Massimo Furlan / Claire De Ribaupierre (CH)

performance  | duration 60 min

c/o location being defined


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 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.

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

Vai a MEPHISTOPHELES di Anagoor

Foto Giulio Favotto

Qui e Ora (IT)

There are three half-naked bodies exposed on stage on purpose: alive and uncensored body masses, true and far different from those usually exposed. Three women. Not young anymore, not yet old, definitely not perfect. Yet they are beautiful, for they are authentic. In a surreal show, they offer themselves to the public as they are, bodies without home or space, evicted from their own self. Off to follow, devour and multiply their own shadows. An ironic and tragicomic look at femininity.

In My Place, the quest for a movement that emerges from the nonconventional bodies of actresses-authoresses of Qui e Ora and the experimentation of self-produced dramaturgy meet Silvia Gribaudi’s ironic approach to and research on the contemporary.

 

in English

 

Progetto/Project Qui e Ora Residenza Teatrale Ricerca materiali/Material research Francesca Albanese, Silvia Baldini, Silvia Gribaudi, Laura Valli Regia/Direction Silvia Gribaudi  Assistente alla regia/Direction Assistent Roberto Riseri  Con/With Francesca Albanese, Silvia Baldini, Laura Valli  Immagini visive/Visual images Silvia Gribaudi  Disegno luci/Light design Silvia Gribaudi, Domenico Cicchetti  Technical care Paolo Tizianel Photo Michela Di Savino Residenze/Residence La Piccionaia (Vicenza) | L’arboreto – Teatro Dimora (Mondaino RN) | Olinda –Teatro La Cucina (Milano)  Finalista/Finalist In-Box 2017 

 

Qui e Ora Residenza Teatrale was founded in 2007. It is a production company and a theatrical residence, it works on autographed dramaturgies, with a strong attention to the contemporary. It works in close contact with the territory and promotes cultural projects related to theatre in unusual places. For years it has been experimenting with the home through theatrical investigations that have led to encounters with houses and people and through the programming of a theatre review in private homes. Qui e Ora works on the theme of the feminine through workshops, investigations and the production of shows (2012 MADRI concerto di sbagli e di intimità, 2013 A corto di bugie, 2014 Saga Salsa). The meeting of Qui e Ora Residenza Teatrale with the choreographer and performer.
Silvia Gribaudi is based on a common thematic interest and on similar experiences developed in the field of training, around different aspects of the feminine.

Roger Bernat/FFF (ES)

“A show that should be mandatory for all MBA’s and the party congress” [Bernat Puigtobella, Nuvol]

 

The THEATRE is transformed in a PARLIAMENT with political colors that are still undefined, whilst the spectators, equipped with a remote with which they can vote, become the representatives. What will happen if suddenly, in absence of an effective power, the role of speech goes back to being political.

Maybe the last resort of real politics is that of a total absence of power. Pendiente de voto is a show that tries to be that last resort. It is not a false version of a parliamentary debate, but a real version of the actual false debate. Not a fictitious politics but a make-believe politics: authentic politicians against real politicians or true politics against every form of realpolitik. Immersive theatre? Or maybe more emergency theatre…

A political humoristic reflection that faces the mechanisms of power in democracies and the totalitarian thinking in communities. A reflection on the word ‘citizenship’ and on participatory democracy, that can only make us think of the next political elections.

 

 


In italian – Duration 140 min. ca.

 

 

di Roger Bernat. Drammaturgia: RobertoFratini. Dati visuals: Mar Canet. Dati dispositivi and software: Jaume Nualart. Musica: “The Sinking of the Titanic” di Gavin Bryars, PatchWorks, etc. Sound design: Juan Cristobal Saavedra. Luci: Ana Rovira. Assistente e direzione tecnica: Txalo Toloza. Stagegraphic design: Marie-Klara González. Effetti speciali: Cube.bz. Programming assistants: Pablo Argüello, David Galligani e Chris Hager. Consulenti ai contenuti: Oscar Abril Ascaso e Sonia Andolz. Producer: Helena Febrés Fraylich.  Ringraziamenti: David Cauquill, Raquél Gomes, Marcela Prado e Magda Socias. Coordinamento: Helena Febres. Una coproduzione di Centro Dramático Nacional (Madrid), FundacióTeatre Lliure/Festival NEO and Elèctrica Produccions (Barcelona) with Manège de Reims-Scène Nationale/Reims Scènes d’Europe, Manège de Mons/CECN, TechnocITé in the Transdigital project supported by the european program Interreg IV. Foto: BLENDA

Roger Bernat –  www.rogerbernat.info