proiezione con live set elettronico | durata 50/70 min
c/o Teatro Out Off, via Mac Mahon 16
Un Grand Tournelle 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.
Miriam Selima Fieno/ Nicola Di Chio (IT)￼
Spettacolo multimediale partecipato | durata 75 min
Per partecipare occorre richiedere tessera 2023 almeno 24 ore prima dello spettacolo.
Fallo subito, clicca QUI
Attraverso un dialogo che oscilla tra il teatro e il documento, dove la narrazione dal vivo si fonde alla narrazione audiovisiva, due adolescenti si confrontano: Giorgia, una ragazzina italiana di 14 anni, racconta la sua vita quotidiana di europea che vive in un florido tempo di pace, nella quale giace tuttavia il dolore di una guerra familiare; Abdo un giovane rifugiato siriano avvicina Giorgia alla conoscenza di un’altra guerra: quella fatta di bombe, missili ed esplosioni sotto cui vivono da undici anni migliaia di suoi coetanei in Siria.
Gli spettatori sono invitati a entrare delicatamente in un mondo privato e lacerante insieme ai protagonisti che, attraverso dispositivi elettronici e materiali personali, accettano di esporre una elaborazione viva e dal vivo della loro biografia e degli aspetti privilegiati e dolorosi che hanno segnato le loro storie fino ad oggi. Lo spettacolo va alla ricerca di un equilibrio tra storia personale e storia epocale, in un intenso affresco emotivo dove la tecnologia dilata come una lente di ingrandimento il nostro presente e apre squarci su mondi non poi così distanti, mostra i volti della guerra, entra dentro le case e ne fa vedere i frammenti, i ricordi, i futuri possibili.
concept e regia Nicola di Chio, Miriam Selima Fieno in scena Abdo Al Naseef Alnoeme, Giorgia Possekel drammaturgia Miriam Selima Fieno scenografia virtuale e light design Maria Elena Fusacchia videomaking Nicola Di Chio, Miriam Selima Fieno, Abdo Al Naseef Alnoeme, Giorgia Possekel video di archivio Hazem Alhamwy realizzazione miniature Ilenia Lella Fieno video di archivio Hazem Alhamwy spazio sonoro Antonello Ruzzini produzione Tieffe Teatro Menotti, Bottega degli Apocrifi con il sostegno di 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 e Miriam Selima Fieno sono attori, registi e autori. Si diplomano alla Civica Accademia d’Arte Drammatica “Nico Pepe” di Udine. Lavorano insieme dal 2011 nell’ambito delle performing arts creando opere di drammaturgia contemporanea che spaziano dalla fiction alla non fiction. Realizzano gli spettacoli “Lybia. Back home”, “Human Animal”, “RealItaly”, “Cantare all’amore”, “La protesta”. Vincono il Bando Ora! di Compagnia di San Paolo, il Premio Scintille, il Bando Funder35 di Cariplo, il Bando Hangar Creatività di Regione Piemonte, il Bando Next, il Premio In-Box. Negli anni ricevono importanti riconoscimenti, realizzano rassegne e festival, conducono percorsi formativi. Dal 2018 dirigono il loro lavoro verso il teatro documentario definendo una nuova strada di indagine e produzione che li porta a realizzare progetti ibridi i quali fondono il teatro al giornalismo narrativo al cinema del reale, affrontando temi legati alla geopolitica, ai diritti umani, alle relazioni tra Occidente e Medioriente. Lavorano con attori, musicisti, bambini, rifugiati, giornalisti, e creano opere che intrecciano non solo discipline diverse come il teatro, il cinema e la musica, ma anche identità culturali e artistiche distanti. Con i nuovi spettacoli documentari “Fuga dall’Egitto” e “From Syria: is this a child?” vincono il bando IntercettAzioni, il Bando Movin’up, il premio Young&Kids al Fit Festival di Lugano, la menzione al Premio Scenario Infanzia, il bando Alte Marche Creative. Attualmente sono impegnati nella realizzazione del nuovo film del regista siriano Hazem Alhamwi e nella scrittura del loro primo lungometraggio.
Mammalian Diving Reflex/Darren O’Donnell (CA)
– PRIMA NAZIONALE –
un progetto di ZONA K e Triennale Teatro Milano
Performance multimediale partecipata con utilizzo di Visori 3D per 30 spettatori | durata 90 min | la performance è caratterizzata da un’intensa presenza di fumo
Guardiamo con nostalgia nel cielo notturno quel piccolo punto rosso e sogniamo stupidamente di ricominciare, come se i problemi sulla Terra si risolvessero più facilmente a -65° e con l’aiuto di alte dosi di radiazioni cosmiche. Combinando performance dal vivo e realtà virtuale, The Last Minutes Before Mars ci invita a entrare nel mondo di un gruppo di giovani per incontrarne famiglie e amici e trascorrere del tempo negli spazi preziosi delle loro vite. Ciò fa da sfondo all’incontro con gli altri estranei presenti in sala, in un’esperienza collettiva che riflette sulla consapevolezza di far parte tutti dello stesso viaggio, in movimento verso la medesima direzione – indipendentemente da quello che ci accade –; ora, centinaia di migliaia di anni fa e oltre, in un futuro troppo terrificante e bello da immaginare.
ideazione, regia: Darren O’DonneII co-direzione: Chiara Prodi team di co-ideazione: Darren O’Donnell, Konstantin Bock, Alice Fleming, Tina Fance, Sorcha Gibson, Thule Van 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 con: Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Elisa Fasiello, Mervin Kyle Fajardo produttori esecutivi: Alice Fleming, Ryan Lewis, Virginia Antonipillai produttore associato: Craig McCourquodale musiche: Isola Music ringraziamenti: Stephen O’ConneII, Letizia Gozzini (ITAS Giulio Natta)
The last Minutes Before Mars è stato originariamente co-commissionato e coprodotto da ZONA K e Triennale Milano Teatro, in collaborazione con l’ITAS Giulio Natta di Milano e con il sostegno del Canada Council of the Arts, deII’Ontario Arts Council e deII’Ambasciata del Canada in Italia.
Guidata da Darren O’Donnell, Mammalian Diving Reflex è una compagnia fondata a Toronto nel 1993. Dopo essersi allontanata da un’impostazione teatrale più tradizionale per passare a pratiche di impegno sociale incentrate sulla performatività. Creando spettacoli alla ricerca di contraddizioni da trasformare in esperienze esteticamente brillanti, i Mammalian cercano sempre di travolgere loro stessi e il pubblico con idee e sensazioni, lasciando che sia l’intuizione a guidare il percorso. (mammalian.ca)
Darren O’Donnell è romanziere, saggista, drammaturgo, filmmaker, regista di performance, direttore artistico e fondatore di Mammalian Diving Reflex. La sua missione è quella di dar vita a un tessuto sociale che integri profondamente la cultura e le istituzioni culturali, aumentandone la capacità di risposta sociale. Nel 2000 ha vinto il Pauline McGibbon Award per la regia ed è stato nominato per diversi Dora Awards di Toronto per scrittura, regia e recitazione, vincendo, insieme a Naomi Campbell, per il progetto While Mice. II suo lavoro con la compagnia Mammalian è entrato nella top 100 dello Yerba Beuna Culture Centre del 2016. È stato nominato due volte per il BKM-Preis Kulturelle Bildung tedesco e per il premio inaugurale Ellen Stewart Award di New York.
Foto © Paul Blakemore
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.
Babilonia teatri (IT)
– Season preview 2023 –
show-concert | duration 75 min
c/o Out Off Theatre, via Mac Mahon 16
On 25 January 2011, the Egyptian revolution began, which within a few days led to the ousting of Mubarak. One of the triggers was the killing of Khalid Said by two policemen, who was guilty of asking the reason for a sudden search of him inside an internet café. Khalid Said was beaten savagely and then taken to the barracks where he was tortured and killed. His body will be found lifeless in the middle of a street.
On 25 January 2011 in Tahrir Square was Ramy Essam, known in Egypt today as the voice of the revolution. Ramy in the square was singing for Khalid Said, for all the Khalid Saids, who before and after Khalid Said suffered the same fate. Ramy sang to depose Mubarak and, to this day, has never stopped singing against the successive regimes in Egypt.
Since 2014 Ramy has been living in exile, he can no longer set foot in Egypt, an arrest warrant for terrorism hangs over his head. The arrest warrant makes no reference to his art or the content of his songs, but it is clear that the Egyptian regime does not in any way welcome the call for freedom and justice for his people that he sings endlessly, and that the accusation of terrorism is completely unfounded.
Ramy’s songs, in Egypt and beyond, everyone knows them, his videos reach 10 million views, but he, for his people, cannot sing.
Not one note. Not a word. His mouth must remain shut. He can only connect with those who follow him through a screen.
Ramy has opened our eyes. Every day Ramy asks us questions and demands answers.
Questions that alone we did not have the words to formulate, but which today, working on stage side by side with Ramy become deeply concrete, deeply human, deeply political, deeply authentic.
With this performance we want to give voice to these questions.
What does the state mean. What justice means. What power means. What police means. What is process. What legality means. What constitutes incarceration. What means torture. What public opinion means. What journalism and freedom of information means. What responsibility, humanity, strength means.
To tell it, with us, will be the voice of those who, like Ramy, live every day on their skin what dictatorship means. Ramy will sing and shout it with the grace, poetry, anger and nostalgia of those who pay a high price every day, exile, for their choices.
We want to expose the hypocrisy of certain politics. We want to tell how and to what extent the reason of state is ready to trample underfoot the inviolable rights of man, repeatedly enshrined in international conventions that, in practice, remain a dead letter. We want to question ourselves on our weakness. About the weakness of a state that does not know how to give transparent answers. We want to tell how our being free citizens in a free state encounters and clashes with the dynamics of victim and executioner. With dynamics that harm, offend and play with people’s dignity. We believe that this is never acceptable and that it is always worth repeating with strength and determination.
In order not to stop being free citizens in a free state.
by Valeria Raimondi and Enrico Castellani with Ramy Essam, Enrico Castellani, Valeria Raimondi, Amani Sadat, Luca Scotton lights design Babilonia Teatri/Luca Scotton stage direction and video design Luca Scotton
production Teatro Metastasio di Prato
Babilonia Teatri is a group that has entered the contemporary theatre scene with a decisive step, distinguishing itself for a language that has been defined as pop, rock, punk. The founders of the group, Enrico Castellani and Valeria Raimondi, compose dramaturgies with a unique pace, a sort of litany carved out of the contradictions of today, brought to the stage with a rebellious attitude. They have investigated different angles of provincial life, crystallising it as a microcosm of a universal pain, tackled with desecrating courage. Courage that earned the group the prestigious Silver Lion at the Venice Biennale. Babilonia Teatri is characterised by its irreverent and divergent gaze on today's uncovered nerves. For an unconventional style that understands theatre as a mirror of society and reality. Through the use of new visual and linguistic codes it expresses the need and urgency of questioning, to bring out conflicts and tensions, with irony and cynicism, affection and indignation.
This is the era of the “globalization of the world”, with a single worldwide market. The capitalization success on a global scale affirms that such a big economic revolution never existed.
However this system needs to take in consideration the three problematic phenomena that it may bring: inequity, instability and the environmental cost. These consequently may bring to an ecology crisis, globalization, consumes and social inequality.
According to the capacity or incapacity to get to a solution of the three critical factors, however, it seems incontrovertible that economic growth is a prerequisite to reach a more equal income distribution, given a stability to the system and a full respect for the environment.
“How would you then favor an economic growth that is both durable and sustainable?”
In 2018 the Nobel Prize for the Economy was assigned to Nordhaus and Romer, for their studies that highlight a strong relationship between macroeconomic trends, climate change and new technology. They also bring to the light the contradictions in the capitalism paradigm, underlining the necessity of political decisions in the long hall.
In 2019, with our seasonal theater, we decided to aim our goal into the economic world, to all access and distortion caused by money, to the society influenced by it, to the rebellious and victimized environment, to the technological innovation producing both economic development and social implosions.
ECONOMY is our answer to a complicated science of development models we superficially know and to a present moving so fast we can’t keep up with.
Four focuses, MONEY, SOCIETY, ECOLOGY and TECHNOLOGY. These are four aspects that we retain to be closely related to the interpretation of international artists and Italians that, like us, do not stop questioning the present.
In addition, the year 2019 strengthens the collaborations with numerous urban realities. A further confirmation of the strong necessity for a shared cultural economy. Therefore, the relationships between Teatro delle Moire/Danae Festival, Triennale Teatro dell’Arte, Teatro Franco Parenti, Stanze – esperienze di teatro d’appartamento, Olinda/TeatroLaCucina, Stratagemmi/Prospettive Teatrali, Laboratorio Lapsus, mare culturale urbano e Fattoria Vittadini are confirmed.
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
ZONA K, CODICEFIONDA + AGRUPACIÓN SEÑOR SERRANO
PLAY ME (ORIGINS PROJECT)
22 – 24 November 2019
CLAUDIO TOLCACHIR (AR)
A ZONA K and Teatro Franco Parenti project
[show] c/o Teatro Franco Parenti
SPECIAL RESIDENCES TECH
- 21 – 22 November 2019
CINZIA PIETRIBIASI (IT)
PADRE D’AMORE PADRE DI FANGO
- 29 – 30 November 2019
KOKOSCHKA REVIVAL (IT)
- 6 – 10 December 2019
THE MILAN EXPERIMENT
[performance] c/o Sala delle adunanze dell’Istituto Lombardo, via Brera 28
The power of people, of ordinary people. The authentic strength and drive that comes from below. “People have the power”, “Power to the people”, songs and slogans from the 1970s that still endure in a world so different from that time. And yet, in spite of everything, people still think that they have the power to change the world.
PEOPLE tells of the strengths and contradictions that permeate our society: the strength of feelings, the exchange between generations, the relationships of solidarity; but also the relationships between individuals where power games become more ambiguous and sometimes ruthless. Above all, it talks about people: young people, teenagers, curious women, independent, aggressive but always and in any case topical.
26 April – 19 May 2018
Mammalian Diving Reflex / Darren O’Donnell (CA)
TEENTALITARIANISM with 3 dates + 1
- April 26th – 27th
Seminar with Darren O’Donnell
- 9 – 12 May h. 21.00
NIGHTWALKS WITH TEENAGERS
A project by ZONA K and Triennale Teatro dell’Arte
- 18 May h. 20.00
SEX, DRUGS AND CRIMINALITY
- 19 May h. 20.00
ASK FOR THE MOONS
23 – 24 May 2018 h. 20.00
Guinea Pigs (IT)
ACTS OF WAR
25 May – 10 June 2018 h. 10.00 – 19.00
Barbara Miele (IT)
FOREVER YOUNG, THE DREAMS OF SIXTY-EIGHT
In collaboration with PHOTO FESTIVAL MILANO
30 – 31 May 2018 h. 20.00
Marta Dalla Via (IT)
POLITICAL PENTOTHAL – Rap opera for Andrea Pazienza
5 – 6 June 2018 h. 20.00
She She Pop (DE)
A project ZONA K and Teatro Franco Parenti
Opera retablO (CH)
Köszeg, loosely based on Ágota Kristóf’s The Big Notebook, tells of identity, separation, of a humanity condemned to the limit, to the edge, and of its great capacity for resilience.
The protagonists of Köszeg are two brothers, indivisible and interchangeable as if they had only one soul. Two small adults with prodigious intelligence who, thanks to the logic of survival, develop a crystal-clear and brutal ethic of life. Around them move characters drawn with a few bare strokes in a context of hunger and death.
A hard performance where everything is made fierce and essential by a clear and direct acting. In the succession of images, always poised between adulthood and childhood, Köszeg proposes, through a strong resonance with current events and migratory flows, a raw, touching story that leaves no room for digressions and where love, war, violence, fragility, clandestinity, emigration, identity and loss of identity are the protagonists.
A creation: Opera retablO Director: Ledwina Costantini by and with: Ledwina Costantini and Daniele Bernardi costumes: Caterina Foletti scenography: Opera retablO and Michele Tognetti Production: Opera retablO in co-production with Teatro Sociale Bellinzona with the support of: Swisslos/ Pro Helvetia / Tognetti- auto/ Carthesio SA
Opera retablO was founded in 2008 in Sessa (Canton Ticino) and is a space that hosts and promotes artistic and cultural contaminations, born from the need to provide the creations of Ledwina Costantini, an actress-creator from Ticino, with a network of collaborations and an organisational and logistical structure. Opera retablO proposes creations poised between the innovative and the archaic; works that give substance to a modern and destabilising catharsis. The association’s activities take place nationally and internationally.
The Extra Focus category brings together those proposals that we have intended to welcome in the season but which due to theme or calendar (for both of these shows this is the case) cannot be included in the thematic focuses.
EXTRA FOCUS events
cancelled for health reasons of an actor
19 – 21 May 2017 h. 20.30
OPERA retablO (CH)
25 May 2017 h. 20.30
Floor Robert/InQuanto teatro (IT)
ISOLA E SOGNA
A report in the form of a concert on Giusi Nicolini, Mayor of Lampedusa until June 2017, and the exercise of power on the island of landings and turtles, a place that has become an emblem of the border, a showcase for the representation of European policies. Of the hand that heals and the hand that strikes. His defeat at the last elections inspired dozens of articles in the newspapers and thousands of comments on the web. In Isola e Sogna, Ateliersi poetically confronts the prospects of this change, starting with the semantic shifts produced by Nicolini in her five years as mayor.
On the island, local opposing factions coexist, not without difficulty, on a human level, geopolitical contrasts linked to colonialism, events, contemporary imagery and the desire to pursue a life of fishing, tourism and peaceful hospitality.
“Everything suggests that Lampedusa is a lit brazier. / That talking about Giusi Nicolini in Lampedusa is now unseemly.”
Isola e sogna brings to the stage the heated words of the inhabitants of Lampedusa, of Giusi Nicolini*, of those who described her and those who described her island; and makes it a matter of rhythm, timbre and opposing senses.
* Valuable among the sources, the book/interview with Marta Bellingreri Lampedusa. Conversazioni su isole, politica, migranti (Edizioni Gruppo Abele, Turin, 2013).
by and with Fiorenza Menni and Andrea Mochi Sismondi and with Giorgia Sangineto and Marco Mochi Sismondi music by Vittoria Burattini (percussion), Mauro Sommavilla (electronics, guitar) and Vincenzo Scorza (electronics) sound by Vincenzo Scorza technical direction Giovanni Brunetto administration and organisation Elisa Marchese planning and communication Tihana Maravic
Ateliersi is an artistic production collective working in the field of performing arts and theatre. It deals with artistic creation and the cultural programming of Atelier Sì in Bologna. Ateliersi’s creations are made up of theatrical works and artistic interventions in which the performative gesture enters into an organic dialogue with anthropology, literature, musical production and the visual arts in order to encourage a communication of thought capable of intercepting anxieties and perspectives that coagulate meaning around the subversions manifested in the world.
Welcome Project (DE/IT)
Intime Fremde/Intimate strangers is dedicated to a reflection on the border, identity, the concept of nation, country of origin, the encounter/clash of physical and cultural, emotional anatomies.
Europe has accustomed us to travelling cheaply and feeling at home in all the countries of the Union. But the old continent defends its borders with barbed water and C.I.E. Borders exist hidden everywhere: while we go shopping, when we look at each other, skim, avoid, in the covered face of the neighbour, in the smells in the stairwell. And what is behind a door, behind a line has always scared us. If it is true that we are all biologically similar, it is also true that we are all culturally different, and endowed with different rights. Are we made up of what we eat, of our experiences, of the decisions we have made throughout our lives, of what we love, of what we fight for?
What is identity? What does nationality mean? What does citizenship mean?
Intime Fremde is a space in which to look at the fears and desires of a humanity divided between the need to belong and the need for freedom. On stage three actresses who live in Germany, but who have three different cultural origins, build barriers and look for spaces of intimacy.
The show had two residencies at Teatro del Lemming and premiered on 20 November 2015 at the Acker Stadt Palast in Berlin.
In English, Italian and Arabic.
With Aurora Kellermann, Lina Zaraket, Serfiraz Vural directed by Chiara Elisa Rossini lights Alessio Papa by Welcome Project – The foreigner’s Theatre production Teatro del Lemming in collaboration with TATWERK PERFORMATIVE FORSCHUNG_Berlin
Welcome Project is a female project born in Berlin in 2015 from an idea of Chiara Elisa Rossini. The group is made up of four female artists who live in Germany but have different cultural origins.
Its name comes from their personal experience as emigrants, but also from the concept of theatre as a world governed by other rules, a space where things out of the ordinary can happen.
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
L’HIP HOP E’ RIVOLUZIONARIO
Showcase Arabian Knightz c/o Leoncavallo
06 – 21 May 2015 h. 10.00/19.00
Gianmarco Maraviglia/Echo Photo Journalism
EGYPT – UNDERGROUND REVOLUTION
curated by Emanuela Mirabelli
07 – 08 May 2015 h. 21.00