), sulla base delle biografie di persone nate durante la dittatura di Pinochet. La sua opera L’ arte di fare soldi (2013) è stata eseguita da mendicanti, prostitute e musicisti di strada dalla città di Brema. I suoi progetti con Stefan Kaegi sono Chácara Paraíso (2007) che coinvolge agenti di polizia brasiliani, e Airport Kids (2008) con nomadi di età compresa tra i 7 e i 13 anni. Tra il 2010 e il 2012, insieme hanno curato un Festival di interventi urbani Ciudades Paralelas a Berlino, Buenos Aires, Varsavia, Zurigo, Singapore e altre città. I suoi testi sono stati tradotti in più di sette lingue e le sue opere teatrali sono state realizzate in diversi festival tra cui Steirischer Herbst, Graz; Festival d’ Avignon; Teatro Spektakel, Zurigo; Wiener Festwochen; Spielart Festival, Monaco di Baviera; Alkantara Festival, Lisbona; Radicals Festival, Barcellona, Under the radar, New York. E in luoghi come: Theatre de la ville Paris, Red Cat LA, Walker Art Centre Minneapolis, Museum of Contemporary Art Chicago. Insieme a Ulises Conti compone e suona musica e ha pubblicato diversi album.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Biscardini, Pertot, Rollo e Scirocco

 

Since the Second World War, Milan has undergone a multitude of urban and social transformations: from reconstruction to the economic miracle, from large factories to the advanced tertiary sector, from the years of lead to the “Milano da bere”, from the “moral capital” to Tangentopoli. Paradoxically, with an elusive but always strong identity.

Discussions will be held by Roberto Biscardini (president of the association Riaprire i Navigli), Gianfranco Pertot (lecturer at the Milan Polytechnic), Alberto Rollo (writer), Giovanni Scirocco (Ferruccio Parri National Institute).

During the course of the evening a number of medium-length films will be screened by the Archivio Audiovisivo del Movimento Operaio e Democratico:
“Christmas at Milan Central Station” (1963 – 23′:30”)
“Milan 1959” (1959′ – 37′)

 

Meeting + projection
duration: 90 min

In collaboration: with Istituto Ferruccio Parri and AMOD

 

Illustration: H.J. Løken

IIPM/Milo Rau (CH)

‘High-calibre political theatre’.
★★★★★’ De Theaterkrant

 

Hate Radio tells the story of RTLM/Radio-Télévision Libre des Mille Collines, a Rwandan radio station that played a crucial role in the genocide of the Tutsi minority in 1994, in which around 1 million people died.

The radio was the most powerful tool for violent propaganda. The operators of the radio station prepared for the genocide for months by integrating music, sports, political communiqués and outright incitements to murder into their programming.

Hate Radio focuses on the staging of an RTLM show by three ethnic Hutu extremists and the Belgian-Italian Georges Ruggiu, reconstructing the context philologically and staging survivors of the genocide itself. How does the process of affirming racist ideology work? How is it possible to purge the individual of his humanity?

Director Milo Rau’s work uses documents and direct testimony to answer these questions, letting people experience what happened in history first-hand.

 

c/o and in collaboration with
Olinda/TeatroLaCucina – Ex O.P. Paolo Pini – via Ippocrate, 45

Played in French and Kinyarwanda with Italian surtitles 

 

a production of THE INTERNATIONAL INSTITUTE OF POLITICAL MURDER – IIPM
text and direction Milo Rau dramaturgy and conception Jens Dietrich scenes and costumes Anton Lukas
video Marcel Bächtiger sound Jens Baudisch with (live) Afazali Dewaele, Sébastien Foucault, Diogène Ntarindwa, Bwanga Pilipili; (video) Estelle Marion, Nancy Nkusi assistant director Mascha Euchner-Martinez executive production and dramaturgy assistant Milena Kipfmüller public-relation Yven Augustin documentation collaboration Eva-Maria Bertschy corporate design Nina Wolters web design Jonas Weissbrodt academic counselling Marie-Soleil Frère, Assumpta Mugiraneza & Simone Schlindwein Casting Bruxells/Geneva: Sebastiâo Tadzio Casting Kigali: Didacienne Nibagwire
HATE RADIO is a production by IIPM Berlin/Zürich with Migros-Kulturprozent Schweiz, Kunsthaus Bregenz, Hebbel am Ufer (HAU) Berlin, Schlachthaus Theater Bern, Beursschouwburg Brüssel, migros museum für gegenwartskunst Zürich, Kaserne Basel, Südpol Luzern, Verbrecher Verlag Berlin, Kigali Genocide Memorial Centre and Ishyo Arts Centre Kigali. Supported by von Hauptstadtkulturfonds (HKF), Migros-Kulturprozent Schweiz, Pro Helvetia – Schweizer Kultur-stiftung, Kulturelles.bl (Basel), Bildungs- und Kulturdepartement des Kantons Luzern, Amt für Kultur St. Gallen, Ernst Göhner Stiftung, Stanley Thomas Johnson Stiftung, Alfred Toepfer Stiftung F. V. S., GGG Basel, Goethe- Institut Brüssel, Goethe-Institut Johannesburg, Brussels Airlines, Spacial Solutions, Commission Nationale de Lutte contre le Génocide (CNLG), Deutscher Entwicklungsdienst (DED), Contact FM Kigali, IBUKA Rwanda (Dachorganisation der Opferverbände des Genozids in Rwanda) and the Hochschule der Künste Bern (HKB), Friede Springer Stiftung. 

 

Milo Rau is a theatre and film director, journalist and essayist. He studied sociology, philology and Romance and Germanic literature in Paris, Berlin and Zurich, with mentors such as sociologist Pierre Bourdieu and philosopher Tzvetan Todorov. In 2007 he founded the production company International Institute of Political Murder (IIPM). His shows and films have been presented in over twenty countries. In 2014 he received the Swiss Theatre Prize, the Hörspielpreis der Kriegsblinden award for best radio drama (with “Hate Radio”), the jury prize at the Festival Politik im Freien Theater (with “The Civil Wars”) and the special jury prize at the German Film Festival (with “The Moscow Trials”). In 2015 he was awarded the important Konstanzer Konzilspreis prize and in 2016 the International Theatre Institute prize as part of World Theatre Day. His most performed works include “Last Days of the Ceausescus” (2009), a play/film tracing the farcical trial against dictator Nicolae Ceausescu and his wife, “Hate Radio” (2011), about the role of the radio station RTLM in the 1994 Rwandan genocide, “The Civil Wars” (2014), which analyses the assumptions of insurgency and political engagement through the lived experience of actors on stage, “The Moscow Trials” and “The Zurich Trials” (2013), in which he experiments with the format of theatrical processes. Since 2017 he has been the artistic director of the NTGent theatre centre.

Mammalian Diving Reflex
Darren O’Donnell (CA)

What happens when the power shifts to the teenagers?

The Mammalian Diving Reflex , Canadian group, will be presented at FOCUS PEOPLE in ZONA K, with three performative actions, enclosed in the TEENTALITARIANISM event, neologism that sums of the content well. For years, the Mammalian, go around the world with performances and workshops that involve teenagers first hand. Each one of their performances foresees a path with the teenagers of the places in which they are hosted.

The first show, NIGHTWALKS WITH TEENAGERS, 9th to 12th May, organized in collaboration with Triennale Teatro dell’Arte, is a night performance/walk where a group of teenagers brings the spectators around the city, through their own habits, their favorite places, and where they meet their friends. The project then unites the roads of adults and teenagers that otherwise would not have been able to meet. It tries to make adults socialize with the more younger people, to share their world in an unusual way, by offering them to let go in moments of pure contemplation.

The second show, SEX, DRUGS AND CRIMINALITY, 18th May, organized only by ZONA K , is a performances in which teenagers pose questions to famous public figures of the city (politicians, intellectuals, artists) on their juvenile mischief and wrongdoings. Again, the Canadian group, tries to break down the generational gap in a direct and non-conventional way.

The last show is ASK FOR THE MOONS, 19th May, in which the teenagers that have collaborated to the project can present publicly how they would like to go on with the work they have started.

During the presence of Mammalian in Milan, ZONA K organizes a training seminar with Darren O’Donnell.

 

 

Ideazione e regia: Darren O’Donnell Co-regia: Tina Fance, Kiera O’Brien, Virginia Antonipillai, Sanjay Ratnan Produzione esecutiva: Eva Verity, Tina Fance. Produzione: ZONA K.
Questa presentazione di Teentalitarianism è resa possibile in parte grazie al supporto del Canada Council for the Arts e dell’Ontario Arts Council.

 

ZONA K presenta

Com’è un NATALE con la K?
E’ speciale! E’ un laboratorio natalizio lungo tutto un giorno per inventare una storia e farle prendere vita.

Immagina la notte di Natale, immagina una città che dorme e sogna.
Immagina dei bambini che decidono di restare svegli per vedere Babbo Natale: cercheranno di seguire le sue tracce come dei veri detective. Ce la faranno ad incontrarlo davvero?

In questa giornata dal sapore di cannella, inventeremo e costruiremo con le immagini, il teatro e la musica, un’avventura da vivere insieme… e il protagonista sarai proprio tu!

 

Alle 16.00, all’arrivo dei genitori, racconteremo la nostra storia con una “performance” dal vivo.

Costo: € 25,00 per tutto il giorno,  pranzo al sacco.
Prenota subito il tuo posto, i posti sono limitati!
Scrivi a organizzazione@zonak.it

Con Federica di Rosa (teatro) Francesca Badalini (musica) Rossana Maggi (illustrazione)

 

DANAE FESTIVAL
A ZONA K

DANAE FESTIVAL  a ZONA K:

VEN 27 OTT ore 20:30 e SAB 28 OTT ore 19:00
Milena Costanzo [IT]
CHE IO POSSA SPARIRE – Liberamente tratto dalla vita e dalle opere di Simone Weil

SAB 11 NOV ore 20:30
Francesco Michele Laterza [IT]
ACQUAFUOCOFUOCHISSIMO

 

INFO E BIGLIETTI: danaefestival.com

 

Un cavallo annuncia la diciannovesima edizione di Danae Festival. Un’immagine che rimanda, a prima vista, a una figurazione classica, se non fosse per quel taglio che sdoppia l’animale, portandoci a guardarlo ad un altro livello. Una figura che rispecchia bene il Festival, per quel suo tenere in considerazione il passato, per poterlo superare e rielaborare, restituendo nuove visioni. Una figura potente, difficilmente domabile, in qualche modo guerresca, ma soprattutto che ha tra le sue peculiarità quella di un’ampiezza del campo visivo che sfiora i trecentosessanta gradi. Ci dice di battaglie, della determinazione, di un senso di libertà e di uno sguardo aperto, senza pregiudizi, capace di accogliere diverse esperienze, senza chiudersi in nessun filone o definizione possibile, cercando di dialogare con un pubblico sempre più ampio e differenziato.

Le battaglie sono le nostre e anche quelle degli artisti che presentiamo. Un paesaggio variegato, costituito da diverse generazioni a confronto, che ci offre anche la possibilità di una riflessione su quanto è accaduto nella scena negli ultimi decenni e sulle modalità di passaggio del testimone. Nomi di fama internazionale affiancati da giovani realtà disegnano uno scenario fatto di visioni radicali, di inquietudini, di ricerca di identità, che ci parlano di un presente che ha smarrito il senso dell’umano, in cui le persone pare abbiano perso la volontà e la capacità di lottare, di rivoltarsi contro quella che di fatto è una guerra perenne contro l’umanità. In questo scenario l’artista è più che mai voce fondamentale e necessaria per mettere a fuoco e svelare le contraddizioni e i pericoli che attanagliano il mondo, ma soprattutto per suggerire una libertà nell’operare e nel vivere che è ancora qualcosa di “scabroso”.  Non dà soluzioni, ma ci pone dinanzi a delle questioni e a delle domande che ci interrogano e che hanno la forza di metterci scomodi nelle nostre illusorie certezze.

Alessandra De Santis

 

Danae Festival è un progetto curato da Alessandra De Santis e Attilio Nicoli Cristiani, del Teatro delle Moire, interessati a rendere visibili esperienze artistiche nuove della scena contemporanea

 

IM MÄRKISCHEN SAND
Nella sabbia del Brandeburgo

23 APRILE 1945, IN UNA CAVA DI SABBIA A TREUENBRIETZEN (Brandeburgo)

Soldati della Wehrmacht fucilarono 127 internati militari italiani.
Una strage dimenticata che riemerge dopo decenni.
Dopo la capitolazione del re e di Badoglio dell’8 settembre 1943, ben 650.000 soldati italiani furono deportati in Germania e 50.000 di loro non tornarono più dai campi di lavoro forzato in cui erano stati rinchiusi.

Il documentario dei registi Katalin Ambrus, Nina Mair e Matthias Neumann è un viaggio nella violenza dimenticata, nel silenzio della colpa e nella responsabilità verso la storia.

 

Presentano il documentario:
Giovanni Scirocco, storico dell’ISTITUTO NAZIONALE FERRUCCIO PARRI
Nina Mair e Matthias Neumann, registi

 

Ingresso libero c/o ZONA K
prenotazione consigliata: biglietti@zonak.it

 

OUT OF FOCUS Filmproduktion, D 2016

 

Una collaborazione
 

 

Gob Squad (DE/UK)

Seven film sequences are reinterpreted and remade by seven performers in seven different locations in Berlin. The original and its copy are shown simultaneously on two screens, one a distorted mirror of the other, as in the game “find the differences”. The escalators of the central station are the mountains of the Far West, the fairground is the field of a historic battle, Pfennigland – a ‘Everything for a Euro’ type shop – is the interior of the spaceship Enterprise.

These are death scenes of great characters from cult films. Contemporary society no longer dwells on death. It announces it, shows it, but passes over it, there is no time to reflect, no time to assimilate, no time to pause. This installation works on that pause, on that missing time, and puts the spectator at the centre of this relationship-reaction.

 

In English and German, with Italian subtitles.

 

A project by Gob Squad Arts Collective developed and performed by Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Bastian Trost, Simon Will editing Sharon Smith with advice from Ute Schall sound Jeff McGrory colour correction Carsten Görtz production assistant Hilde Tuinstra interiors Annelies Puddy, Alfredo Martins Gob Squad producer Eva Hartmann with financial support from Berliner Kulturverwaltung thanks to all the shop assistants and security agents who turned a blind eye while we shot this film first screening 3. 12.2009 at HAU in Berlin/Germany

Corso di teatro e video
TEEN IN ACTION!

Sorry, this entry is only available in Italian.

Azione, parola, scrittura, video e audio: il corso Teen in action! esplora i linguaggi della scena per costruire una performance multidisciplinare che nascerà da un lavoro collettivo.

Labyrinth è il tema su cui lavoreremo quest’anno con esercizi di scrittura per la scena, improvvisazione, recitazione e utilizzando anche strumenti come l’audio e il video per raccontare un viaggio in un luogo in cui perdersi, percorrere strade diverse, scoprire storie, immagini e suoni, ritrovarsi, decidere dove andare e poi magari cambiare idea, cercare una direzione, giocare sulla percezione che abbiamo di noi stessi e degli altri.

Il corso annuale prevede una restituzione a metà percorso che sarà l’anteprima del lavoro finale. La performance Labyrinth prevede l’ideazione di un gioco teatrale interattivo e partecipato costruito insieme ai ragazzi, che ne saranno anche i protagonisti.

 

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PROVA GRATUITA SU PRENOTAZIONE OBBLIGATORIA
20 o 27 settembre
organizzazione@zonak.it – 02.97378443

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Le lezioni della durata di un’ora e mezza ciascuna si svolgono sempre il martedì con orario dalle 17.00 alle 18.30.
Il corso è annuale e prevede 28 appuntamenti totali compresa la lezione di prova e si attiva al raggiungimento del numero minimo dei partecipanti.

Per effettuare l’iscrizione, compila il modulo online QUI

Costo € 500,00.

Agevolazioni:
Sconto 20% per iscrizione entro il 15 settembre con pagamento in unica rata;
Sconto 15% per iscrizione con pagamento unica rata;
Sconto 10% per iscrizione secondogeniti e iscritti anno precedente con pagamento in unica rata;
Sconto 5% per iscrizione entro il 15 settembre, secondogeniti e iscritti anno precedente con pagamento in due rate.
Gli sconti non sono cumulabili.

E’ possibile utilizzare un voucher Eden Red.

Rimini Protokoll (DE/CH)

Quanta Europa c’è nei nostri ragazzi? Che idea di Europa abbiamo trasmesso? Pensano solo a confini geografi ci o immaginano palazzi di vetro pieni di politici?

Una grande mappa europea su un tavolo, un dispositivo elettronico e 15 partecipanti sono gli ingredienti per iniziare a giocare. Attraverso domande, giochi di ruolo, decisioni da prendere arriveremo a definire quanto ci sentiamo europei. Una performance/gioco che si svolge sempre in una casa diversa.

Gli elementi e le immagini raccolti durante le visite saranno condivisi, in forma anonima, on line sul sito www.homevisiteurope.org, andando così a implementare un archivio europeo in costante sviluppo.

c/o Case private della città di Milano (entro la circonvallazione esterna).
Questa data si svolgerà in ZONA BRENTA.

L’indirizzo esatto sarà comunicato via sms il giorno precedente l’inizio dello spettacolo.
Devi comunicare a ZONA K il tuo numero di cellulare su biglietti@zonak.it

Alice Schmid

Cinquanta bambini figli di contadini di montagna, sei miglia da percorrere per andare a scuola, un’infanzia nel cuore della Svizzera.

I Bambini del Monte Napf (Svizzera 2011) ci conduce di fattoria in fattoria in uno stile di vita isolato ma anche protetto e accudito.
Attraverso gli occhi dei bambini ci fa provare l’esperienza di un lupo che arriva all’improvviso o di un falco che attacca le galline di un pollaio.

Per 365 giorni la regista ha condiviso le giornate con i bambini di Romoos accompagnata dalla sua telecamera nel meraviglioso e potente comprensorio del Monte Napf  dove la leggenda racconta sia stato creato il tuono.

In collaborazione con MIC (Museo Interattivo del Cinema) – Fondazione Cineteca Italiana
Per bambini da 5 a 12 anni.

In lingua originale con sottotitoli in italiano. Durata 88 min

Collettivo Ingwer
Camilla Parini

“Few people know how many women there are in me”, Anaïs Nin.

The terms STILL and LEBEN when combined into one word in German mean ‘still life’. By separating the two words, one can obtain multiple meanings: still life; silent living; quiet. Different reading possibilities that somehow reveal a blurred border between stillness, death and life. Fernando Pessoa wrote “What do I die when I am?”.

This work stems from the need to reflect on the figure of the woman without wanting to inquire into her social and cultural position, rather portraying her in the intimacy of her relationship with herself. It is an ever-changing portrait of a woman faded by time, a figure with no boundaries that is changing its forms and is told through the irony and melancholy of a solitude that sometimes or often keeps us company.

It suggests a climate, sometimes a condition or a state of preservation. It investigates those memories abandoned and consumed among rooms without walls, in the spaces of a metaphorical dwelling, in a place where one can still dialogue with one’s absences. It is a creation of real but not necessarily realistic images, which try to penetrate layer after layer under the surface of a life.

 

Production: Ingwer Collective; by and with: Camilla Parini; sound design: Loris Ciresa; light design: Pierfranco Sofia; costumes: Laura Pennsi; photographs: Martina Tritten.

 

Camilla Parini – 1984, Switzerland. In 2004 she met the Teatro delle Radici (directed by Cristina Castrillo, Swiss Theatre Prize 2014) with which she began a training and work path, taking part in the shows D_verso D_(2006), Shakespeariana (2008), Track (2009), Dove lo sguardo scorre (2011), Neve (2012), Amori (2013), Petali (2015) performing in various theatres, festivals and shows in Switzerland and abroad (Argenitna, Chile, Cuba, Denmark, Ecuador, Italy and Peru). In 2008 she graduated as a social worker at the University of Applied Sciences of Southern Switzerland SUSPI-DSAS. In 2012 she graduated in Milan at the Scuola di Teatro Paolo Grassi, in the professional course of dance theatre, presenting performances in festivals such as Torino Danza, Biennale Danza Venezia and Bolzano Danza. For some years now she has been collaborating with various professional realities in the Italian part of Switzerland, both in the field of theatre/performance and cinema. She also works with other dance, theatre and performance companies such as Les Ballets C de la B, Wupperrtal Tanztheater, Trisha Brown Dance Company, Peeping Tom, Nicole Seiler, Geraldine Pilgrim, Iris Erez, Violeta Luna. In 2013 she laid the first foundations for the creation of the artistic group Collective Ingwer with which she produced her first show STILL LEBEN in 2014. Currently Collettivo Ingwer, in collaboration with Azimut, is working on its new production “Princesses karaoke or something like that…” (semifinalist at PREMIO Schweiz, an encouragement prize for the performing arts) which will debut in April 2016 in co-production with Teatro Sociale Bellinzona, created and performed by Camilla Parini and Anahì Traversi.

Collettivo Ingwer/Camilla Parini e Chiara Caterina

Photos of women telling their stories, each through two self-portraits: the first portrays the realistic image the woman has of herself, the second portrays the image of what she is, but remains hidden.

The photographed body is not theirs, but that of the performer Camilla Parini, who makes herself totally available to them, like material to be moulded to recreate the image they have of themselves.
Each woman is responsible for undressing, untrimming and dressing this “body material” as she sees fit. This is done, as far as possible, through the use of clothing, make-up and objects owned by the woman herself. She then chooses the place where the body is to be posed and constructs the frame in which it is to be portrayed. A professional photographer is at her disposal to take the photos of the two completed self-portraits.

In Milan, thanks to the support of the Consiglio di Zona 9 and the INTERKULT exhibition coordinated by ZONA K, the project has involved Milanese women from all over the world: China, Morocco, Ukraine, Serbia, Syria, Tunisia and the Philippines. Together they tell us fragments of the new female universe of our city.

 

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INTERKULT action
Free admission

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Photographic project Collettivo Ingwer; in collaboration with Fondazione Aurelio Petroni; idea and body Camilla Parini; photographic support and video shooting Chiara Caterina

 

Collettivo Ingwer is a multidisciplinary artistic workshop founded in 2013 by Camilla Parini and composed of all the people who have been, are and will be involved in the realisation of the various projects.

Milo Rau / IIPM

In the summer of 2012, the sentencing of Pussy Riot to two years’ imprisonment meant, according to many, the end of democracy in Russia.

In March 2013, Milo Rau set up a courtroom at Moscow’s Sakharov Center and staged a “trial” of Putin’s political system’s culture war, which for a decade has persecuted artists and dissidents to prevent any form of democratic change.

The performance was seized upon by the Russian authorities and caused an international scandal. The Moscow Trials (Switzerland/Germany 2014) documents the realisation of the project and the events of those days.

 

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Russian with Italian subtitles, running time 86 min.
Admission: € 5,00

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Screenplay and direction: Milo Rau; producer: Arne Birkenstock; IIPM co-producer: Jens Dietrich, Milo Rau; executive producer: Kirsten Schuaries; executive producer in Moscow: Jens Dietrich, Milena Kipfmüller; filming: Markus Tomsche; sound: Jens Baudisch; assistant director: Yanina Kochtova; editing: Lena Rem; assistant editor: Malte Wirtz. In collaboration with: Deutsches Nationaltheater and Staatskapelle Weimar, Institute for the Performing Arts and Film / Zürcher Hochschule der Künste, Konzert Theater Bern, Gessnerallee Zürich, Stiftung Gedenkstätten Buchenwald and Mittelbau-Dora, Memorial Russland, Sacharow-Zentrum Moskau, Wiener Festwochen, Kunstenfestivaldesarts Brüssel, Goethe-Institut Moskau, Fruitmarket Kultur und Medien GmbH. Produced with the support of: Film- und Medienstiftung NRW, Beauftragter der Bundesregierung für Kultur und Medien.

 

 

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Milo Rau – 1977, Bern, Switzerland. Director and playwright, he studied sociology, Germanistics and Romanistics in Paris, Zurich and Berlin, attending lectures by Tzvetan Todorov and Pierre Bourdieu, among others. He began writing international reportage in 1997, travelling to Ciapas and Cuba. From 2000 he worked for the Neue Zürcher Zeitung, and from 2003 he began his career as a director and author in Switzerland and abroad. In 2007 Rau founded the IIPM (International Institute of Political Murder), the theatre and film production centre with which he still produces all his work today. In addition to his theatre and film work, Milo Rau lectures on directing and cultural theory at several universities. His theatre and film works are based on long and meticulous research in the field, sometimes they are full-fledged cultural and social campaigns (e.g. “Montana”, “The Last Hours of Elena and Nicolae Ceausescu”, “Hate Radio”, “City of Change”, “Breivik’s Statement”, “The Moscow Trials”, “The Zurich Trials”, “The Civil Wars”, “The Dark Ages” and “The Congo Tribunal”). They have been invited to more than thirty different countries around the world and hosted by some of the most important festivals and centres worldwide, including Berliner Theatertreffen, Avignon Festival, Theaterspektakel Zürich, Noorderzon Performing Arts Festival Groningen, Festival TransAmeriques, Wiener Festwochen, Kunstenfestival Brussels, Santarcangelo Festival, Terni Festival, Venice Biennale. He is the recipient of numerous prizes and awards, including the Swiss Theatre Price, the Best Radio Drama Award of the Association of the War Blind (for “Hate Radio”), the Special Jury Prize of the German Film Festival (for “The Moscow Trials”) and the Grand Jury Prize of the Triennial German Theatre Festival “Politik im Freien Theater” (for “The Civil Wars”). His philosophical essay “What is to be done. Critique of the Postmodern Reason” (2013) became a bestseller and was named “Best Political Essay of 2013” by the prestigious German newspaper ‘Die Tageszeitung’, while his play “The Civil Wars” was selected as one of the “Best 5 plays of 2014” by the expert commission of Swiss State Television. “The Civil Wars” was named as “one of the best plays in the Netherlands and Flanders of the 2014/2015 season”. The Belgian newspaper ‘La Libre Belgique’ recently called Milo Rau ‘the most in-demand director in Europe’, while the German weekly ‘Der Freiteg’ called him ‘the most controversial theatre director of his generation’.

Milo Rau / IIPM

Hate Radio (Switzerland/Germany 2011) tells the story of RTLM/Radio-Télévision Libre des Mille Collines, a Rwandan radio station that played a crucial role in Rwanda’s genocide of the Tutsi minority in 1994.

On 6 April 1994, Rwandan President Habyaruman’s plane was hit by two missiles during take-off. This event marked the beginning of the most brutal genocide since the end of the Cold War.
In the months of April, May and June 1994, the estimated death toll in Rwanda among the Tutsi minority ranged from 800,000 to 1,000,000, and thousands were killed among the moderate Hutus.

The most powerful weapon used during the genocide was the “Radio-Télévision Libre des Mille Col-lines” (RTLM). With inexplicable cynicism, the operators of the radio station cultivated and prepared for the genocide for months, integrating music, sports, political communiqués and genuine incitements to murder into their programming.

How does the process of establishing racist ideology work? How is it possible to purge the individual of his humanity?

Director Milo Rau’s work uses documents and direct testimony from members of the Hutu ethnic group and survivors of the genocide itself to answer these questions, letting people experience first-hand what happened in the history of Rwanda.

 

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French with Italian subtitles, duration 65 min.
Admission: € 5,00

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Screenplay and direction: Milo Rau; dramaturgy and conceptual management: Jens Dietrich; set design and costumes: Anton Lukas; video: Marcel Bächtiger; sound: Jens Baudisch; video cast: Estelle Marion, Nancy Nkusi; assistant director: Mascha Euchner-Martinez; production and dramaturgy manager: Milena Kipfmüller; public relations: Yven Augustin; scientific collaboration: Eva-Maria Bertschy. “Hate Radio” is a production of IIPM – International Institut for Political Murder Berlin/Zürich with Migros-Kulturprozent Schweiz, Kunsthaus Bregenz, Hebbel am Ufer (HAU) Berlin, Schlachthaus Theater Bern, Beursschouwburg Brüssel, migros museum für gegenwartskunst Zürich, Kaserne Basel, Südpol Luzern, Verbrecher Verlag Berlin, Kigali Genocide Memorial Centre and Ishyo Arts Centre Kigali. Supported by: Hauptstadtkulturfonds (HKF), Migros-Kulturprozent Schweiz, Pro Helvetia – Schweizer Kulturstiftung, Kulturelles.bl (Basel), Bildungs- und Kulturdepartement des Kantons Luzern, Amt für Kultur St. Gallen, Ernst Göhner Stiftung, Stanley Thomas Johnson Stiftung, Alfred Toepfer Stiftung F. V. S., GGG Basel, Goethe- Institut Brüssel, Goethe-Institut Johannesburg, Brussels Airlines, Spacial Solutions, Commission Nationale de Lutte contre le Génocide (CNLG), Deutscher Entwicklungsdienst (DED), Contact FM Kigali, IBUKA Rwanda (Dachorganisation der Opferverbände des Genozids in Rwanda) and the Hochschule der Künste Bern (HKB), Friede Springer Stiftung.

 

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Milo Rau – 1977, Bern, Switzerland. Director and playwright, he studied sociology, Germanistics and Romanistics in Paris, Zurich and Berlin, attending lectures by, among others, Tzvetan Todorov and Pierre Bourdieu. He began writing international reportage in 1997, travelling to Ciapas and Cuba. From 2000 he worked for the Neue Zürcher Zeitung, and from 2003 he began his career as a director and author in Switzerland and abroad. In 2007 Rau founded the IIPM (International Institute of Political Murder), the theatre and film production centre with which he still produces all his work today. In addition to his theatre and film work, Milo Rau lectures on directing and cultural theory at several universities. His theatre and film works are based on long and meticulous research in the field, sometimes they are full-fledged cultural and social campaigns (e.g. “Montana”, “The Last Hours of Elena and Nicolae Ceausescu”, “Hate Radio”, “City of Change”, “Breivik’s Statement”, “The Moscow Trials”, “The Zurich Trials”, “The Civil Wars”, “The Dark Ages” and “The Congo Tribunal”). They have been invited to more than thirty different countries around the world and hosted by some of the most important festivals and centres worldwide, including Berliner Theatertreffen, Avignon Festival, Theaterspektakel Zürich, Noorderzon Performing Arts Festival Groningen, Festival TransAmeriques, Wiener Festwochen, Kunstenfestival Brussels, Santarcangelo Festival, Terni Festival, Venice Biennale. He is the recipient of numerous prizes and awards, including the Swiss Theatre Price, the Best Radio Drama Award of the Association of the War Blind (for “Hate Radio”), the Special Jury Prize of the German Film Festival (for “The Moscow Trials”) and the Grand Jury Prize of the Triennial German Theatre Festival “Politik im Freien Theater” (for “The Civil Wars”). His philosophical essay “What is to be done. Critique of the Postmodern Reason” (2013) became a bestseller and was nominated “Best Political Essay of the Year”.

Fiction and reality

Increasingly, theatre is returning to escape the physical and symbolic spaces designated for it and invade reality, illustrating it, using it and engaging in dialogue with it.

On stage – when it is a stage – actors rarely act, but rather performers, experts in everyday life, witnesses of events that really happened, or at least declared as such. Art opens up to the world and gives itself authenticity.

But what does authentic mean? What does it mean to talk about reality? Where is the boundary between fact and interpretation, reality and fiction, truth and mystification?

Speakers: Yan Duyvendak (director and performer), Boris Nikitin (director, author and curator of the festival “It’s the Real Thing”) and Oliviero Ponte di Pino (critic and expert in contemporary theatre)

 

foto: ©Marc Ginot

 

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Yan Duyvendak – Born in Holland, he lives in Geneva and Marseille. Trained at the Ecole Supérieure d’Art Visuel in Geneva, he has been practising performance since 1995. His performances have been presented, for example, at the Fondation Cartier in Paris (Soirée Nomade, 1995), at the Festival for Performing Arts EXIT, Helsinki (2001), at Art Unlimited Basel (2002), at the Museo Reina Sofia in Madrid (Don’t Call it Performance, 2003), Guangju Biennial (2004), Image Forum, Tokyo (2005), Ménagerie de Verre, Paris (2006-2009), Vooruit, Ghent (2007), Avignon Festival (2008), and Thaterspektakel Zurich (2009). His video works enrich numerous public and private collections, from the Musée des Beaux-Arts in Lyon to the Museum für Kommunikation in Bern.
Yan Duyvendak has received numerous awards, including (three times) the Swiss Art Award (2002, 2003, 2004), the Namics Kunstpreis für Neue Medien (2004) and the Network Kulturpreis (2006). In 2010, he received Switzerland’s most prestigious award for contemporary art, the Meret Oppenheim Preis. He has been invited numerous times as an artist in residence, for example to the Cité des Arts in Paris, Atelier Schönhauser in Berlin and Pro Helvetia’s Swiss Artistic Studio in Cairo (2007, 2008, 2009).

Boris Nikitin – 1979, Basel, Switzerland. Director, author and theatre designer, artistic director of the festival “It’s The Real Thing”. He studied at the theatre academy in Giessen, Germany. His works are produced and hosted by small independent theatres and the most important permanent theatres in several German cities, including Kaserne Basel, HAU, Gessnerallee, Theater Freiburg, Schauspielhaus Graz, Ruhrtriennale. Some of his projects, such as ‘Imitation of Life’ and ‘Woyzeck’, have been touring internationally for years. His works move along the border and the area of intersection between performance and theatre, fiction and reality, illusion and documentation, amateurism and acting virtuosity, constantly questioning the codes of theatrical creation and fruition. They alternate between conceptual elements and highly theatrical situations. Context often plays a decisive role and not infrequently his works move in the scientific sphere (e.g. “Universal Export” and “Woyzeck”). His directions are conceived and constructed together with the performers/actors, whose personalities and biographies are often at the centre of the performance itself (“F for Fake”, “Imitation of Life”, “Sänger ohne Schatten”). For three years he has been the artistic director of the festival “It’s The Real Thing – Basler Dokumentartage”, dedicated to the most innovative theatrical and performance works with a documentary approach.

Oliviero Ponte di Pino has worked in publishing for over thirty years and was editorial director of Garzanti from 2001 to 2012. He has written for newspapers and magazines and produced radio and television programmes for RAI. He has organised festivals (Sussurri o grida in Milan, Forme del pensiero che ride in Genoa), curated exhibitions (Il nuovo teatro in Italia 1975-1988, 1988, the theatre section of the Trash exhibition, the “stanza del teatro” at Annisettanta), and planned cultural and entertainment initiatives (Maratona di Milano, Subway Letteratura). Since 2014 he has been a member of the MiBACT Theatre Advisory Commission.
He teaches Literature and Philosophy of Theatre at the Brera Academy and Fundamentals of Modern and Contemporary Theatre at IULM. Since 2012 he has curated the BookCity Milano programme and in 2001 he founded the website ateatro.it.
His books include Il nuovo teatro italiano (1988), Enciclopedia pratica del comico (1996), Chi non legge questo libro è un imbecille (1999, new edition 2014), Il quaderno del Vajont (with Marco Paolini, 1999), I mestieri del libro (2008), Romeo Castellucci e Socìetas Raffaello Sanzio (2013), Le Buone Pratiche del Teatro (with Mimma Gallina, 2014), Comico e politico. Beppe Grillo and the crisis of democracy (2014), Milan. Tutti i teatri (with Maddalena Giovannelli, 2015).

FOCUS SVIZZERA

After the success of Focus Balkans in 2013 with the performance Eden by Slovenian artist Mala Kline and the theatre show Odio la verità – MRZIM ISTINU by Croatian director Oliver Frljić and of Focus Germany in 2014 with the itinerant performance Remote Milano by Rimini Protokoll, ZONA K opens the 15/16 season with the by now customary European appointment, this year entirely dedicated to Switzerland.

Leading artist for this new ZONA K event is
Cie Yan Duyvendak with his performance
PLEASE, CONTINUE (HAMLET) for the first time in Milan.

The Helvetic Union is currently one of the richest countries in terms of innovative and high-quality proposals.
Among the infinite number of possible proposals, we have chosen the most successful projects in terms of innovation, attention to the present and the ability to look at, use and interpret the reality that surrounds us.

Looking at Switzerland allows us to continue to talk about Europe, but from a particular point of view, that of a country that is at the centre of it, is culturally part of it, indeed it includes three of the main linguistic groups, but does not belong to it administratively.

Here are the events.

23 November 2015 h. 18.00 – at Centro Svizzero di Milano
Centro Studi Politica Estera e Opinione Pubblica dell’Università degli Studi di Milano
LA SVIZZERA: COME SOPRAVVIVERE ALLE CRISI DEGLI ALTRI
[meeting]
Speakers: Sergio Romano e Lino Terlizzi; Moderator: Alfredo Canavero.

27 November 2015 h. 18.30
TRA REALTA’ E FINZIONE
[meeting with aperitif]
Speakers: Yan Duyvendak (director and performer), Boris Nikitin (director, author, set designer and curator of the “It’s the Real Thing” festival) and Oliviero Ponte di Pino (critic, contemporary theatre expert)

27 November 2015 h. 21.00
Milo Rau / IIPM
THE MOSCOW TRIALS
[documentary film]

29 November 2015 h. 21.00
Milo Rau / IIPM
HATE RADIO
[documentary film]

29, 30 November 2015 h. 19.30
Compagnia Yan Duyvendak
PLEASE, CONTINUE (HAMLET)
[performance]
With the exceptional participation of: Umberto Ambrosoli, Alessandro Bastianello, Gherardo Colombo, Oscar Magi, Ilio Mannucci Pacini, Mario Mantero, Isabella Marenghi, Adriano Scudieri, Salvatore Scuto.

2 December 2015 h. 19.00 vernissage
3 – 20 December 2015 (Mon-Fri) h. 10.00 – 19.00
Collettivo Ingwer / Camilla Parini e Chiara Caterina
IO SONO UN’ALTRA
[photo exhibition]

2 December 2015 h. 21.00
Collettivo Ingwer / Camilla Parini
STILL LEBEN
[dancing theatre]

 

 

 

 

Giochi dal mondo e per il mondo

Facciamo volare le palline del kendama e otedama (Giappone), girare la trottola del Potaka (Nuova Zelanda), peschiamo i pesci del fisketävling (Svezia), lanciamo i fagioli del bacachas achvias (Bolivia), i bastoncini dell’Isseren (Libia), saltelliamo nelle caselle del edfar azrot (Marocco): facciamo insieme il giro del mondo mettendo alla prove le nostra abilità.

A cura di STRIPES Coop Onlus

Partecipazione gratuita, in caso di maltempo @ZONA K, via Spalato 11

Azione “INTERKULT“

Chi si aggira per il quartiere?

Un gioco-giro all’Isola per disegnare i suoi abitanti. Dai vita al tuo personaggio di quartiere!

Ogni bambino avrà a disposizione una sagoma neutra da decorare in libertà: troverà i materiali da utilizzare esplorando quattro luoghi tipo del quartiere, ricreati in un grande gioco da tavola da costruire e percorrere insieme.

A cura di Anna Resmini e Giulia Zaffaroni

Partecipazione € 5 – Iscrizione obbligatoria entro venerdì 27 settembre, fino ad esaurimento posti 02 87063126 info@spaziobk.com

 

Guarda il sito di Spazio B**K

Brunch per grandi e piccini!

Ricco buffet dolce e salato, buffet del bere, pancake.
Promozione speciale per IK solo per oggi tutti a 20,00€, bambini e adulti.

Prenotazione obbligatoria allo 0287066093. www.capraecavolimilano.it

I COLORI DELLA MEMORIA