Tolja Djokovic (IT)


c/o private houses

in collaboration with STANZE

A più voci (quaderno proibito) is a project that focuses on the relationship between female writing and creativity with the theme of the home and domestic work.  Tolja Djokovic responds to a request from the Periferico Festival in Modena to initiate a co-creation process starting from a reflection on art and the lives of women today. Three coordinates become the focus of the work: the first concerns research on literary sources: writers who have spoken of their writing as “domestic”, that is, women who have carried out their creative practice by juggling housework, and authors who have focused on the relationship between home and creativity. The second fundamental coordinate is the involvement of communities of non-professional women in theatre, who are eager to participate in a theatrical creation. The third coordinate concerns the performance venues: private houses that become the occasion to generate an encounter between those who live there, those who have written and those who watch.

A multitude of voices takes the form of a mini-series and is structured in five interconnected and self-contained episodes around women’s writing, the theme of home, domestic work and creativity.

After a debut at the Periferico Festival in October, the project arrives in Milan with the involvement of a group of women from the city.

A project by Tolja Djokovic With the participation of a group of women from Modena and Milan Production by E production, Periferico festival, ZONA K

Photo by the artist

Tolja Djokovic grew up in Rome but lives in Milan. She graduated in Philology and Italian Literature with a research thesis on reading aloud the poetic text, and has been working in theatre as an actress and author since 2009. In 2018 she participates in the International Dramaturg Masterclass of the Iolanda Gazzarro School of Theatre of ERT. In 2019 she founds the company tostacarusa for which she is dramaturg and director. In 2021 she participates in the writing of Per la città dolente, a Teatro Metastasio production, directed by Roberto Latini. In 2022 she is present at the Venice Theatre Biennale with the text En Abyme directed by Fabiana Iacozzilli. In 2023 he won the 57th Riccione Theatre Prize with the text Lucia camminava.

Diana Anselmo e Sara Pranovi (IT)

performance in Italian and LIS | duration 50 min

c/o ZONA K, admission allowed with membership 2024

In collaboration with Danae Festival

Je Vous Aime is a lecture-performance about a short film, so short that it lasts barely a second: it is 1891, four years before the Lumière premiere. Georges Demenÿ invents a device that for the first time manages to project a faint moving image: his own face uttering the words “Je vous aime”. This is technically the first video ever, which will lead to the invention of the cinematograph and eventually cinema itself.

Starting from History, always the result of a meticulous choice between what can be preserved and what cannot, and from the Archive, a device at the service of a certain system of power, the performance highlights the anti-history, or rather “those whom History does not take into account”; thus revealing how that first video was aimed at teaching lip-reading to deaf children – after they were prevented by law from signing. This was the verdict of the Milan Congress, the consequences of which still affect Deaf people today. In Italy, Italian Sign Language (LIS) was only recognised as a true language in May 2021: 141 years later. Je vous Aime is, therefore, a multimedia performative stage action that unfolds between verbal storytelling, slides, video testimonies in Italian Sign Language (LIS), and Visual Sign (a poetic form of sign languages) with the aim of discussing audism, phonocentrism, and linguicism, and rewriting the “literature of the masters”.

performer Diana Anselmo and Sara Pranovi director Diana Anselmo video testimonies Paolo Girardi, Leonarda Catalano, Mario Minucci, Maurizio Anselmo, Anna Folchi, Vincenza Giuranna, Diana Vantini, Matteo Pedrazzi produced with the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia

Photo by Sara Meliti

Diana Anselmo is a Deaf performer, activist and improvised human being.Bilingual LIS and Italian, she made her debut with her first performance “Autoritratto in 3 atti” (2021), still presented at various Italian and international festivals. Abroad, he made his debut in Berlin with “Le Sacre du Printemps (2022)” by Xavier Le Roy. He is one of the founders of Al.Di.Qua. Artists, the first association in Europe of and for artists* with disabilities.

Sara Pranovi is a LIS interpreter with specific expertise in the world of performance. On stage, she has translated numerous shows into LIS: alongside Marta Cuscunà (Corvidae, Sguardi di Specie) and Irene Serini (Abracadabra), she has also interpreted in sign language the works “Abbracci” by Teatro Telaio, “I Danni del Pomodoro” by Teatro d’Emergenza, “Escargot” by Teatro del Piccione, “Il Tenace Soldatino di Piombo” by Teatro delle Apparizioni and “Pornodrama 2.0” by Giuseppe Comuniello and Camilla Guarino.

Massimo Furlan / Claire De Ribaupierre (CH)

show  | duration 60 min | in italian

c/o Parco delle Cave

Con l’Animale is the second part of the ‘Trilogie des liens‘, a project in which Massimo Furlan and Claire de Ribaupierre ponder our relationships with nature and its inhabitants, to understand how an environment is made up: who the protagonists are, how they interact, how they evolve contextually and constantly. To understand what unites us, what we all have in common. How we build balances or cause imbalances, how we create alliances or break them, how we live together.

The show Con l’Animale starts from interviews with people who have a special relationship with the wild world: wildlife guards, gamekeepers, fishermen, local hunters, ecology theorists, and philosophers. The stories told reflect the wealth of knowledge and connections with animals. Rivers and forests reveal environments rich in contaminations, condensing some of the paradoxes of our time. The artists listen to their stories, anecdotes, and experiences and ponder their habits. Their actions and practices combine tradition and contemporary issues, necessary needs (population regulation, human feeding, etc.) and Sunday pastimes, intimate understanding of animals in their environments and questions about human intervention in natural ecosystems. Today, more and more, we are neglecting ancestral knowledge based on the balance between what we take from nature and what we give it time to replenish. Not knowing the environment anymore means neglecting it, taking excessive advantage of it means destroying it. Without knowledge of the intelligence of what surrounds us, we destroy ourselves.

a project by Massimo Furlan and Claire de Ribaupierre direction Massimo Furlan dramaturgy Claire de Ribaupierre with Tommaso Banfi, Vanni Bruscaglioni, Fabio Fiochi, Paolo Nicolini, Andrea Reversi, Pablo Vallin technical and video direction Jérôme Vernez lighting Etienne Gaches sound Aurélien Chouzenoux administration and production Noémie Doutreleau distribution Jérôme Pique production Numero23Prod. co-production Théâtre Vidy – Lausanne (CH), Les 2 scènes – Besançon with the support of Ville de Lausanne, État de Vaud, Pro Helvetia – Fondation Suisse pour la Culture, Loterie Romande (en cours), programme européen de coopération transfrontalière Interreg France-Suisse dans le cadre du projet CDuLaB.

Foto di Pierre Nydegger

After training at the Ecole des Beaux-Arts in Lausanne, Swiss set designer and visual artist Massimo Furlan worked with various dance and theatre companies. In 2003, he founded his own company dedicated to the performing arts, Numéro23Prod, to interrogate the act of representation outside the confines of genres. His multiple performances, essentially articulated around humour and contrast, question popular manifestations, the notion of the team and the themes of image, duration, childhood, memory and play. In 1988 Furlan received an award from the Irène Reymond foundation in French-speaking Switzerland and in 2001 a Prix culturel vaudois jeunes créateurs beaux-arts. In 2014, he received the Swiss Cultural Theatre Prize. Her works have been presented in theatres and festivals throughout Europe.

Since 2023 Claire de Ribaupierre has been the dramaturge of Massimo Furlan’s creations. She holds a degree in Literature and conducts research in the fields of anthropology and contemporary images and literature.

Berlin (BE)

show | duration 110 min
in English with Italian subtitles

c/o Teatro La Cucina / Olinda onlus via Ippocrate 45, Milan

The making of Berlin is a portrait of a city. It is built around the extraordinary story of Friedrich Mohr, a Berliner who was the Berliner Philharmoniker’s stage manager during WWII. The making of Berlin – with live horn music – offers an unfiltered look at BERLIN’s work process. But above all, it tells the story of one of the ‘unbrave’ who failed to stand up when fellow Jewish musicians and friends were expelled from the orchestra. The making of Berlin is the final part of the Holocene cycle, during which BERLIN made several portraits of cities over the past twenty years.

BERLIN helps Mohr to realize an as yet unfulfilled dream. At the end of WWII, the conductor of the Philharmonic decided to perform Siegfried’s Funeral March from Wagner’s Götterdämmerung one last time. The performance would be broadcast live on German state radio. Rehearsing with the entire orchestra in one location soon proved too dangerous due to ongoing bombing. So the conductor divided the orchestra into seven segments and had them rehearse in separate bunkers. Faltering (recording) technology threw a spanner in the works. Mohr’s ultimate wish is to perform the technical tour de force as initially planned seventy-five years after the date. The Götterdämmerung will be played from seven bunkers simultaneously and can be heard in its entirety on the radio. A daring feat for which BERLIN called on, among others, radio station Klara, the orchestra of Opera Ballet Vlaanderen and German actor Martin Wuttke (known from Tarantino’s Inglourious Basterds).

Theatre- and film-maker Fien Leysen records the creation process for a behind-the-scenes documentary. Her footage eventually ends up in the performance as well. You gradually discover together with BERLIN that Mohr’s story is full of inaccuracies and that he seems to want to restore the irreparable. How far can you stretch the truth when you’re looking for atonement?

direction Yves Degryse with (on stage) Yves Degryse, Geert De Vleesschauwer / Marjolein Demey / Bregt Janssens / Eveline Martens / Sam Loncke (afwisselend), Rozanne Descheemaeker / Matea Majic / Diechje Minne / Jonathan van der Beek (afwisselend) ; with (film) Friedrich Mohr, Martin Wuttke, Stefan Lennert, Werner Buchholz, Alisa Tomina, Krijn Thijs, Chantal Pattyn, Symfonisch Orkest Opera Ballet Vlaanderen, Alejo Pérez, Yves Degryse, Caroline Große, Michael Becker, Claire Hoofwijk, Alejandro Urrutia, Marek Burák, Marvyn Pettina, Farnaz Emamverdi, team BERLIN: Jane Seynaeve, Eveline Martens, Jessica Ridderhof, Geert De Vleesschauwer, Sam Loncke, Manu Siebens, Kurt Lannoye, team Opera Ballet Vlaanderen: Jan Vandenhouwe, Lise Thomas, Eva Knapen, Christophe De Tremerie video e video editing Geert De Vleesschauwer, Fien Leysen, Yves Degryse internship video editing Maria Feenstra drone shots Yorick Leusink, Solon Lutz behind the scenes footage Fien Leysen scenography Manu Siebens set construction Manu Siebens, Ina Peeters, Rex Tee, Joris Festjens set design and construction film Jessica Ridderhof, Klaartje Vermeulen, Ruth Lodder, Ina Peeters musical composition and mixing Peter Van Laerhoven live music (horn) Rozanne Descheemaeker / Matea Majic / Diechje Minne / Jonathan van der Beek (alternating) music film Peter Van Laerhoven, Tim Coenen, Symfonisch Orkest Opera Ballet Vlaanderen olv Alejo Pérez mixing orchestra Maarten Buyl sound design and mixing Arnold Bastiaanse sound recordings Bas De Caluwé, Maarten Moesen, Bart Vandebril technical coordination Manu Siebens, Geert De Vleesschauwer production management Jessica Ridderhof production support Germany Daniela Schwabe, Gordon Schirmer research Wagner Clem Robyns, Piet De Volder research internship Annika Serong photography Koen Broos, Gordon Schirmer technical coordination berlin Marjolein Demey day-to-day coordination and production assistant Jane Seynaeve production BERLIN coproduction DE SINGEL (Antwerp, BE), le CENTQUATRE-PARIS (FR), Opera Ballet Vlaanderen (BE), VIERNULVIER (Ghent, BE), C-TAKT (Limburg, BE), Theaterfestival Boulevard (Den Bosch, NL), Berliner Festspiele (DE) with the support of the Flemish Government, Sabam for Culture, Tax Shelter of the Belgian federal government via Flanders Tax Shelter

Photo by Koen Broos

Founders of BERLIN in 2003, Bart Baele, Caroline Rochlitz and Yves Degryse decided not to choose a particular genre, but to venture into the realm of documentary filmmaking and let the places of their forays guide their inspiration. This philosophy resulted in 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 poignant 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. The Making of Berlin is the last chapter of Holocene. The company has worked in 27 different countries in recent years, within various circuits: from theatres to exhibition spaces, from festivals to special locations.

Be Flat (BE)

urban acrobatics performance | duration 60 min

c/o Portello

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.

“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.

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.

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 – / 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: – 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

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).

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.

Lina Saneh and Rabih Mroué (LB/DE)

video installation | original version translated into Italian
+ meeting with the company

c/o ZONA K, free entrance allowed with 2024 membership

You collect a lot of things over the years, often without knowing why or what you want to do with them. Until one day, you spread them out and start looking at them properly. You try to understand why it is you like them and why you might also be ashamed of them at the same time. You attempt to discover or to invent their stories, struggling to give free rein to your emotions or to tame them. As you look at your collection, you might allow memories to return, and you might try to utter them, mixing your stories with their imagined ones. In brief, you might use them to talk about “you”; you, as an inseparable singular from all the other singulars, you, as an unbreakable moment from history.

written and directed by Lina Majdalanie & Rabih Mroué voice-over Francesca Bracchino e Marcello Spinetta animation Sarmad Louis music Abdalla El-Masri, Charbel Habr, Matef and HoRa’ Mim editing Rabih Mroué, Sarmad Louis sound Rafi Mrad photo corrections Randa Mansour
Commissioned and produced by steirischer herbst ’20

Lina Saneh and Rabih Mroué were born in Beirut in 1966 but reside in Berlin. They generally work together, while also pursuing personal projects. Rabih Mroué has developed a versatile artistic practice in which he assumes, often simultaneously, the functions of actor, director and playwright, with a peculiar ability to photograph the contemporary. Since 1990, he and Lina Saneh have created performances that blur the boundaries between disciplines in a poetic fusion of theatre, installations, performance art and video. Together they present works that directly reflect the social and political realities of their country, while delving into the underlying issues and contradictions of Lebanese society.

Lina Saneh and Rabih Mroué (LB)

show | duration 50 min
in French with Italian subtitles

c/o ZONA K, admission allowed upon 2024 membership

After its premiere in 2009, Photo-Romance immediately become one of the most successful international theatre pieces and is now, after touring worldwide, is coming to Mousonturm in its newest version: in the roles of author and censor Lina Saneh and Rabih Mroué discuss the photo novella adaptation of a historical film document, which shows the enthusiasm of Italian crowds at Hitler’s Mussolini visit. The two of them – him, a former leftist activist, she, a divorced homemaker – met in Beirut in 2006 shortly after Israel’s attack on Lebanon: two lonely people, uncomfortable with the hubbub outside. By mixing fiction and reality, Photo-Romance deconstructs the political logic, as well as the illusion of theatre and shows “truth” to be a construction of possibilities.

Concept, text and direction Lina Saneh and Rabih Mroué Translation Masha Refka Set design Samar Maakaroun Music Charbel Haber Soundtrack Lina Saneh, Rabih Mroué, Sarmad Louis Direction of photography Sarmad Louis jeu pour la bande-image Rabih Mroué, Lina Saneh Special guest Mona Mroué Assistant director and executive producer Petra Serhal Costumes Zeina Saab de Melero Makeup Stéphanie Aznarez Production assistant Ashkal Alwan (Beyrouth) With Lina Saneh, Charbel Haber, Rabih Mroué

Director, performer and playwright, Lina Majdalanie is a Lebanese artist, living in Berlin. Her work includes: Hartaqāt (2023), Second Look (serie video, 2020), Sunny Sunday (2020), Borborygmus (2019), Do I Know you? (2017), A Drop of Sweat (2015), 33 rpm and a few seconds (2012), Photo-Romance (2009), Appendice (2007), I Had A Dream, Mom (vidéo, 2006), Biokhraphia (2002), and others… 
She curated several events in Mousonturm-Frankfurt (2016 and 2023), HAU-Berlin (2017), Kunsthalle-Mulhouse (2015) and Tanzquartier-Vienna (2009). She was a fellow at the International Research Center “Interweaving Performance Cultures”/FU in Berlin (2009-2010) and a member of Home Workspace Curricular Committee-Ashkal Alwan (Beirut 2010-2014). She opted the pseudonym Lina Saneh in April 2015.

Rabih Mroué, born in Beirut and currently living in Berlin, is a theatre director, actor, visual artist and playwright. He is a contributing editor for The Drama Review /TDR (New York) and a co-founder of the Beirut Art Center (BAC).  He was a fellow at The International Research Center: Interweaving Performance Cultures/ FU/Berlin from 2013 -2014. He has been a theatre-director at Münchner Kammerspiele from 2015 -2019.
His works include: Hartaqāt (2023), Sunny Sunday (2020), Borborygmus (2019), So Little time (2016), Ode to Joy (2015), Riding on a cloud, (2013), 33 RPM and a Few Seconds (2012), Photo-Romance (2009), The Inhabitants of images (2008), Who’s Afraid of Representation (2005), Looking for a Missing Employee (2003), Biokhraphia (2002), Three Posters (2000) and others… 

Mobile Akademie Berlin (DE)


c/o La Pelota Jai Alai, via Palermo 10, Milan (MM2 Moscova)

Free entrance subject to availability.

The performance will take place from 5 p.m. to 8.30 p.m.
from 16.00 it is possible to join at any time until the end of the performance

The city has restarted. It is moving. It looks ahead. She has to do, to move forward, to plan, to take care of others and herself. It is always her: progressive, generous, activist, entrepreneurial, international, obnoxious, snobbish, exaggerated. The city regenerates and consumes, operates from below and builds high, dismantles crime and tradition. It is finance and real estate speculation. It is branding. Bike lanes, culture, ethical food, new neighborhoods, housing prices up 40 percent, uninhabitable public housing, 700,000 cars coming in every day, ever-increasing commuters, off-market student beds. A washing machine that centrifuges its inhabitants. It attracts them, welcomes them and after 15 years spits out 60 percent of them. But the city is a complex system. If, in physics, a complex system is defined as a whole that acts and evolves according to a logic that cannot be reduced to the sum of its parts, Milan must be seen in its molecular tangle composed of multiple elements: physical, social, economic, cultural, human, all closely connected and intertwined. A complex system. A complex organization that is self-determining and determines an evolution of individual and collective choices.

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

It is an artistic event, a wide-ranging participatory performance, a place for the exchange, observation and production of knowledge that combines the intimacy of the tête-à-tête with the spectacularity of the theatrical installation, creating a multidisciplinary, multidimensional and hallucinatory space of knowledge, evoking what Milan is and could become.

In a large space called the Arena with the atmosphere of a reading room and market noise, experts are called upon to offer some of their knowledge – obvious, irreverent, unexpected and surprising – in 30 minutes of one-to-one conversation with the audience. Their knowledge provides an encyclopaedic insight into the selected topic. These are urgent topics of urban and universal interest, different for each venue.

When entering, the audience is given an encyclopaedia, a guide to the event that is useful for understanding the subject matter and expert knowledge. Yet, the encyclopaedia – faced with the wild taxonomy of cultural, artistic, scientific, practical and common-sense areas of knowledge, disciplinary and non-disciplinary, recognised and clandestine – always fails in its task of guidance.

It is in front of a Check-in – manned by uniformed hosts and hostesses, the administrative stage and bureaucratic heart of the evening’s organisation – that the public queues up to book a dialogue for the symbolic sum of 1€. This is not a market organised according to the principle of rational choice, but rather a roulette: customers queue to book a dialogue, but 60% of them are persuaded by the salesman to book something or someone else. If the customer is not satisfied with his purchase, he can turn to a Complaints and Grievances Desk to express his disappointment. These moments of bureaucratic efficiency (or Kafkaesque bureaucracy) offer further moments of involvement and absurdity.

The one-to-one conversations are simultaneously observed by the audience sitting on the bleachers around the Arena, who can tune in to one of the Market Radio channels to hear what is being said. A multiple-choice experience is created, in which each spectator chooses whether to participate or observe or do both.

The Knowledge and Non-Knowledge Market is an interactive installation space for learning and unlearning. Here knowledge and non-knowledge are staged and in play. One will witness a proliferation of speech acts, punctuated to the rhythm of administrative time. All possibilities are open to what is said and heard, as long as three simple rules are observed: Arrive at the table on time! Wait for the gong, the conversation starts with the gong! The expert has the first word! You have 30 minutes.

The Market of Knowledge and Non-Knowledge transforms the performative nature of all social interaction into captivating theatre. A strongly desired project that marks the arrival and restart of ZONA K’s 10 years, the synthesis of a will and a vision of our building out-of-format participatory theatre projects.


  1. Access and booking of conversations with expert(s) from 4 p.m. onwards.
    The cost of each conversation (duration 30 minutes) is €1.
    Booking from 16.00: ROUND 1A 17.00>17.30 | ROUND 1B 17.35>18.05
    Booking from 17.00: ROUND 2A 18.15>18.45 | ROUND 2B 18.50>19.20
    Booking from 18.00: ROUND 3A 19.30>20.00 | ROUND 3B 20.05>20.35
  2. It is possible to follow some of the conversations on the RADIO DEL MERCATO channels.
    Headphones are available at the entrance in exchange for an ID card.
    Conversations in Italian, English, French, Arabic, Spanish, Tunisian dialect, Chinese, Romanian, LIS.
    For more information on the project |


Pietro Bagnoli, Architect; Jada Bai, Professor of Chinese culture and cultural mediator; Yraida Bailon, Caregiver; Christine Ballarin, Head Of Planning And Valorisation Of The Hydro Resources Of The Municipality Of Milan; Gianni Barbacetto, Journalist and writer; Carlo Berizzi, Associate professor of Architectural And Urban Composition – University Of Pavia; Ales Bonaccorsi, Creative director National Museum Of Science And Technology “Leonardo Da Vinci”; Paola Bonini, Expert in digital media, activist of “Sai che puoi”; Lucia Borso and Teresa De Martin, Co-founders of “So.De – Social Delivery”; Gabriella Bottini, Neurologist, neuropsychologist, ordinary professor of Psychophysiology; Rabii Brahim e Anna Serlenga, Co-founders of “Corps Citoyen”; Marco Caccianiga, Botanic; Ilenya Camozzi, Cultural sociologist; Davide Carnevali, Dramaturg and theater author; Ivan Carozzi, Journalist and writer; Anna Casali, Real estate consultant; Arianna Censi, Councillor to the Mobility of the Municipality of Milan; Fabio Cherstich, Director and set designer; Michele Ifigenia Colturi, Choreographer and guest Airbnb; Mimmo Cosenza, Expert on AI; Edoardo Croci, Professor at Bocconi University and director of the Sustainable Urban Regeneration Lab; Tobia D’Onofrio, Cultural agitator, music and controculture enthusiast, journalist; Marianna D’Ovidio, Urban sociologist; Giovanni Damiani, Architect; Danilo De Biasio, Journalist and director of  “Fondazione Diritti Umani”; Elio De Capitani, Actor, director and artistic co-director of “Teatro dell’Elfo”; Nicola Del Corno, Associate professor of  History of Political Thought; Andrea Di Mario, Headmaster; Alberto “Abo” Di Monte, Social and geographical agitator, librarian, author; Linda Di Pietro, Cultural manager; Jacopo M. DustyEye, Time traveller; Progetto Giovani dell’Istituto dei Istituto Nazionale dei Tumori di Milano; Giordana Ferri, Architect; Francesco Floris, Journalist; Silvio Garattini, Founder and president of the “Istituto di Ricerche Farmacologiche – IRCCS Mario Negri” (Farmalogical Research Insitute); Elena Gianni, Architect, “Mutuo Soccorso” member; Sandro Greblo, Bicycle delivery man and author; Igor Guida, Scientific director for “Stripes Digitus Lab” at MIND Milano Innovation District; Cecilia Guida, Art curator and critic; Eiman Hussein Adam, Activist; Isabella Inti, Urban Architect – landscape technician; Michel Koffi Fadonougbo, Griot and activist; Alessandra Kustermann, Gynecologist and “SVS Donna Aiuta Donna” President; Chiara Lainati, Anthropologist and founding member of “Super”; Federico Leoni, Philosopher; Claudio Longhi, Director of “Piccolo Teatro di Milano”; Alessandro Maniaci, Lawyer and ASL interpreter; Alina Marazzi, Director; Gabriele Antonio Mariani, Engineer and architect; Michele Masneri, Journalist; Marco Minoja, General director “Fondazione Scuole Civiche Milano”; Liliana Moro, Artist; Azzurra Muzzonigro, Independent researcher, “Association Sex and the City” co-founder; Giacomo Negri, Activist and inhabitant of the neighborhood; Bertram Niessen, Researcher, design engineer, professor, author and advisor, “cheFare” president; Maurizio Orlandella, Consultative gynecologist; Caterina Orsenigo, Journalist and writer; Giovanni Padula, Urban economist, specialist in the creative and cultural sectors; Giacomo Papi, Writer, journalist and television author; Federico Parolotto, Transport planner; Diego Piemontese, Theater director, activist, stand-up comedian; Paolo Pileri, Professor of urban planning and design at the Politecnico di Milano; Milena Piscozzo, ICC Head teacher and writer; Plata, Artist and rapper; Carlo Polidori, Zoologist; Oliviero Ponte di Pino, Curator of the “Bookcity Milano” programme; Ulisse Romanò | Demetra, Biologist, actor and drag queen; David Röttgen, Environmental lawyer; Gianluca Ruggieri, Environmental engineer; Giovanni Scirocco, Professor of contemporary history, Università degli Studi di Bergamo; Rahel Sereke, Urban planner, politician, activist; Davide Steccanella, Lawyer and essayist; Sonia Stefanizzi, Ordinary professor of Sociology and director of the Department of Sociology and Social Research at the Università Degli Studi di Milano – Bicocca; Gregorio Taccola, Doctor of research in history; Luciana Tavernini, Historian and writer; Alberto Tavolaro, Student and institute representative of the “Liceo Carducci” di Milano; Jacopo Tondelli, Journalist and writer, founder of “Gli Stati Generali”; Lucia Tozzi, Journalist and independent scholar; Alberto Vailati, Physicist and professor of Physics of Matter at Università degli Studi di Milano; Franco Vaio, Physicist and author; Fulvio Vanacore, Artist and tarologist; Serena Vitucci, Activist; Sara Zambotti, Radio presenter and university professor; Cino Zucchi, Architect

research and dramaturgy Federica Di Rosa, Valentina Kastlunger e Valentina Picariello
with the collaboration of Silvia Rigon e Eliana Rotella
and the contribution of Renata Viola
with the participation of Federica Bruscaglioni, Valeria Casentini, Gabriele De Risi, Leo Djavidnia, Anna Doneda, Philippe Hochleichter, Fabio Lastella, Nicole Lentin, Sathya Nardelli, Silvia Orlandi, Elena Pagallo, Leda Peccatori, Lorenzo Piccolo, Silvia Rigon, Eliana Rotella
production manager Luca De Marinis
organisation and production Federica Bruscaglioni e Leda Peccatori
set design Marco Muzzolon e Marianna Cavallotti
head of beauty and costume design Christian Fritzenwanker
make up & styling Elizabeth Fogel
communication Silvia Orlandi
graphics Leonardo Mazzi – Neo Studio
press office Renata Viola
administration and fund raising Valeria Casentini
licenser Hannah Hurtzig e Mobile Akademie Berlin
licensee ZONA K Milano
a project by Mobile Akademie Berlin
produced by ZONA K Milano
with the support of MIC and Fondazione Cariplo

Mauro Pescio (IT)


Theatrical show | duration 75 min


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

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

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

Sergi Casero Nieto (ES)


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

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

At ZONA K, via Spalato 11

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

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

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

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

Until what point can silence push itself before becoming oblivion?

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

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

Photos by Roberta Segata

Anagoor (IT)

Sorry, this entry is only available in Italian.

proiezione con live set elettronico | durata 50/70 min

c/o Teatro Out Off, via Mac Mahon 16

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

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

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

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

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

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

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

Anagoor (IT)

Sorry, this entry is only available in Italian.

un omaggio presuntuoso alla grande ombra di Andrea Zanzotto

spettacolo teatrale | durata 80 min

c/o Teatro Out Off, via Mac Mahon 16

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

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

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


Foto Giulio Favotto

Kepler-452 (IT)

CAPITAL. A book that we haven’t read yet

Theartre Show | duration 100 min

At Teatro Out Off, via Mac Mahon 16

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

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

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

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

photos Luca Del Pia

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

Participatory performance

at Magnete – via Adriano 107, Milan

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

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

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

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

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

Event inserted in the schedule of

Eléctrico 28 (ES/AT)

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

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

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

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

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

with the contribution of

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

Miriam Selima Fieno/ Nicola Di Chio (IT)

Multimedia participatory show | duration 75 min

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

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

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

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

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

Mammalian Diving Reflex/Darren O’Donnell (CA)

A ZONA K and Triennale Teatro Milano project

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


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

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

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

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

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

Photos © Paul Blakemore

10 – Stagione Teatrale

10 – Theatrical Season
multidisciplinary season

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

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

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

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

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

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

Silke Huysmans & Hannes Dereere (BE)

– Season preview 2023 –

multimedia performance with English and Italian subtitles | duration 60 min

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

c/o Out Off Theatre, via Mac Mahon 16

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

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

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

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

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

Jens Hillje, Alessandro Renda (DE/IT)

Sorry, this entry is only available in Italian.

Un progetto di ZONA K

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

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

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

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

info spettacolo e biglietti: Biglietteria Teatro degli Impavidi +393464026006 (anche su WhatsApp)

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

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

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

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

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

Rimini Protokoll (DE)

THE WALKS is an app with a series of walks by German theatre company, Rimini Protokoll. Each walk is a short audio experience for a specific place in your city, and an invitation to rediscover and interact with your environment.

It takes approximately 20 minutes to do an audio walk. Get going whenever you want. You decide how many of the walks you’d like to do and in what order. The stories and soundscapes in the short audio experiences are global in scope. “The Walks” connects people around the world in a local experience via the fundamental human action of walking.

Walking in public gained new meaning with the COVID-19 pandemic. An ancient, daily ritual became an integral part of the new normality. People meet, walk, stroll through neighborhoods, play in landscapes, and perceive their environment anew with every stride.

THE WALKS understands walking as a theatrical scenario – an audio-guided walk in parks, a staged walk in supermarkets or timed interactions on riverbanks. In every city, voices, sounds, and music turn familiar places into sites and landscapes into stages step by step through storytelling, dialogical situations, choreographic discoveries, or musical and rhythmic variations on walking. The title of every walk indicates where or how to do it: “Walk for a cemetery,” “Walk along the water,” or “Walk around a roundabout.”

THE WALKS is a production of Rimini Apparat co-produced by ZONA K



App info: “The Walks” is a smartphone app that you can download from the App Store or Google Play at a cost of xxxx euro. To start The Walks, you will receive an activation code when you purchase your ticket, which you will enter into the app.

Technical requirements: In order for the app to run smoothly, you need to have a current operating system (5 or later for Android or 13 or later for iOS). You will need 100 MB of storage space on your device to install “The Walks” app.
“The Walks” is an invitation to walk at different speeds and intensities. More detailed information on each walk is available in the app.

Access code for the walks: only on, ticket €6. After purchasing, you will receive an access code for the walks in the app by email.


Text, direction Helgard Haug, Stefan Kaegi , Daniel Wetzel Concept, dramaturgy Cornelius Puschke App development Steffen Klaue , Alexander Morosow Sounddesign/Mastering Frank Böhle Music/Composition Frank Böhle et al. (see individual walks) Graphic design Ilona Marti Voice recordings Rimini Protokoll, studio lärm and Lorenz Rollhäuser Production manager Maitén Arns Production assistant Steven Sander App development assistant Gaétan Langlois- Meurinne

Translation Panthea (Naomi Boyce , Aurélien Foster, Anna Galt, Erica Grossi, Vivian Ia , Adrien Leroux , Lianna Mark, Samuel Petit, Yanik Riedo, Lorenzo de Sabbata ) Experts/Directors Erdem Gunduz , Stephanie Haug, Katja Otto, Martin Schmitz, Antonio Tagliarini Contributions/Vocals Bente Bausum, Melanie Baxter-Jones, Lena Bruun Bondeson, Lene Calvez, Maimouna Coulibaly, Louisa Devins, Margot Gödros, Melissa Holroyd, Christiane Hommelsheim, Stéphane Hugel , Timur Isik, Mmakgosi Kgabi, Kraffira, Alexandra, La Koffick Max Lechat, Joshua Lerner, Steve Mekoudja, Lara-Sophie Milagro, Kamran Sorusch, Antonio Tagliarini, Lucie Zelger Documentation/Trailer Expander Film (Stefan Korsinsky , Lilli Kuschel)

Thanks to Barcelona Cicle de l’Aigua , Milagro Alvarez, Ignasi Batalle Barber, Aljoscha Begrich, Andreas Fischbach, Jannis Grimm (Institute for the Study of Protest and Social Movements), Ant Hampton, Lilli Kuschel, Jan Meuel , Barbara Morgenstern, Ricardo Sarmiento, Hilla Steiner, Enric Tello, Valentin Wetzel, SA, Gustavo Ramon Wilhelmi

A production by Rimini Apparat in co-production with creart/Teatrelli, BorderLight – International Theatre + Fringe Festival Cleveland, European Forum Alpbach, Fondazione Armonie d’Arte, HAU – Hebbel am Ufer, Hellerau – Europäisches Zentrum der Künste, Internationales Sommerfestival Kampnagel, ZONA K, Festival PERSPECTIVESSupported by Fonds Darstellende Künste with funds from the Commissioner of the Federal Government for Culture and Media and the Department for Culture and Europe of the German Senate



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.  Rimini Protokoll often develop their stage-works, 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.

On top of that, Rimini Protokoll received 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, as well as the German Audio Play Award and the War Blinded Audio Play Prize.

Since 2003, the production office of Rimini Protokoll is in Berlin.


CODICEFIONDA (IT) dram. cons. Agrupación Señor Serrano (ES)

One button. A player. A 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-games” and “binge drinking”, owners of Smartphones as an extension of their body. 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 to meet today’s teenagers through the use of new technologies. A path of creation that tells our identities – real and virtual – thanks to the comparison between generations.

In this performance the audience will find himself in relation to them. You can choose whether to confirm or question your 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 in the stage of research and dramaturgical development between Turin and Milan.
What the sociologist Morin defines as “cinema of total authenticity”.

ZONA K presents a new production: PLAY ME (Origins Project). It continues the direction already taken with Generazione gLocale in 2017 with the involvement of children, the use of new stage devices and the creative and dramaturgical support of important names in the international scene, for this project the award-winning Catalan collective Agrupación Señor Serrano.

Info: single viewer multimedia performance with VR use – audience aged 15 and over – duration 30 min. – entrance every 15 min – in Italian

Palazzo San Celso – Corso Valdocco 4/A Torino

details: Wednesday, Thursday, Friday 3.00 p.m. – 6.00 p.m., Saturday 11.00 a.m. – 4.00 p.m.
Free admission with compulsory reservation


Project direction and creation Andrea Ciommiento, creation and multimedia 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, creation assistent Kausar El Allam, Shady Mostafa, Imane Mouslim, Jaouher Brahim, Mattia Ghezzi, Anes Fettar, Matteo Coppola, Momo Moukett, Filippo Farina, Lorenzo Bregant, Federica Bruscaglioni, David Benvenuto. Production ZONA K (Milan), creation of Codicefionda (Turin), dramaturgical consultancy Agrupación Señor Serrano (Barcelona), in collaboration with Fuori Luogo Festival (La Spezia), Polo del ‘900 (Turin), Human Rights Festival (Milan), Instituto Professionale Albe Steiner (Turin), Yepp Italia (Turin) and Collettivo gLocale (Milan), With the support of  IntercettAzioni – Center of Artistic Residence of Lombardy and of the Municipality of Milan and Dialogues – Residences of the performing arts at Villa Manin “(CSS FVG stable innovation theatre). Thanks to ITAS Giulio Natta and Hotel San Guido in Milan and Digital Digital Storytelling Lab – Università degli studi di Udine.

The project was carried out with the support of the Compagnia di San Paolo within ORA! Contemporary culture productions.



Sorry, this entry is only available in Italian.


Il Centro di Residenza della Toscana (Armunia, CapoTrave/Kilowatt), in partenariato con l’Associazione Marchigiana Attività Teatrali AMAT, la Cooperativa Anghiari Dance Hub, l’Associazione Teatrale dei Comuni del Lazio ATCL per Spazio Rossellini, il Centro di Residenza Emilia-Romagna (L’Arboreto – Teatro Dimora di Mondaino, La Corte Ospitale di Rubiera), la Fondazione Luzzati Teatro della Tosse di Genova, l’Associazione ZONA K di Milano, lancia il presente bando per la selezione di n° 6 progetti di Residenza Digitale da svilupparsi nel corso dell’anno 2021.

L’intento è quello di stimolare gli artisti delle performing arts all’esplorazione dello spazio digitale, come ulteriore o diversa declinazione della loro ricerca autoriale. Dovrà trattarsi di progettualità artistiche legate ai linguaggi della scena contemporanea e della performance, che nascano direttamente per l’ambiente digitale o che in esso trovino un ambito funzionale ed efficace all’esplicitarsi dell’idea artistica. A titolo di esempio: non si tratta di presentare percorsi di lettura o riprese video di testi o spettacoli esistenti o da farsi, bensì di concepire progetti artistici che abbiano nello spazio web il loro habitat ideale, indicandone anche le modalità di fruizione e interazione da parte dello spettatore, per il quale prevedano un accesso attraverso il pagamento di un biglietto, di modo da valorizzare il lavoro dell’artista, non come una gratuità. Il progetto deve prevedere una restituzione on-line aperta al pubblico, da tenersi nel corso della settimana che va dal 22 al 28 novembre 2021.

Ciascuna delle 6 proposte vincitrici riceverà un contributo di residenza di 3.500 euro + iva, che sarà pagato dietro la presentazione di regolare fattura.

I promotori del presente bando hanno individuato in Laura Gemini, Anna Maria Monteverdi e Federica Patti tre esperte nell’ambito della creazione digitale che saranno le tutor degli artisti durante lo sviluppo dei loro progetti: ciascuna di loro seguirà specificamente 2 dei 6 progetti vincitori.

I 6 lavori vincitori potranno avvalersi anche di altri contributi produttivi forniti da ulteriori soggetti dello spettacolo, ovvero non si richiede loro alcun vincolo di esclusiva per ciò che riguarda la produzione che resta nell’assoluta disponibilità gestionale degli artisti.

Oltre ai 6 progetti vincitori, è prevista l’eventualità che i promotori del presente bando segnalino un numero ristretto di altri progetti, per portarli all’attenzione del sistema teatrale e coreografico nazionale, con l’auspicio che altre istituzioni possano a loro volta sostenerli, alle medesime condizioni del presente bando.

Gli artisti interessati al partecipare alla selezione dovranno entrare nel portale, selezionare le pagine relative a bando Residenze Digitali e compilare i campi richiesti dal modulo di partecipazione online.
Verranno richiesti loro:
1) una presentazione dell’artista o della compagnia (massimo 1.000 battute);
2) una descrizione del progetto di Residenza Digitale che si intende realizzare (massimo 2.000 battute);
3) l’indicazione dell’eventuale partner tecnico (programmatore, webmaster, fornitore di specifico know-how) e/o della piattaforma che supporti le necessità tecniche dell’opera;
4) un allegato di tipo non testuale che possa illustrare le modalità di realizzazione on-line previste e/o immaginate (video, audio, pdf, PowerPoint), che potrà essere caricato come allegato o fornito come link esterno.

I materiali sopra descritti dovranno essere caricati online entro le ore dodici (mezzogiorno) di lunedì 8 marzo 2021. 

É previsto un colloquio conoscitivo, da realizzarsi in videoconferenza, nel periodo 29-31 marzo, con i candidati che avranno superato la prima fase della selezione.
All’atto di invio dei propri materiali, gli artisti e le compagnie accettano implicitamente tutte le norme contenute nel presente bando, incluso il Decalogo allegato che ne costituisce parte integrante.

Con il presente bando, il Centro di Residenza della Toscana (Armunia, CapoTrave/Kilowatt) e i suoi partner AMAT, Anghiari Dance Hub, ATCL per Spazio Rossellini, Centro di Residenza Emilia- Romagna (L’Arboreto – Teatro Dimora di Mondaino, La Corte Ospitale), Teatro della Tosse, ZONA K, non vogliono rinunciare alla propria vocazione di accoglienza degli artisti in residenza presso le proprie strutture, piuttosto vogliono esplorare un’ulteriore opportunità di creazione che apre nuove sfide formali e concettuali, produce contenuti artistici innovativi e affianca le forme consuete di fruizione dello spettacolo dal vivo.



  1. Accompagniamo il processo creativo degli artisti con 6 incontri collettivi da remoto (aprile, maggio, giugno, settembre, ottobre, novembre) a cui partecipano tutti gli artisti selezionati, le tutor e tutti i promotori del progetto nonché titolari di residenza, per conoscere bene i progetti di ricerca e monitorarne l’andamento, anche attraverso la discussione collettiva intorno al diario di appunti multimediale redatto da ogni compagnia, dove si sedimentano criticità e potenzialità dei processi artistici in atto.
  2. Seguiamo individualmente e da remoto ognuno dei progetti, dividendoci tra titolari di residenza una responsabilità esecutiva, ciascuno su uno specifico progetto: l’obiettivo è quello di aiutare gli artisti a risolvere specifici problemi gestionali che si ponessero durante la realizzazione dei loro progetti.
  3. Offriamo a ciascuno dei progetti un contributo economico di 3.500 euro + iva (o al lordo di ritenuta d’acconto).
  1. Mettiamo a disposizione di ogni progetto una tutor esperta in digital performance, che segua le varie fasi di elaborazione dei progetti artistici, nonché offra occasioni di elaborazione teorica e strumenti pratici utili allo sviluppo dei progetti.
  2. Sperimentiamo i modelli elaborati dagli artisti durante le fasi di sviluppo.
  3. Divulghiamo la conoscenza dei progetti attraverso comunicati stampa e interviste, nonché attraverso una narrazione degli stessi sui nostri social media.
  4. Amplifichiamo la visibilità dei contenuti digitali prodotti, soprattutto di quelli che necessitano di una diffusione in itinere, funzionale alla realizzazione del progetto stesso.
  5. Organizziamo “La settimana delle residenze digitali”, nella seconda metà di novembre, un momento di visibilità pubblica per i 6 progetti vincitori che avrà la struttura di un vero e proprio festival delle residenze digitali, all’interno del quale verranno presentati i 6 progetti, nello stadio in cui sono, non per forza come opere già complete, ma come stadio di avanzamento di un processo.
  6. Promuoviamo il processo produttivo di ciascun progetto vincitore incoraggiando l’intervento di nuovi soggetti interessati a contribuire alla produzione di uno o di tutti e sei i progetti.
  7. Favoriamo la conoscenza di altri progetti finalisti segnalati dalla Giuria, auspicando che altri soggetti del sistema delle residenze scelgano di aderire a questa rete, entrando a supportare gli altri progetti segnalati.


Residenze Digitali è un progetto ideato e coordinato dal Centro di Residenza della Toscana (Armunia, CapoTrave/Kilowatt) in collaborazione con AMAT, Anghiari Dance Hub, ATCL per Spazio Rossellini, Centro di Residenza Emilia-Romagna (L’Arboreto – Teatro Dimora di Mondaino, La Corte Ospitale), Teatro della Tosse, ZONA K.

Percorso online per lavorare con la performance

Sorry, this entry is only available in Italian.

In quest’anno di clausura The Momentary Now, School of performance a cura di Marcella Vanzo triplica, in attesa di passare dal mondo virtuale a quello reale.

Vi proponiamo tre mini moduli di 6 incontri ciascuno: una introduzione virtuosa alla performance, un approfondimento “tosto” e poi, con l’ultimo modulo, ci auguriamo di incontrare i nostri studenti dal vivo. Potete seguire il vostro modulo preferito 1 o 2 o 3, o tutti e 3, a voi la scelta.


6 Lezioni online di Resistenza

Gruppo A (chiuso) 20 gennaio – 24 febbraio 2021
ogni mercoledì dalle 19.00 alle 20.45 (con pausa di 15’)

Gruppo B (chiuso) 16 febbraio – 23 marzo 2021
ogni martedì dalle 20.00 alle 21.45 (con pausa di 15’)

Un corso per chi vuole fare e per chi vuole capire la performance, aperto a tutti.

Mercoledì 20 gennaio/Martedì 16 febbraio: il corpo e lo spazio
Mercoledì 27 gennaio/Martedì 23 febbraio:
quello che non si può non sapere
Mercoledì 3 febbraio/Martedì 2 marzo: io e l’altro
Mercoledì 10 febbraio/Martedì 9 marzo: performance e foto-performance e video
Mercoledì 17 febbraio/Martedì 16 marzo: e adesso esci
Mercoledì  24 febbraio/Martedì 23 marzo: il tuo gesto

Le lezioni si svolgeranno su piattaforma Zoom, facile da installare su computer

Costo € 100,00 per 6 lezioni.

Per informazioni e iscrizioni:
02.97378443 – 393.8767162

Il percorso si attiverà al raggiungimento del numero minimo di partecipanti.
“Fare l’impossibile” può essere considerato come il modulo nr.1 di un percorso in 3 tappe ma può essere anche frequentato autonomamente.


6 Lezioni online in Profondità
3 marzo – 7 aprile 2021
ogni mercoledì dalle 19.00 alle 20.45 (con pausa di 15’)

Lavorare con la performance, corso per studenti d’arte, artisti e chi la performance la conosce già, o ha frequentato il primo modulo.
I partecipanti sperimentano la performance in modo autonomo, accanto a nozioni dettagliate di storia e produzione a cura di Matteo Bergamini [Exibart] e Paola Clerico [Case Chiuse] e a una incursione nello studio di Fabio Mauri.Le lezioni si svolgeranno su piattaforma Zoom, facile da installare su computer

Costo € 100,00 per 6 lezioni.

Per informazioni e iscrizioni:
02.97378443 – 393.8767162

Il percorso si attiverà al raggiungimento del numero minimo di partecipanti.
“Ventimila leghe sotto i mari” può essere considerato come il modulo nr.2 di un percorso in 3 tappe ma può essere anche frequentato autonomamente.



SOSPESO, date da definirsi
ogni mercoledì dalle 19.00 alle 22.00 (con pausa di 15’)

Ci proviamo? 6 tuffi del corpo nello spazio per chi ha voglia di sperimentare di persona che cos’è una performance. Aperto a tutti.Le lezioni si svolgeranno presso lo sala principale di ZONA K

Costo € 150,00 per 6 lezioni in presenza.

Per informazioni e iscrizioni:
02.97378443 – 393.8767162

Il percorso si attiverà al raggiungimento del numero minimo di partecipanti.
“Dal Vivo!” può essere considerato come il modulo nr.3 di un percorso in 3 tappe ma può essere anche frequentato autonomamente.



Formatasi sia come antropologa che come artista, Marcella Vanzo vive e lavora a Milano. Tramite video, performance, foto e installazioni indaga le diverse dimensioni dell’essere umano, da quella sociale a quella mitica, da quella emotiva a quella politica. Nel suo lavoro realtà e finzione si fondono in una trama fitta che mette in discussione la rappresentazione della realtà.
Nell’ottobre 19 ha fondato The Momentary Now Performance School da ZONA K a Milano e da quest’anno insegna Performance all’Accademia Carrara di Bergamo. Ha ideato un progetto di arte partecipata per i bambini in quarantena durante il Covid19: #squola_pubblica, fatto di laboratori d’arte online interattivi e gratuiti, ospitato anche da Hangar Bicocca con cui continua la collaborazione: #fareinsiemesquola_pubblica è il corso di formazione per insegnanti della scuola primaria che sta avendo luogo ora.
Scrive per Exibart e Artedossier.
Vanzo partecipa regolarmente a mostre collettive e personali in Italia e all’estero, ultimamente: Radical, Fondazione Berengo, Venezia 2019; Festival del paesaggio di Anacapri, 2018; Biennale di Jakarta, 2017; Manifesta11, Zürich, 2016; Nel Mezzo del Mezzo, Palazzo Riso, 2015; Perspectif cinema, Centre Pompidou, 2015. Ha vinto il Premio New York e il premio Acacia Artisti Emergenti.

Un corso di ZONA K con la media partnership di


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 

Bozkurt, Campara, Oglialoro, Tabilio, Venturi
with Rimini Protokoll

A project by ZONA K and Casa degli Artisti

The pandemic emergency led to a division of the social components into systemically relevant and not relevant. For many it was also a psychological polarization: between what is essential and what is superfluous. The artistic professions are not among those socially necessary.

Should we think of a world in which art will no longer play a role? Can we imagine a reality that cancels the existence of art and of those who work there? What relationship can art have with each of us in this state of crisis? Is something that has long since gotten stale about to end? Can such a profound crisis be an opportunity?

PHASE NINE || Urban Solo invites us to ask ourselves these questions in the context of the city. Nine important places for art in Milan – some iconic, others unusual – become the stage for nine audio installations which, through interviews with various experts, are confronted with a provocative question: why does art exist and not nothing?



departure Casa degli Artisti, Corso Garibaldi, 89/A – via Tommaso da Cazzaniga -M2 Moscova-.

Info: urban walk for 1 person – in Italian – closed on Monday
Tickets can be picked up on the day of the walk 15 minutes before the start at Casa degli Artisti, Corso Garibaldi, 89/A – via Tommaso da Cazzaniga -M2 Moscova-.

A document will be requested as a deposit for the use of the navigator.
As this is a route with mandatory stops, the departure time cannot be postponed. The walk takes about 120 minutes and will be covered on foot. The place of arrival is close to the place of departure. It is recommended to wear comfortable and waterproof shoes in case of light rain; in case of heavy rain the event will be canceled.

** Performative action included in “IntercettAzioni” – Artistic Residence Center of Lombardy: a project by Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire, with the contribution of the Lombardy Region, MiBACT and Fondazione Cariplo. **

Artists Ekin Bozkurt, Chiara Campara, Giulia Oglialoro, Riccardo Tabilio and Francesco Venturi Artistic supervision Aljoscha Begrich and Jörg Karrenbauer (Rimini Protokoll) Project management Valentina Kastlunger (ZONA K) Audio coordination and mixing William Geroli Multimedia implementation Stripes Digitus Lab In collaboration with Eataly Smeraldo, Goethe-Institut Milano, Fondazione Giangiacomo Feltrinelli, Giardini in Transito – Giardino Comunitario Lea Garofalo, Anteo Palazzo del Cinema, Piccolo Teatro di Milano Main partner Casa degli Artisti BNP Paribas Thanks to Feltrinelli bookshop in viale Pasubio, Il Barettino in via Solferino, Armonium Galvan Photo Luca Del Pia WithGiuliana Bonifati, Christian Gangitano, Laura Pugno, David Bidussa, Marta Alessandri, Mauro Ferraresi, Silvia Vizzardelli, Wu Ming 2, Palma Rivetti (Mina), Roberta Carpani


Ekin Bozkurt (sound designer), Chiara Campara (filmmaker), Giulia Oglialoro (author, journalist), Riccardo Tabilio (author and dramaturg) and Francesco Venturi (composer) are the artists that the second open call of Casa degli Artisti on the theme “Work” Selected in March 2020 for the artistic project shared with the German collective Rimini Protokoll.

The work, coordinated and followed by Jörg Karrenbauer and Aljoscha Begrich of Rimini Protokoll in the role of mentors, was completely rethought during the months of lockdown. The theme of work remained central, but he decided to focus in particular on work in the world of culture and art, a theme made even more urgent by the crisis caused by the pandemic. It was decided to work precisely on contingency, considering it an opportunity, investigating the changing perception of spaces and cultural operators.

Rimini Protokoll was founded in 2000 by Stefan Kaegi, Helgard Haug and Daniel Wetzel and over the years has collaborated with various constellations of artists. The goal is to expand the means of the theater in order to create new perspectives on reality. Rimini Protokoll avails itself of the collaboration of experts, whose knowledge and skills go beyond the theater, to produce shows, radio productions and urban interventions that often translate urban spaces and social structures into theatrical formats.


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. 


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

14 October – 14 November 2020
FASE NOVE || Assolo Urbano 

Ekin Bozkurt, Chiara Campara, Giulia Oglialoro, Riccardo Tabilio and Francesco Venturi (IT)
with Rimini Protokoll (DE)
a ZONA K and Casa degli Artisti production
[urban walk]

23 – 25 October 2020
Michele Losi / Pleiadi Art Prod. (IT)
[urban walk]

5 – 15 November 2020

a ZONA K production, by CODICEFIONDA (IT)

dramaturgical advice Agrupación Señor Serrano (ES)
[multimedia performance]

18 – 28 November 2020
ENA – Nomen Nescio

Roger Bernat (ES)
with the collaboration of Mar Canet e Varvara Guljajeva
[online collective writing]

23 – 28 November 2020
REALITY? 4 dialogues on theatre and the contemporary 
Sara Chiappori
and Renata Viola

Agrupacion Señor Serrano (ES)
a ZONA K co – production, in collaboration with Tieffe Teatro Menotti Milano

photo: terraproject
edit & graphics: NEO studio



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
[Travelling show]
A ZONA K production in collaboration with Casa degli Artisti

c/o places in the city


22 – 23 October

c/o ZONA K


12 – 13 November

c/o ZONA K


28 – 29November
[multimedia show]
A ZONA K co-production presented in collaboration with Olinda Onlus

c/o TeatroLaCucina


26 – 29 novembre

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



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?



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





Helgard HaugStefan 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.



Created together with a group of students from ITAS Giulio Natta in Milan, The Last Days Before Mars imagines the last minutes on Earth and what we are willing to sacrifice for our dear, sweet, beautiful dying planet.

The Last Minutes Before Mars is a live performance, which includes 360° video, about the exquisite ennui of life on Earth as we speed towards a terrifying future.

It is a criticism of those who suggest that the future of humanity depends on its diffusion throughout the universe. According to the Mammalians it is unlikely that solutions to terrestrial problems can be found on distant planets with hostile conditions. The current obsession with the colonisation of Mars is considered a panic-stricken response to the difficult problems humanity faces on earth: climate change, a collapsing ecosystem and the fact that many scientists believe that we are in the midst of another mass extinction of life on Earth, etc. But rather than trying to overcome our problems and probably produce a whole new set of even more difficult problems, it might be better to settle down and understand how to “terraform” the earth, making it a more hospitable habitat for humans and all others lives we rely on. Why make Mars more like Earth when there is the task of making Earth more like Earth?

NATIONAL PREMIERE for the Theatre Season 2020 REALITY



A project by ZONA K and FOG Triennale Milano Performing Arts.

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

c/o ZONA K

Info: multimedia performance

Ticket price: to be decided

Membership card 2020: €2,00

Not part of the subscription shows



Director & Concept: Darren O’Donnell, Co-Director & Video Director: Konstantin Bock, Co-devising team: Darren O’Donnell, Konstantin Bock, Alice Fleming, Tina Fance, Chiara Prodi, Sorcha Gibbson, Kiera O’Brien, Thule Van Den Dam, Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Morena Marra, Genny De Leon, Elisa Fasiello, Mervin Fajardo, Performed by: Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Morena Marra, Genny De Leon, Elisa Fasiello, Mervin Fajardo, Producers: Tina Fance, Chiara Prodi, Alice Fleming, Set Design: Sorcha Gibson, Music Composition: Isola, 360 Expert: Fi Nicholson, Co-produced by: ZONA K and FOG Triennale Milano Performing Arts, Thanks to: Stephen O’Connel, Fi Nicholson, Letizia Gozzini from Itas Giulio Natta, Development support from the Australian Council for the Arts and the Goethe Insitute Toronto, The performance is supported by the Canada Council of the Arts


Mammalian Diving Reflex is a Toronto-based company known for its intellectually stimulating performance. Founded in 1993 under the artistic direction of the writer and director Darren O’Donnell, Mammalian Diving Reflex reflects on the private and social dimension of language, thought and information. The company has produced various projects in Canada, Japan, Australia, Singapore, India, the United States, Ireland, England and many other European countries. Their projects include Diplomatic Immunities, pppeeeaaaccceee, The Children’s Choice Awards, Who Shot Jacques Lacan?, Dare Night, Slow Dance with Teacher, Nightwalks with Teenagers, and Haircuts by Children. The company’s artistic style recognises a performative dimension in every daily gesture and explores aesthetics and society, creating unusual alliances between the world of art and that of young people. Mammalian Diving Reflex’s research takes the form of performances, collective experiences, theoretical texts and happenings.


The season REALITY as it was planned and presented in February 2020 has been cancelled as per the regional order of 04/03/20. The season has been rescheduled as REALITY?.


You don’t want to do a philosophical analysis of realism, neo-realism, modernity and post-modernism.
Neither simplify an English word that by now has entered the common Italian vocabulary and sees Reality only and solely linked to show.

For us, Reality is simply, and perhaps trivially, the reality. That reality which keeps us anchored to the present day, to its observation, to its analysis, to its interpretation. It is the reality of the facts, the matter of reality, which we believe to exist despite the disorientation caused by the overload of information, despite the spread of “fake news”, despite shameless political propaganda that fears neither self-contradiction nor the explicit lie.

It is that reality that in 2018, with the rise of populist movements and a new form of power that disdained knowledge but was built on communication, made us think of Power. That same reality that the following year with Economy led us to turn our gaze to the economic world, its excesses and its distortions.

And it is always the reality that, at the end of the three-year period with Reality, takes the place of honour and, after two years of glossy and metaphorical images, invade with its power, as a quick overview of global reality. An overview that questions the meaning of the world and would like to be “cosmopolitan” following the thought of the German sociologist Ulrich Beck who spoke of the need for a “daily look, vigilant at history, reflective, which arises in an environment in which borders, differences and cultural contradictions vanish […] “.

GLOBAL, VIRTUAL and HUMAN are the three focuses that accompany the season, keys of interpretation to explore the current framework of contemporary society. Three focuses and not four as in previous years, to give more unity and coherence to the autumn programme and to allow a longer holding of some shows.

At the closing, not only of 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 discussion on how we view the future of the theatre in relation to the reality.

An important opportunity to take stock of the current situation in Europe but also to bring up new issues and questions. For the occasion, we’ll invite some of the artists we hosted over the years, and the representatives and critics that are the most sensitive to this topic.


15 February 2020
[dance performance]
presented in collaboration with and c/o Casa degli Artisti


FOCUS GLOBAL 27 February – 22 March 2020

27 – 28 February 2020

14 – 15 March 2020

21 – 22 March 2020
[show with headset]



2 – 3 April 2020
[multidisciplinary theatre documentary]
presented in collaboration with Fattoria Vittadini c/o Spazio Fattoria

22 – 24 May 2020
[multimedia performance]
a ZONA K and FOG Triennale Milano Performing Arts project

13 – 14 and 16 – 17 May 2020
PLAY ME (Origins Project)
[multimedia performance]
A ZONA K project


FOCUS HUMAN Octobre – Novembre 2020

start October – end November 2020
[travelling urban performance]
A  ZONA K project in collaboration with Casa degli Artisti
c/o places in the city

22 – 23 October 2020

12 – 13 Novembre 2020
M. Anderson, I. Kralj THEATRE GIGANTE (USA) and

28 – 29 Novembre 2020
[multimedia show]
A ZONA K co-production presented in collaboration with Olinda Onlus
c/o TeatroLaCucina

Novembre 2020


The artists in residence during 2020 are:
Anna Serlenga (IT)
Guinea Pigs (IT)
Muna Mussie (IT)
Yan Duyvendak (CH)
Mats Staub (DE)
Michele Losi (IT)
+ the winner of the IntercettAzioni contest 2020


photo ©Michele Borzoni / TerraProject


The season REALITY is a ZONA K project – Subject of regional relevance of the Lombardy region – With support of MIBACT Ministero dei beni e delle attività culturali e del turismo, ORA! Compagnia di San Paolo – With the patronage of the Comune di Milano, the Belgian embassy in Rome, Istituto Cervantes Milano, Goethe Institut, Italian embassy in Canada – In collaboration with Casa degli Artisti, Fattoria Vittadini, Triennale Milano, Olinda, Stratagemmi, Mare culturale urbano, Claps Circuito Lombardia Arti Performative, Industria Scenica, Teatro delle Moire, Milano Musica – Communication partner: Profili, Neo Studio



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 HystrioConcerto 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.

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′


+39 02 39820636 | +39 338 8139995 |
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.


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


+39 02 39820636 | +39 338 8139995 |
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)

Andy Field (GB)

“One-to-one performance is like knocking on a stranger’s door (…) unsure of what I will find on the other side, what world I will stumble into and what worlds will stumble into me”.

Andy Field’s works are unusually formal and interactive, inviting us to consider our relationships with the spaces we inhabit and the people around us.  Over the years he has created art projects in theatres, galleries, warehouses, multi-storey car parks and city streets.

His interactive performances are designed to involve different audiences: whole families, as in the case of the successful Curious Creatures presented at the Natural History Museum in London, which saw, in 5 days, over 6,000 participants, or involving the individual spectator, as in the case of Lookout, a one-to-one and site-specific performance made in collaboration with a local primary school.

Co-director of the arts organisation Forest Fringe, he is also a guest lecturer at Royal Holloway University and the author of publications for The Guardian, The Stage and Contemporary Theatre Review.

Young and eclectic Andy Field devotes a significant part of his work to the active involvement of young and very young people.


Meeting organised with the support of the British Council.
In English with translation




The cost of money, rating, interest taxes, inflation, deflation, investments, stock market trading, bitcoin …

Financial inclusion passes also from literacy. In Nepal – where approximately 18% of the population is completely excluded from the banking system – Prakash Koirala provides financial education services to inform, involve, motivate and promote responsibility among consumers towards financial independence and discipline.

Would it be necessary to do this elsewhere too?

Today the most recent statistics state that 62% of the wealthiest individuals in the world possess the same wealth as the poorest half of the planet and the global economy gurus imagine a “globalization” 4.0 in favor of a more human-centric growth, more sustainable, more inclusive.

With what means and instruments?

A focus MONEY and four shows that discuss money are our answer. Four different ways to tackle a complex theme from different perspectives.


22 – 23 February 2019
The Money

5 March 2019
Money makes happiness
curated by Q Code Mag

15 – 16 March 2019
Mio cugino (limited edition)

22 – 23 March 2019
£¥€$ (Lies)

31 March 2019
Trials of Money (preliminary hearing)




Kaleider (UK)

The Money is a cross between a game and a play.
You can choose to be a Silent Witness and watch or a Player and take part in deciding how to spend a real amount of money.

As a Player you can express yourself as you wish. But you must reach an agreement with your teammates before time runs out and by following the rules you will be given. If these conditions are not met, the money goes to the next group of players.
Silent Witnesses can join the Player group at any time and this can change everything.

The playful premise of this celebrated work sets the stage for one of the most memorable conversations you’ll ever witness, as altruism actually soon turns to self-interest, everyone’s personalities clash, and hierarchies are turned upside down.

The results can lead to tensions as in a thriller, or they can be ridiculed as in a farce, but in the end what is asked is: are there really any values we can agree on? Is the most valuable thing of all the common understanding? Finally, what is the most interesting thing we can do together that we can’t escape?


Game|Show – in Italian


Production: Kaleider Concept and Direction: Seth Honnor Artistic Collaboration: Alice Tatton-Brown Production Manager: Jay Kerry Performers: Gemma Paintin, Hanora Kamen, Gilda Deianira Ciao Photos: Prudence Upton

Ontroerend Goed (BE)

“The best way to rob a bank is to own one.” (William K. Black, American lawyer and lecturer specializing in financial crimes)

A casino, an illegal poker backroom to experience the thrill of being part of the elite 1% of the population that makes the world economy go round. There is no more time for ethics, you are in it to win it. In this den of intrigue and trading, it’s the adrenaline and investment decisions – not the roll of the dice – that count. What does your credit rating look like?
Who gets bailed out, who gets junk status, who implodes? Are you really in control or are you taking a gamble? Award-winning Belgian collective Ontroerend Goed provides insight into the complexities of the monetary system and its impact on our lives, immersing audiences in the financial world and allowing them to become players in the “game” of high-absorption capitalism.



Play|Show for 42 viewers – in English

“Play produced as part of the Teen Time project.”


Direction: Alexander Devriendt Script: Joeri Smet, Angelo Tijssens, Karolien De Bleser, Alexander Devriendt & cast Lyrics: Joeri Smet Cast: Max Wind, Britt Bakker Costumes: Astrid Peeters Music: Johannes Genard Set design: vormen & Nick Mattan Dramaturgy: Koba Ryckewaert, Julie Behaegel (intern/stagiaire) Production: David Bauwens Production assistant: Charlotte Nyota Bischop Co-production: Vooruit Kunstencentrum, Ghent (BE), Theatre Royal, Plymouth (UK), Richard Jordan Productions (UK) Thanks to: Toneelacademie Maastricht (NL), Khalid Koujili, Maria Dafneros, Miriam Matthys, Tamara Searle, Jeffrey Caen, Ruud Vanderheyden, Bram Billiet, Thomas Dhanens, Bo Marlijnen, Louiza Vande Woestyne With the support of the Flemish Community, the Province of East-Flanders and the City of Ghent


The Belgian collective Ontroerend Goed, under the artistic direction of Alexander Devriendt, creates projects and scenic devices based on the here and now, inviting the audience to participate and have an intense experience. The group has won numerous awards in Europe and their works are represented in major festivals around the world. Ontroerend Goed creates and realizes scenic devices that lead the viewer to question how we, as individuals, position ourselves in today’s world. Either way, whether it’s tracing the history of the universe in one evening, turning viewers into voters, guiding strangers through a labyrinth of mirrors and avatars to meet each other, the collective has made it their trademark to be unpredictable in content and form every time. Ontroerend Goed are: Alexander Devriendt, Joeri Smet, Charlotte De Bruyne, Karolien De Bleser, Angelo Tijssens, David Bauwens, Wim Smet, Babette Poncelet and Karen Van Ginderachter.


Already in the 1930s, Keyens sustained that the true challenge that needs to be overcome is the reconnection of economy and society in an intelligent and non regressive manner.

After a century and another devastating economic crisis, it is understandable to wonder if a mediation between the modernizing push of progress and the needs of society is still possible.

The populist movements of today – whether guided from above or born spontaneously from the bottom – embody a diffused indisposition that contests blocked social hierarchies, as well as stationary social elevators, concentration of richness that is increasingly evident and that no longer allows for the possibility of the acquisition of well being and security in the same way it was assured in the past.

Nonetheless in a panorama so desolating and confused, the voices of those reclaiming the humanistic side of the economy, a social science that needs to occupy itself with the wellbeing of man in the “interest of stability and social justice”, are not missing.

The focus crosses various visions – ironic, disillusioned, worried – of today’s society, that is founded on economy and in which you’ll drown.


5 May 2019
[itinerant performance]

21 – 22 May 2019

24 – 25 May2019

28 – 29 May 2019
Human animal. Liberamente tratto da “il re e pallido” di D.F. Wallace




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).


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.



11 – 14, 16 and 18 – 20 

16 October 2019

19 – 20 October 2019
LOOKOUT “a one on one meeting with a city view”

23 October 2019
[meeting] by Q Code Magazine

26 – 27 October 2019
[performance] c/o TeatroLaCucina




Elisabetta Consonni (IT)

Winner Project OPEN call /// CONTEMPORARY [URBAN] CREATION 2019 – new production

“The first man who, having fenced a piece of land, thought to say ‘this is mine’ and found people stupid enough to believe him, was the true founder of civil society. How many crimes, how many wars, how many murders, how many miseries and errors he would have spared mankind” (J.J. Russeau, Origin of Inequality, 1754).

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


Itinerant urban game – in Italian


A project by Elisabetta Consonni In collaboration with Cristina Pancini, Sara Catellani and Barbara Stimoli 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) With the consultancy of Adriano Cancelleri A production: Pergine Festival Co-production ZONA K, In\Visible Cities/Contaminazioni digitali, Terni Festival


Elisabetta Consonni has been active in the reflection and practice of how art can be a detonator of social change since 2014 with Ergonomica, a research container for the relationship of the body with urban space. As part of this research, she accompanies the theoretical study to the realization of actions such as: “We want to become architecture” and “Go with the flow” (Poland, 2014), the choreographed construction of “Pompenpurg Park” (Rotterdam, Architecture Biennale 2014), “Zeno’s second Paradox” (Milan, 2016), “Enough Space for the Tenderest of Attentions” (project for the Dance Biennale 2016). He curated the symposium Spazio Ergonomico at the Biennale Danza 2016.

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.

Andy Field (GB)

“A one-to-one meeting with a view of the city”.

Created in collaboration with a local school, Lookout is a one-to-one meeting between an adult, from the audience, and a child. An exchange between two people, who might not normally meet, that takes place on top of a building in Milan where together they look down on the city and imagine the future.
The conversation they share is a quiet journey through the past, present and future guided by the streets and landmarks laid out in front of them.
Through dreams of utopian architecture and possible catastrophes, hopes and fears, fashions of the future, proposed demolitions and real and imagined advances, they explore two very different versions of the city they both live in.

Lookout is an attempt to consider the big questions in a small way, to rediscover with a different gaze our Milan that we normally call home.
This version was developed through a workshop with the pupils of the third grade class of the I.C. Vittorio Locchi in Milan, who take part in the performance.

So far Lookout has been presented in: England, New Zealand, Egypt, Lithuania, Estonia, China, Shanghai, Vancouver. This version has been developed through a workshop with the fourth grade students of I.C. Vittorio Locchi in Milan who take part in the performance.


A project ZONA K and STANZE

c/o covered terrace Best Western Hotel Blaise & Francis, Via Enrico Annibale Butti, 9 (Dergano district).


Concept Andy Field Production Beckie Darlington Music and sound Tom Parkinson Dramaturgy Sybille Peters With the extraordinary participation of Class IVB I.C. Vittorio Locchi via Passerini: FRANCESCO, YAMAL, CRISTIAN, OLIVIA, DAVIDE C., DAVIDE D., ARAME, ADAM, RAHUL, KSENIA, MATTEO, ALESSANDRA, ANNA, LEONARDO, SABRINA, FEDERICO, BRIANA, VICTOR


Andy Field is an artist, writer and art curator based in London. He creates projects that aim to consider our relationships both with the spaces we inhabit and the people around us. He works primarily with children and young people. He has created interactive projects for families at the Natural History Museum in London, the Southbank Centre and the Arnolfini Gallery in Bristol. He is co-director of the Forest Fringe and writes for The Guardian and The Stage and Contemporary Theatre Review.



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 HoemskeRicerca: 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.




Cinzia Pietribiasi (IT)

During her residency at ZONA K, Cinzia Pietribiasi worked on a project she had been imagining for some time: a performance that could tell the story of a relationship. That of a daughter with her father. No representation, no characters: a story that is not told but rather traversed. The narration proceeds in fragments, images from memory, historical events and covers a period of time from 1979 to 1992. But Father of Love Father of Mud is present life. The spectators are summoned to be witnesses of an act of love that takes place in the creative process and ultimately in the performance itself. If there is a meaning, the only salvation lies in a collective hymn to life.


Digital performance and intermediate installation


by Cinzia Pietribiasi production Company Pietribiasi/Tedeschi co-production DAF Teatro dell’Esatta Fantasia 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) performer Cinzia Pietribiasi sounds Giorgia Pietribiasi images Ayanta Noviello, Cinzia Pietribiasi scenes Giulia Drogo odours Marco Ceravolo light design Davide Cavandoli assistant performer Lidia Zanelli dramaturgical consultancy Pierluigi Tedeschi audio editing Alfredo De Vincentiis stage photos Pietro Baroni Thanks to Stefan Kaegi for tutoring, for advice and suggestions Lola Arias, Alina Marazzi, Franco Ripa di Meana, Filippo Ceredi, Lorenzo Belardinelli We would also like to thank Spazio Quarantanove and Via Roma Zero in Reggio Emilia, Unzalab in Milan, Alfonso Burzacchiello


Cinzia Pietribiasi, multidisciplinary and multimedia performance artist, was born in Vicenza in 1979. Today she lives in Emilia. She uses multimedia, especially video language and techniques, both as an artist and in her workshops with primary and secondary school students and psychiatric users. She obtained a master’s degree in Conservation of Cultural Heritage, a university master’s degree in Clown Therapy and a university master’s degree in theatre techniques as a tool for educational activities. She is currently enrolled in the two-year specialist course in New Technologies of Art at the Brera Academy of Fine Arts in Milan. In 2012, her solo “Io sono qui” was among the semi-finalists of Premio Gd’A Emilia Romagna. In the same year he founded the Pietribiasi/Tedeschi Company, an independent and self-produced company whose productions range from multimedia theatre to civil theatre.



“Intercettazioni” – Centro di Residenza Artistica della Lombardia: a project by Circuito CLAPS and Industria Scenica, Milano Musica, Teatro delle Moire, ZONA K, with the contribution of Regione Lombardia, MiBAC and Fondazione Cariplo.

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”.



On the date of December 31, 1982, Isaac Asimov wrote in the Toronto Star newspaper. He narrated about how the world would have been in 2019. The focus being on if humanity will have survived a nuclear war, or how technology and IT innovation would have radically changed our way of living and working. The people of 2019 would have just been working on developing and studying implications of Artificial Intelligence and its applications.

Surely, for so many aspects he was right. Nowadays, AI is already part of our reality: domotic or home automation, siri, autonomous vehicles, robots. Are all of these simply tools that can guarantee people more free time and freedom or could they become dangerous antagonists of humankind in a near future? Is it possible that a machine develops wishes and could be looking for its own power or to substitute its own creator?

Scientists and experts are divided, some see such dangers as very probable, while others as not possible. We are not taking a position on this, but we are focusing on how smart technologies are already significantly affecting our life and how we interface with the world.

Is it all just about economic benefits, simplifications, working opportunities not possible before? Or should we also account for the fact that, under the surface of the friendly AI, there are hidden algorithms that already control the vast majority of the global financial transactions……social networks, news credibility, our world vision, as well as the mood – positive or negative – of billions of human beings, that can forecast human behavior and, based on such data, send out personalized promotional ads, manipulate minds, suggest actions to humans unaware of it all” (Luca De Biase)?


8 – 10 November 2019

22 – 24 November 2019

A ZONA K and Teatro Franco Parenti project
[show] c/o Teatro Franco Parenti


  • 21 – 22 November 2019
  • 29 – 30 November 2019
  • 6 – 10 December 2019
    [performance] c/o Sala delle adunanze dell’Istituto Lombardo, via Brera 28 


Mammalian Diving Reflex
Darren O’Donnell (CA)

“You do not have to answer”

In this performance, 8 teenagers will pose questions to famous public figures of the city (politicians, intellectuals, artists) on their juvenile mischief and wrongdoings. The teens can ask any type of question and those questioned can refuse to answer.

For the FIRST NIGHT, the guests will be:  Lorenzo Piccolo (Nina’s Drag Queens), NERONEIra Rubini di Radio Popolare and Andrée Ruth Shammah (Teatro Franco Parenti).

The canadian group works towards the break down of the generational gap in a direct and non conventional wat. The two groups will see if they are able to connect, even if its only with their fingertips, and together they will have a very sincere discussion on three of the most confusing arguments in the universe: sex, drugs and criminality.


In Italian




Concept and direction: Darren O’Donnell. Co-directed by: Tina Fance, Kiera O’Brien, Virginia Antonipillai, Sanjay Ratnan. Executive producer: Eva Verity, Tina Fance. Production: ZONA K. Photo: Martin-Steffen. 
This presentation of Theentalitarianism is made possible in part through the support of the Canada Council for the Arts and the Ontario Arts Council



Rimini Protokoll (DE/CH)

Rimini Protokoll [Haug/Kaegi/Wetzel] production.

What is Europe really? A geographical border, a cultural identity, a coalition of states? It is often said that Europe is too theoretical an idea for individuals to talk about from their own experience. Rimini Protokoll contrasts this abstract idea of Europe with the individuality and intimacy of a private flat. 15 people take part in a living room performance, a sort of guided role play, which interweaves personal stories and political mechanisms of Europe in an attempt to answer the question: how much Europe is in all of us?



Each show takes place in a different house, travelling through hundreds of flats all over Europe, building a network that extends from door to door across the continent rather than starting from a centre.

The elements and images collected during the visits will be shared, anonymously, online at, thus implementing a constantly developing European archive.


In collaboration with STANZE

c/o private houses in the city of Milan
The exact address will be communicated by sms the day before the beginning of the show.

30 September h. 20.00 + 1 October 2017 h. 17.00
then every Wednesday and Thursday from 4 to 26 October 2017 h. 20.00

30 settembre: ZONA ISOLA esaurita
1 ottobre: ZONA CENTRALE
4 ottobre: ZONA BOVISA esaurita
5 ottobre: ZONA NAVIGLI esaurita
11 ottobre: ZONA DERGANO esaurita
12 ottobre: ZONA P.TA ROMANA esaurita
18 ottobre: ZONA GARIBALDI esaurita
19 ottobre: ZONA CENTRALE esaurita
25 ottobre: ZONA GARIBALDI esaurita
26 ottobre: in via di definizione esaurita



Conception, text, direction: Helgard Haug, Stefan Kaegi, Daniel Wetzel Dramaturgy: Katja Hagedorn Interaction Design: Claes Schwennen, Mirko Dietrich, Hans Leser, Grit Schuster Assistant Interaction Design: Philipp Arnold Set Design: Lena Mody, Belle Santos Assistant Set Design: Ran Chai Bar-zvi Production: Juliane Männel, Anna Florin Technical Direction: Sven Nichterlein Web Design: Tawan Arun + Ralph Gowers (Programming) Artistic Collaboration Tour Milano: Anton Rose, Claes Schwennen Web Editing: Anton Rose Photo credits: © Rimini Protokoll / Illustration: María José Aquila, © Pigi Psimenou, © Expanderfilms, © Pigi Psimenou, © Expander films
For Milan: readaptation text Valentina Kastlunger, masters of ceremony Andrea Panigatti and Enrico Pittaluga (Generazione Disagio), technical support Alice Marinoni, Silvia Orlandi

Home Visit Europe is a production of Rimini Apparat. In coproduction with Archa Theatre Prague (CZ). BIT Teatergarasjen/Bergen International Festival (NO). Frascati Teater Amsterdam (NL). HAU Hebbel am Ufer Berlin (D). Kaaitheater Brussels (BE). LIFT London (GB). Malta Festival Poznan (PL). Mungo Park (DK). Sort/Hvid (DK). Teater Nordkraft (DK). Théâtre de la Commune Aubervilliers (FR). Théâtre Garonne (FR). Teatro Maria Matos (PT). A House on Fire commission / co-production with the support of the Cultural Program of the European Union. The project is supported by Capital Culture Fund Berlin.



Rimini Protokoll is today perhaps the most awarded artistic collective in Europe and a fundamental point of reference for all avant-garde theatre. Its members, Helgard Haug, Stefan Kaegi and Daniel Wetzel, came together in 2000 to form a collective of writer-directors. Since 2002, all their works – plays, radio plays, films and installations – have been signed Rimini-Protokoll. The focus of their research is the development of the expressive means of theatre to provoke new looks at reality. Each work draws on real life and uses elements and people from concrete situations and specific places. Thus Haug, Kaegi and Wetzel proclaim a general assembly of Daimler-Benz a play and, in doing so, transform it into one; they realise the 100% City project by bringing 100 real citizens onto the stage as a statistical sample to represent, among others, cities such as Berlin, Zurich, London, Melbourne, Copenhagen or San Diego. Or they go on tour with a group of Nigerian-European businessmen for the Lagos Business Angels project and with the paraplegic MC Hallwachs for the play Qualitätskontrolle (Haug / Wetzel) or create soundtracks for the most diverse cities in the world with the REMOTE X project (Kaegi). In April 2008 they won the European Theatre Prize in Thessaloniki in the category “New Realities”, and in 2011 the entire work of Rimini-Protokoll was awarded the Silver Lion at the 41. Venice Theatre Biennale.

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, 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


Christophe Meierhans (CH/BE)

Some use for your broken clay pots is a performance that involves the audience in a collective debate lasting about two hours, around an imaginary democratic system that the performer tries to “sell” to his audience as a better alternative to our current democratic regimes.

The script of the performance is a real constitutional book imagined for a democratic state, made available to the audience during the performance. This constitution and the democratic institutions it prescribes were developed and written in close collaboration with a team of jurists from several Belgian universities.

It is a work of ‘constitutional fantasy’ that includes all the organs, procedures, assemblies, rules and regulations necessary to define a complete democratic system that is, in theory, functional. It was developed with the intention of producing something as different as possible from our current regulations, to discuss what democracy represents using a possible logic of defence from the public, through a method that is as rational and strong as possible.



Some use for your broken clay pots is thus an exercise in constitutional creativity. Challenging the ability to imagine an alternative to our current (universally understood) political system, artist and spectators together confront the limits of our understanding of democracy, experimenting with an amusing, surreal and highly topical idea of participatory performance.


In Italian


Conceived, directed and with: Christophe Meierhans Dramaturgy: Bart Capelle in collaboration with: Rudi Laermans Advising team: Anne-Emmanuelle Bourgaux(ULB), Rudi Laermans(KU),Jean-Benoît Pilet(ULB),Dave Sinardet(VUB) Constitutional jurist: Anne-Emmanuelle Bourgaux Scenography: Sofie Durnez Conception & graphic design publication: The Theatre of Operations Illustration: Nuno Pinto Da Cruz Co-production: Kaaitheater(Brussels), Workspace Brussels, Vooruit Arts Centre (Ghent), Teatro Maria Matos (Lisbon), BIT Teatergarasjen (Bergen), Kunstenfestivaldesarts (Brussels) Production: Mokum / Hiros with the support of: de Vlaamse Gemeenschapscommissie & Government of Flanders Production Italian version: ON (Bologna) with the participation of Festival di Santarcangelo (2015)



Christophe Meierhans (Geneva; Brussels) works with and through performance, public space, installation, sound, music and video. His work mainly consists of developing strategies of intervention in everyday life, through the manipulation of accepted conventions, social habits or simple customs. Fragments of reality become the framework for artistic operations that redirect banality in order to make it reappear from unexpected angles. His work raises questions about norms and conventions, confusing a random context with different ones, and confronting the viewer with something else, with the strangeness of being in the “wrong” place, or the possibility that the place may become something different. In 2015, he presented the project Some use for your broken clay pots at Santarcangelo.



In 1988, Gorbachev saw in the Great European House, founded on democratic values even before economic values, the idea and the direction to be followed for the construction of a great European continent.

Thirty years later, the great expectations seem to have imploded and the new ‘great sickness’ is increasingly the victim of populist attacks.

How many ‘exits’ await us? Is this then the result of democracy?

There are those who say that voting no longer leads to anything, that power now lies elsewhere, in the upper echelons of the economic powers. There are those who believe, instead, that it is still possible to make a difference. Demographic and sociological analyses show that the categories most at risk (the poor, the unemployed, the elderly) are the most distant from the ballot box, and that the spread of democracy is leading to an ever-widening economic gap in society.

So where does democracy lie? In complex bureaucratic institutions with no direct relationship with the citizens, but who nonetheless adorn themselves with the name of representatives of the people, or in the voice of new nationalist and revanchist barkers with no vision of the future?

“Tocqueville said: “To go forward, one must learn to look far. We want to try to look far ahead, with the disruptive force that only the artistic imagination can have. We want to seek affinities, accept changes, broaden our view by testing alternatives that are more or less possible in view of the future, not only the immediate future, but also the more distant future.



The events:

17 – 18 March 2017 h. 20.30
Christophe Meierhans (CH/BE)


17 – 30 March 2017 h. 10.00 – 19.00 (Mon – Fri)
Poster(s) from pro-EU/anti-Brexit campaing!
Wolfgang Tillmans
[photo exhibition]

19 March 2017 h. 18.30
[incontro con aperitivo ]

19 March 2017 h. 20.30

from 23 March every Thursday until 15 June 2017 h. 20.30
di Rimini Protokoll (DE/CH)

[theatrical board game for 15 spectators c/o private houses]
In collaboration with STANZE .

29 – 30 March 2017 h. 20.30
INTIME FREMDE di Welcome Project (DE)



Eventi KIDS

19 March 2017 h. 11.00
THE MOVIE BAND La democrazia si fa musica
organised by ZONA K with Francesca Badalini and Monica Galassi
[workshop 4 – 7 years]

26 March 2017 at 17.00
by Rimini Protokoll (Haug/Kaegi/Wetzel) (DE/CH)
[theatrical board game for 15 people – 11<14 years + adults c/o private houses]
In collaboration with STANZE 



Agrupación Señor Serrano

From the leading group of the Catalan scene, Silver Lion at the 2015 Venice Biennale.

Katastrophe is a contemporary fable about ecology and man-made disasters, skilfully told with video, irony and pop ideas. On stage are four performers, eleven scale models and hundreds of gummy bears that suffer earthquakes, oil spills, wars and other disasters.

ZONA K therefore proposes the Sunday afternoon repetition thinking also for families.



The show is wordless, with small text projections in Italian.
Suitable for an audience of 7+ year olds, teenagers and adults.


Conceived by Àlex Serrano and Pau Palacios; performance Àlex Serrano, Diego Anido, Jordi Soler and Pau Palacios; project manager Barbara Bloin; a production Agrupación Señor Serrano and Festival Hybrides de Montpellier; with the support of INAEM;

Agrupación Señor Serrano

Flocks of migratory birds forming indecipherable patterns in the sky. Movement. Life. Nothing in the cosmos stands still.
What is the point of building walls and fences to stop the flocks of birds?

Birdie compares two mirages.
On the one hand, welfare, respect for human rights, prosperity, easy movement of information and capital.
On the other, wars, exploitation, persecution, obstacles for migrants.

A multimedia show, visionary and rational at the same time, which deals with the evolution and survival of mankind with a critical spirit and wit in a clever composition of live performances, live video footage, scale models, art films and newspaper cuttings.

From the leading group of the Catalan scene, Silver Lion at the 2015 Venice Biennale.




In English, with Italian subtitles.
The show will be held at TeatroLaCucina, ex Psychiatric Hospital Paolo Pini
(via Ippocrate 45 – MM3 FN Affori, NB exit via Ciccotti)


In collaboration with OLINDA

Creation Àlex Serrano, Pau Palacios, Ferran Dordal; performance Àlex Serrano, Pau Palacios, Alberto Barberá; project manager Barbara Bloin; production GREC Festival de Barcelona, Fabrique de Théâtre – Service des Arts de la Scène de la Province de Hainaut, Festival TNT – Terrassa Noves Tendències, Monty Kultuurfaktorij, Konfrontacje Teatralne Festival; sponsor miniature animals Safari Ltd;


A dramaturgical and performative research on the writings that appear and disappear from city walls.

A collection that composes new dramaturgies of otherwise fleeting expressions and transforms visual messages into performative gestures. An artistic operation where the theatrical language acts in close contact with the sound arts and where the dynamics of the urban landscape become scenic material.

Ateliersi focuses its gaze on the inhabited street, on the engravings of anonymous authors, where the boundary between public and private emerges mobile and indefinite.

Where: Key Gallery, Via Pietro Borsieri 12
The show is also included in the programme of Isola Kult Festival.


by and with Fiorenza Menni and Andrea Mochi Sismondi original music performed by Mauro Sommavilla (guitar)


Shakespeare’s Hamlet and his inability to act give life to Hamlet Private: a confidential, close Hamlet that abandons the traditional theatrical context and welcomes every single spectator in the intimacy of a coffee shop to give shape to a confidential relationship between spectator and performer.

A private and exclusive experience in which the spectator has the possibility to explore and investigate his own life and doubts through tarot cards.

Hamlet’s questions become our questions, his hesitation our hesitation and the spectator finds himself, at the table of a bar, rediscovering Hamlet, contemporary man and abyss of questions.




When: from 23 to 25 September and 23 October, 13 and 27 November 2016 h. 17.00 , 18.00, 19,00 e 20.00
Where: Type Bistrot, Via Pietro Borsieri 34
Also 2 October 2016 h. 17.00 p.m. – 21.00 starting every hour, at Carpe Diem Café, Corso Garibaldi 26

The show is also included in the programme of Isola Kult and Garbaldi Kult Festival*.


script and direction Martina Marti; artistic advice Michele Losi (Pleiadi Art Productions); actors Giulietta Debernardi, Marco Mazza, visual design and photography Erno Raitanen; production and translation manager Angelica Maran; production ScarlattineTeatro/Campsirago Residenza and Gnab Collective; with the support of MIBAC, Regione Lombardia, Fondazione Cariplo, Kone Foundation, Arts Council of Finland, Swedish Cultural Foundation in Finland, Performance Center Eskus, City of Helsinki Cultural Office; © original version 2012 Martina Marti, Marion Maisano & Cécile Orblin

ZONA K’S PerformingLab

Organised by the participants in the ZONA K PerformingLab artistic coordination – Renzo Francabandera and Michela Mastroianni.

“Do you feel like a civilized person? Then participate in our performative path to become a Metropolitan Hero 2016”.

Citizens who day after day persist in carrying out small great actions of civility in their practice of life, work and idleness.
We will give the best ones the status they deserve.

Aspiring metropolitan heroes should send their applications to the email addresses below or via the ‘Metropolitan Hero Award’ Facebook page. Candidates will be selected along the way and will demonstrate their heroic skills and characteristics to a jury of peers.

Individual heroes or groups can apply.

Free participation. Reservation required.
Admission by reservation at the beginning of every hour from 11.00 to 19.00.

At the end of the evening, heroic party with all participants and nomination of the winner.
Dress code for the occasion: heroic knickers over trousers and cape!




persone che abitano il quartiere ISOLA o che  frequentino/conoscano la zona limitrofa alla stazione Garibaldi.

Non è necessariamente richiesta alcuna conoscenza specifica performativa.

SOLO è aperto a tutti. E’ richiesta una buona dimestichezza nell’uso dei telefoni cellulari.
La partecipazione è gratuita.


SOLO è un progetto site-specific ed è progettato di volta in volta in luoghi differenti, spazi pubblici come ad esempio le Grandi Stazioni, luoghi complessi di transito e circolazione, vissuti da persone legate a ritmiche e tempi di percorrenza precisi.

Il lavoro del partecipante è quello di mettersi in relazione a questa complessità per generare uno sguardo alternativo su un luogo conosciuto e accessibile a tutti, senza imporre così una visione unica delle cose.

Usando i telefoni cellulari per mettersi in comunicazione col pubblico, il lavoro crea ambiguità tra realtà e finzione. Gli stessi partecipanti/performer sono nella posizione di non sapere inizialmente chi sia lo spettatore, ma seguono un codice di azioni che permetterà loro di intuirlo mano a mano, e di guidare così il suo sguardo e le sue direzioni.


E’ un progetto fondato a Milano nel 2009 da Francesca De Isabella e Sara Leghissa.
Strasse lavora sul linguaggio performativo legato all’espressione del corpo in relazione al paesaggio urbano, e sul linguaggio cinematografico come filtro di osservazione della realtà.

Il lavoro che Strasse porta avanti genera la possibilità per lo spettatore di trasformare il suo punto di vista sullo spazio e sul contesto in cui l’opera è costruita, permettendogli di vedere ciò che già esiste, al fine di creare cornici sulla scena e sulle cose.



dal 15 al 19 giugno, il 22 e il 29 settembre 2016
Indicare sul modulo di partecipazione la fascia oraria di preferenza.
Per la buona riuscita del progetto, ogni partecipante dovrà garantire la propria disponibilità per tutti i giorni di prova nella fascia oraria scelta.


Presentazioni pubbliche:
dal 23 al 25 settembre, il 29 settembre e l’1 e 2 di ottobre 2016

SOLO verrà presentato al pubblico durante l’ISOLA KULT, il festival culturale del quartiere isola organizzato da ZONA K.
Per la buona riuscita del progetto, ogni partecipante dovrà garantire la propria disponibilità per tutti i giorni delle presentazioni pubbliche, concordate precedendemente con la compagnia.



  • Modulo di partecipazione da compilare in ogni sua parte.
    Il modulo è richiesto anche per i partecipanti minorenni.
  • Qualche riga di motivazione.


Tutta la documentazione dovrà essere inviata via email indicando nell’oggetto “SOLO-Selezioni”.

Per ulteriori informazioni contattare Silvia Orlandi 393.8767162.


pic. by Luca Chiaudano

Le ombre del buio: origini (quasi) nascoste della violenza di genere

Event promoted by Alilò futuro anteriore, Famiglie Arcobaleno, l’Ombelico

h. 20.00 “But the sky is always bluer” video projection of a survey on gender stereotypes for children by Alessandra Ghimenti

h. 20.30 “Componimento sui generi[s]”, theatrical performance, by Alilò futuro anteriore

h. 21.00 Debate with the public led by Stefania Girelli, president of L’Ombelico and Cristiana Ottaviano, sociologist, University of Bergamo

A video enquiry and a theatrical performance to stage a reflection on stereotypes and gender violence.

Using different languages and skills, integrating emotional dimensions and reflective processes, the aim is to investigate those cultural constructs, attitudes and role assumptions that produce discrimination, violence, distorted exercise of power, but also guilt, inadequacy, lack of awareness of the processes of social and cultural change necessary for a co-evolution of men and women.

The event originates from a sociological reflection on the relationship between socialisation and gender stereotypes, initiated at the University of Bergamo and published in the essay by C. Ottaviano and L. Mentasti, Oltre i destini. Attraversamenti del femminile e del maschile, Ediesse, Rome 2015.

Dario Buccino – Ensemble HN

But true is an initiatory journey into sound, the body and the here and now. The performance is based on the HN® System, a musical system invented by Dario Buccino to capture the forces that animate the musical experience. HN stands for hic et nunc.

The four musicians use the voice, a clarinet and four Lamiera HN®, musical instruments inspired by the so-called slab of thunder, the machine for sound effects used in the theatre since the eighteenth century. The Lamiera HN is not a thunder slab but a real musical instrument, played using a performance technique that involves the performer’s entire body and is capable of producing sounds that are at times very delicate and enveloping, at other times so powerful that the audience can feel the movement of air caused by the vibrations of the steel sheet.

The vocal techniques used in the performance took years to be devised and perfected by the composer and performers, and contribute to creating an unprecedented world of sound without the need for any amplification or electronic processing.

The composition is structured according to formal and energetic principles derived from the techniques of Nō theatre, the ancient Japanese art form based on deeply stylised body movements and essential, intense singing.

Ma vero’s audience, seated or lying on mats, is surrounded by the four HN sheets and immersed in almost complete darkness. The experience of silence and sound comes to involve the listener’s entire body as well, guiding his or her mind beyond the ordinary states of consciousness.

The performance was performed regularly for ten consecutive years, until 2006, becoming a cult appointment for the audience, often forced to wait years before seeing their turn on the long waiting list.

“Playing Ma vero is an experience that changes everything. I was part of its creation, sewn by Buccino on us elective performers. It was Ma vero that taught me to do my own thing. I’ll be back to play it, it’s time.” Enrico “Der Maurer” Gabrielli (Vinicio Capossela, Afterhours, PJ Harvey)


Ensemble HN. Dario Buccino: Lamiera HN, voice; Marco Crescimanno: Lamiera HN, voice; Renato Gatto Lamiera HN, voice; Emiliano Turazzi: Lamiera HN, clarinet



Young people today have only one fear: that their dreams will come true. On the misunderstanding of self-reproach. On the resistance to inhabiting and wearing one’s own identity. On androgyny and misrecognition. Towards the neutral. The more perfect the more undefined.

The first experiment for Dehors/Audela of research conceived from the life/work of Claude Cahun, writer, photographer and actress born in 1894 in Nantes, close to the surrealist movement in the 1930s, long forgotten and rediscovered only a few decades ago.
Claude Cahun was a controversial artist who was persecuted because of her homosexuality and her Jewish origins. His whole life/work, undermined by constant attacks and insults, can be defined as a continuous pursuit of a missed identity, conceived as resistance and revolt against any forced identification.

concept Salvatore Insana, Elisa Turco Liveri; stage action Elisa Turco Liveri; images Salvatore Insana; sound Achhn, Osvaldo Cibils, Sebastien Bach Pires (RRR); production Dehors/Audela; with the support of ACS – Abruzzo Circuito Spettacolo/ Electa Creative Arts, Stalker Teatro, L’Estruch, Florian Meta-Teatro; project selected for Nuove Traiettorie XL



Elisa Turco Liveri and Salvatore Insana (Dehors/Audela) met in Rome in 2010, in the Atelier Meta Teatro directed by Pippo Di Marca.
The project they are part of brings together theatre, video art and performance in the sign of a continuous research in which the different artistic codes maintain their specificity and at the same time are capable of generating new forms of expression.
In the name of reciprocal interference, they start from a practice in which, if the body and the action constitute the centre of the dramaturgy, the video too has physical traits, it feeds on the body and becomes an integral part of it on stage.



MDLSX is a sonic device, a lysergic and solitary hymn to the freedom of becoming, to gender b(l)ending, to being other than the borders of the body, the colour of the skin, the imposed nationality, the forced territoriality, the belonging to a homeland.
Philosopher Rosi Braidotti wrote about “belonging open to multiplicities” in On Becoming Europeans, proposing a post-nationalist identity… And it is towards the escape from categories – all of them, including artistic ones – that MDLSX tends.

It is a “scandalous” theatrical journey by Silvia Calderoni who – after 10 years with Motus – ventures into this experiment with the apparent format of the D-j/Vj Set, to begin an exploration of boundaries that will culminate in Black Drama (a tragic musical) in 2017.

Autobiographical shreds and literary evocations collide in MDLSX, and on the confusion between fiction and reality MDLSX oscillates – from Gender Trouble to Undoing Gender. We quote Judith Butler who, with Donna Haraway’s A Cyborg Manifesto, Paul B. Preciado’s Contra-sexual Manifesto and other cut-ups from the kaleidoscopic universe of Queer Manifestos, weaves the background of this Performance-Monster.

“The change needed is so profound that it is said to be impossible, so profound that it is said to be unimaginable. But the impossible will come, and the unimaginable is inevitable.” (Animalist Manifesto, Paul B. Preciado)


with Silvia Calderoni; direction Enrico Casagrande and Daniela Nicolò; dramaturgy Daniela Nicolò and Silvia Calderoni; sounds Enrico Casagrande; in collaboration with Paolo Baldini and Damiano Bagli; light and video Alessio Spirli; production Elisa Bartolucci and Valentina Zangari; promotion Italy Sandra Angelini; foreign distribution Lisa Gilardino; production Motus 2015 in collaboration with La Villette – Résidence d’artistes 2015 Paris, Create to Connect (EU project) Bunker/ Mladi Levi Festival Ljubljana, Santarcangelo 2015 Festival Internazionale del Teatro in Piazza, L’arboreto – Teatro Dimora di Mondaino, MARCHE TEATRO – with the support of MiBACT, Regione Emilia Romagna.


MDLSX by MOTUS from ALBAMADA on Vimeo.



The name Motus in itself evokes an image in movement, with blurred contours, confused with landscapes… a profile tormented by irreducible internal upheavals. It embodies a “cross-eyed” attitude to look at experiences-knowledge-works of the past to enrich the strategic arsenal of reinvention of the present, in the disarray of forms and languages. For the Motus company – founded in 1991 by Enrico Casagrande and Daniela Nicolò – there are no borders, no boundaries between countries, historical moments or disciplines; no separation between art and civil commitment. Free thinkers, they take their shows around the world, working with a mixture of expressive formats, driven by the need to confront current themes, conflicts and wounds. 2011>2068 AnimalePolitico Project opened a front of observation on the Next Future with The plot is the Revolution (a scenic encounter between the two Antigones Silvia Calderoni and the indomitable Judith Malina of the Living Theatre). Through workshops, performances and public acts, the path led to the creations Nella Tempesta and Caliban Cannibal. In 2014 the creative experience of King Arthur, a baroque opera with music by H. Purcell and texts by J. Dryden, was for Motus the first electrifying confrontation with musical theatre. Today, however, the long journey of AnimalePolitico is not yet ideally over and, with the new production MDLSX (debut at Santarcangelo Festival 2015), a “Solo” that celebrates ten years of work with Silvia Calderoni, the company inaugurates a new three-year project that deals with the theme of border/conflict. We chose as dramaturgical framework some reflections and pivotal figures from the Oresteia, or better, from Appunti per un’Orestiade Africana and from Pilade by Pier Paolo Pasolini, because too many questions left open – and coincidences – with our previous projects, required depths that only in the union between tragic and contemporary we could tie up again. Today, however, the long journey of AnimalePolitico has not yet come to an end and, with the new production MDLSX (debut at Santarcangelo Festival 2015), a “Solo” that celebrates ten years of work with Silvia Calderoni, the company inaugurates a new three-year project that addresses the theme of the border/conflict.


The GENDER FOCUS opens the reflection on the new representations of identity, understood in its different meanings, from gender to national identity.

It hosts artists and scholars who rethink our perceptions and representations of gender, the canons and norms that regulate their relations, from the existential to the political level.
Personal and exemplary stories, theoretical hints and philosophical questions, always on the borderline between fiction and reality, shedding new light on our mental categories of male and female, questioning boundaries and definitions, categories and memberships, for a hymn – quoting Motus – to the freedom to become, to openness to multiplicities.


25 February 2016 h. 20.00
THE SHADOWS OF DARKNESS: (almost) hidden origins of gender violence
promoted by Alilò futuro anteriore, Famiglie Arcobaleno, l’Ombelico
[screening + performance + meeting]

8 – 25 March 2016 h. 10.00 – 19.00
Gender-Bender presents
FINGERPRINTS / Performing Gender
[exhibition of original illustrations]

8 – 12 March 2016 h. 20.00
12 March special replica h. 17.00
Motus – MDLSX

9 March 2016 h. 18.00
[meeting with aperitif]

14 – 15 March 2016 h. 21.00

24 March 2016 h. 22.00
organized by the Quattrox4 Associatione

24 – 25 March 2016 h. 21.00
Animal Religion – INDOMADOR
[new circus]
in collaboration with CLAPS, spettacolo dal vivo


PLAY-K(ids) review of meetings, workshops and performances for three generations together.

13 March 2016
[workshop for 4 to 8 years old]

13 March 2016
Alice Newell – GAYBY BABY
[film for all]
in collaboration cowithn Gender Bender




Voci nascoste

Il mercato si anima imprevedibilmente di voci liriche e passioni extra-ordinarie, umanità che si consumano in un attimo per poi riscomparire della fiumana del mercato.

A cura di Fattoria Vittadini, in collaborazione con il Festival della Valle D’Itria, con Benedetta Bagnara (soprano), Anna Bessi (mezzo-soprano) ed Elena Caccamo (mezzo-soprano)


di duperdu

Quando il giurassico si fa presente!!

Duperdu sono Marta Marangoni (voce, flauto dolce) e Fabio Wolf (voce, pianoforte, chitarra, fisarmonica).
Dal 2008 suonano insieme nelle più svariate occasioni.

Sono stati così battezzati dal grandissimo maestro Nanni Svampa dei GUFI per il quale si esibiscono come gruppo di supporto al “IL MIO CONCERTO PER BRASSENS”.
Sono musici di casa del Circolo Arci La Scighera, dove suonano nei radio-spettacoli di RadioBandita, per gli eventi più di nicchia e anche per quelli più popolari e – per puro diletto – nelle serate amabilmente conviviali.
Hanno partecipato al Long Lake Festival di Lugano 2013.
I loro brani “Il Drago Tarantasio” e “Song’ Plinio”sono stati trasmessi da Radiopopolare.
Insieme cantano e compongono musica per la scena per spettacoli teatrali del Teatro della Cooperativa, della Filarmonica Clown (Teatro degli Incamminati).
Hanno fondato e lavorano per MinimaTheatralia, progetto rivoluzionario di partecipazione teatrale: di tutti gli spettacoli del laboratorio per cittadini-attori sono gli ideatori e autori delle musiche originali.

Si sono aggiudicati il secondo premio al Festival Pub Italia presso il Pala-Messina, esibendosi insieme ad artisti come Massimo di Cataldo e Franco Fasano.

Hanno registrato il loro primo album presso la MC-Music di Caserta con le percussioni del Maestro Tony Cercola, percussionista di Edoardo Bennato e Pino Daniele. Il disco verrà pubblicato il prossimo autunno 2015, dopo aver ottenutoil finanziamento della campagna di Crowdfunding con Musicraiser, grazie alla quale sono andati in onda su radio 105.

Sono cantori ufficiali dello SPIRIT DE MILAN, nuovo esperimento culturale milanese nella ex fabbrica Livellara, per cui hanno composto anche l’inno.

Ingresso libero



INFORMATIONS: +39 02 97378443


After its success in Milan in 2014, after the new versions of Tallin, Santiago, New York, St. Petersburg, Paris, REMOTE MILANO comes back by popular demand.

Remote is a walk through the city led by the electronic voice of a GPS navigator.
A soundtrack written for Milan, where binaural recordings and film scores turn the urban walk into a personal film.
A urban performance for 50 participants, who are actors and spectators, observers and observed, individuals and hordes at the same time.

Are we all hearing the same words?
How will we be able to make common decisions?
The artificial intelligence directs, but also inspires a novel and an altered perception of both, reality and the self.

Starting Point:
Ossuary of the Cimitero Monumentale (from main entrance)

Thursday and Friday at 3.00 pm
Saturday and Sunday at 11.30 am and 3.00 pm

NB: The urban performance is a walk, lasting approximately 80 minutes.
Limited subscription – booking compulsory


Please, show up at the meeting point 20 minutes before the start.
Being a walk divided into stages, the schedule cannot be delayed.
The performance is a walk through the city, lasting approximately 80 minutes.
Comfortable shoes are recommended, as well as a raincoat in case of rain.
At the meeting point you will be asked an ID as deposit for using the GPS system.

Concept, script and direction: Stefan Kaegi, co-director: Jörg Karrenbauer, sound design: Nikolas Neecke; dramaturgy: Juliane Männel, Aljoscha Begrich; soundediting and director assistance: Ilona Marti; production management: Caroline Gentz. “Remote X” is a production of Rimini Apparat; in coproduction with HAU Hebbel am Ufer Berlin, Maria Matos Teatro Municipal and Goethe-Institut Portugal, Festival Theaterformen Hannover/Braunschweig, Festival d’Avignon, Zürcher Theater Spektakel, Kaserne Basel. Supported by the Capital Cultural Fund Berlin and by Swiss Arts Council Pro Helvetia. A House on Fire coproduction with the support of the Cultural Program of the European Union. Voices by Acapela Group. For Milano: director assistance Federica di Rosa; production management and italian translation Valentina Kastlunger (ZONA K); english translation Eva Oltivanyi; foto Luca Meola


RIMINI PROTOKOLL, one of the most critically acclaimed European avant-garde collectives, is composed of the team of author-directors Helgard Haug, Stefan Kaegi, and Daniel Wetzel and is housed in Berlin. Their work in the realm of theater, sound and radio plays, film, installation, emerges in collectives of two or three and solo as well. At the focus of their work is the continuous development of the tools of theater to allow for unusual perspectives on our reality.



A focus dedicated to the civil commitment of small and great social revolutions, to those who in the past and today have believed or still believe that things can be radically changed.  At the same time a focus that looks at experiments in artistic languages that may contain revolutionary elements.

A photographic exhibition recounting the underground movement that led to the Arab Spring of 2011.
A meeting-concert with its direct witnesses.
A review of two young companies that, in the many difficulties of this country, struggle to emerge, but with tenacious will make their revolution continuing to invest energy and money in their art making.


6 May 2015 h. 18.30

Arabian Knightz, Gianmarco Maraviglia, Emanuela Mirabelli, Chicco Elia

to follow

Showcase Arabian Knightz c/o Leoncavallo


06 – 21 May 2015 h. 10.00/19.00
Gianmarco Maraviglia/Echo Photo Journalism
curated by Emanuela Mirabelli
[photographic exhibition]

07 – 08 May 2015 h. 21.00
Woodstock Teatro


12 – 13 May 2015 h. 21.00
Compagnia Stradevarie