Il seminario proponeva ai partecipanti – autori, attori, performer, ricercatori e/o operatori sociali – di ideare e sviluppare progetti di radiodrammi o progetti audio, attorno al tema “Immigrazione, tra il politico e il performativo”, basando la ricerca su interviste a richiedenti asilo o richiedenti il permesso di soggiorno.
Il seminario ha avuto un ottimo riscontro da parte dei partecipanti, alcuni dei quali hanno proposto a ZONA K di proseguire insieme nella realizzazione concreta di uno o due dei progetti ideati durante il seminario.
Da qui è nato un percorso di ricerca che ZONA K ospita e coordina, il cui risultato, provvisoriamente intitolato La Procedura, verrà presentato in occasione del Focus Identità in forma di installazione multimediale o performativa.
Il FOCUS IDENTITA’ è realizzato con
Con il sostegno di:
Un progetto di:
Laboratorio artistico e di ricerca sul tema della richiesta di asilo.
A partire dal interviste a immigrati e a chi con essi si interfaccia, verrà prodotta una restituzione artistica che racconti la difficile procedura per ottenere l’asilo politico e le sue profonde implicazioni esistenziali.
Plamper, Sacchettini, Avanzo
Paul Plamper, a director and author of innovative radio dramas.
Rodolfo Sacchettini, a theatre and contemporary radio drama critic.
Sandro Avanzo, a critic of historical radio dramas.
Three different points of view investigating the perspectives of radio drama, between past, future and new experimentations, in Italy and Europe.
ZONA K proposes a 6-day seminar dedicated to the practice of radio drama with Paul Plamper, director and author of innovative radio dramas of great success in Germany.
Starting from the choice of a strong and compelling theme such as “Immigration – between the political and the performative”, Plamper will accompany participants in the research, selection and collection of sound materials (including direct interviews with immigrants and refugees), in the development of ideas and projects, in the setting up of possible subjects and hypotheses of semi-documentary or fictional radio plays.
The aim of the seminar is to stimulate reflection, to provide research tools and to sharpen the ability to recognise and develop stories and material suitable for narration and “only” listening.
The seminar is addressed to technicians or sound artists, directors, authors, writers, journalists, social workers/educators and actors interested in radio drama techniques.
Knowledge of English is required.
The seminar takes place for 6 consecutive days in ZONA K and in the locations chosen for the interviews, from 11.00 to 17.00.
Limited places available. Participation is FREE after selection.
Paul Plamper, born in 1972, is an author and director of radio plays and lives in Berlin. He made his debut in theatre as assistant director at the Berliner Ensemble, where he went on to direct plays such as “Projekt RAF”, based on the letters of RAF prisoners, and “Artaud erinnert sich an Hitler und das romanische Café”, starring Martin Wuttke. With ‘Der Auftrag’ he staged the first Turkish production of a text by Heiner-Müller for the National Theatre in Istanbul. He has produced numerous award-winning radio plays for the WDR radio station, such as “Top Hit leicht gemacht” (Prix Europa 2002), the prison documentary project “Release” and a series of radio plays on the theme of silence, which were then turned into sound installations for the Ludwig Museum and the ZKM in Karlsruhe: “Ruhe 1” (Hörspielpreis 2008), “Tacet” (2010) and “Stille Nacht” (2013). With the radio play ‘Der Kauf’ (2013) he won the ARD award. Plamper also curated the radio drama series “Die Hörspielzentrale” at the HAU theatre in Berlin and founded and runs the online platform www.hoerspielpark.de.
In the first half of the 1970s, the US was in the throes of the so-called “Nostalgia Fever” (which some critics dubbed No(w)stalgia).
Numerous independent record labels played on the expiration of copyrights to recover dozens and dozens of soundtracks of old films and to reintroduce to the listener the voices of the great actors of the screen as they had spread over the airwaves in the 30s and 40s, on the hertzian waves of radio sets.
Historical radio dramas such as the famous “Adventures of Sherlock Holmes” or “The War of the Worlds” by Orson Wells were brought back to light and made accessible again from the vinyl grooves.
The adventures of memorable characters, even musicals written specifically for the radio, became available again. A large part of the so-called Radio’s Golden Age came back to life on records with the voices of Bette Davis, the Marx Brothers, Abbott & Costello, Mae West and a very young Judy Garland.
The records in the exhibition are an emblematic anthology of the recordings of that brief but prolific period and were all recorded between 1974 and 1977.
If the motivations behind the phenomenon can be entirely attributed to a commercial aspect of the initiative and certainly not to a cultural aspect, the merit of the legacy that this phenomenon has left on the collective memory front at a time when the dimension of the web as the primary collector of universal memory could not even be hypothesised.
Exhibition curated by Sandro Avanzo