LA NOTTE POCO PRIMA DELLE FORESTE
la serata incomincia con Volare via dal mondo
Notte. Pioggia incessante. Un personaggio senza nome attacca bottone a un passante, con la scusa di cercare da accendere. È l’inizio di questo lungo monologo famoso per essere scritto senza un punto, un impetuoso fiume di parole che parlano d’amore, di fantasie e desideri, di incontri notturni, di stranieri e di specchi, di puttane e leggende, del progetto di una città che non conosca divisioni, dove i lavoratori che non si conoscono possano fermarsi tutti insieme in un giorno come gli altri per sedersi sull’erba e parlare.
Alla voce stanno le parole da dire, al suono la creazione di un flusso narrativo, in quello che è più di un reading e meno di una messa in scena. Ci sono solo due persone: una parla a microfono, l’altra produce suoni. Dal loro gioco nasce qualcosa che va semplicemente ascoltato.
Effetto Larsen nasce nel 2007 a Milano ad opera di Matteo Lanfranchi, attore diplomato presso la Scuola paolo Grassi di Milano, allo scopo di promuovere progetti di ricerca sui linguaggi performativi, in particolare il teatro in tutte le sue forme. Primo spettacolo è Dukkha – azione privata, pezzo per attore solo. Nel giugno 2007 realizza D:VERSO. Nel 2008 crea per il Festiva Danae di Milano TUO/OUT, intervento performativo urbano presentato sulla banchina del tram davanti al Teatro Litta. Sempre nel 2008 realizza Lo sguardo di Amleto, secondo premio al Festival Internazionale di Regia. Nel 2009 vince la Biennale Giovani artisti d’Europa e del Mediterraneo – Skopje 2009 con la performance Aggregazione, seconda parte del progetto Dukkha. Nel 2010 sviluppa la terza e ultima parte del progetto Dukkha, Elogio del disagio – ovvero il fallimento dell’azione, e la performance urbana di massa STORMO, entrambi prodotti dal Danae festival di Milano. Nel 2011 vince il Premio di Scrittura di Scena Lia Lapini con Innerscapes.
Roberto Rettura: Sound Producer, vice a Bologna, classe 1974. Come musicista partecipa con il gruppo Frida Frenner alla colonna sonora di Jack Frusciante è uscito dal gruppo e lavora nel film come consulente musicale. Laureato al DAMS-Musica con una tesi sul sonoro cinematografico-multicanale, collabora dal 2000 come tecnico e consulente del suono con studi di produzione audiovisivi e sonori, compagnie teatrali, etichette musicali, offrendo servizi e consulenze sul suono in tutte le sue forme. Negli ultimi anni ha focalizzato la sua attività nel Teatro contemporaneo e nella Musica. Nel 2004 ha fondato, insieme a Marco Valerio Amico e Rhuena Bracci, la compagnia Gruppo Nanou di Ravenna, con all’attivo diversi lavori presentati sia in Italia che all’estero. Nel 2010 ha creato a Bologna Lo Studio Spaziale, studio di registrazione audio dove offre servizi di sound engineering a etichette di produzioni musicali indipendenti e consulenze per pre-produzioni artistiche.
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inQuanto teatro
with Floor Robert, Giacomo Bogani, Andrea Falcone
EXTRA EVENT with aperitif: it will take place on the terrace of Isolacasateatro (via Jacopo Dal Verme 16 – Isola district, Milan), with the collaboration of Isolacasateatro.
V o l a r e v i a d a l m o n d o is an act of evasion conducted starting from the spaces we live in, which superimposes the flight of aviation legends on the reality we know, made up of stones and words. Even if our feet cannot leave the ground, perhaps our heads can.
An impossible alternative is still an alternative. And is it really impossible? We shall see. As Bacon wrote, impossible is a word that is used only for lack of imagination.
In case of bad weather, the evenings will be hosted by Isolacasateatro.
Riserva Canini Teatro
the evening continues with ORLANDO-ORLANDO
imagined and created by Marco Ferro and Valeria Sacco
with Valeria Sacco
lighting design Andrea Narese
sound design Stefano De Ponti
original music Luca Mauceri, Stefano De Ponti, Eleonora Pellegrini
technical advice Sergio Bernasani
a Riserva Canini Teatro production
with the support of Festival Immagini dell’Interno of Pinerolo (TO), Festival Giardino delle Esperidi (LC), Rete Teatrale Aretina (AR) Teatro Gioco Vita (PC), and Théâtre Gérard Philipe de Frouard – Scène conventionnée pour les arts de la marionnette et les formes animées (Nancy – France)
On stage, a lone actress with a human-sized marionette that she animates herself. But the puppet abandoned in the arms of the puppeteer suddenly wakes up, and we discover that it is a human creature, breathing, looking, living. Yet the performer is only one, so the spectator begins to lose himself and then slowly understand that not only is what he thought was a marionette alive, but that what he thought was alive is actually animated. And, following the story, in its questioning of the true nature of the two protagonists, they find themselves questioning the very concept of life.
TalitaKum is born from a vision, complex and at the same time linear, as certain afternoon dreams are. It is a show that has no words, but there is a story. And we have brought it to life by following the route of a journey that resembles a fever, a fainting spell, one of those moments when energy runs out and gets confused within our incomprehensible boundaries.
Riserva Canini was founded in 2004 and is based in Florence and Milan. The artistic direction is entrusted to Marco Ferro and Valeria Sacco, who are also the founders. However, each individual project involves various artists and technicians. The company has so far collaborated on various productions with organisations such as Teatro Metastasio in Prato, Teatro Comunale in Castiglionfiorentino, Scarlattine Teatro in Lecco, Festival Immagini dell’Interno in Pinerolo, Teatro Comunale in Pieve S. Stefano, Teatro Giocovita in Piacenza, Pim Spazio Scenico, Teatro Laboratorio Mangiafuoco, Outis and CRT in Milan. In opera, he worked with AsLiCo for the productions of Rigoletto and Hansel and Gretel and with the Festival della Val d’Itria for Gianni di Parigi. Riserva Canini has had collaborations and residencies abroad with the Théatre Gerard Philipe in Frouard (Nancy), the International Institute of Puppetry in Charleville Mezieres and the Centre School of Speech and Drama in London.
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Cuochivolanti
h. 20.00 Prêt-à-PORTER aperitif by Cuochivolanti (Turin)
booking recommended
€ 5,00
h. 21.00 Happy Meals – Gastro-performance with Cuochivolanti (Turin)
€ 10,00 full price ticket
€ 7,50 reduced ticket
by and with Davide Barbato and Chiara Cardea
sound design Enrico Ascoli
staging Marco Gennaro and Jacopo Valsania
lighting design Davide Marcone
direction Davide Barbato
organisation Offrome
production Cuochivolanti and Associazione CuochiLab
project realized with the contribution of the City of Turin, the Province of Turin, with the support of Sistema Teatro Torino e Provincia with the productive collaboration and support of Associazione Teatro Baretti/Studio Marco Gennaro Architetto/Alain Battiloro photographer/Enrico Ascoli/Giulio Pedretti/Luigi Ceccon photographer
Image Alain Battiloro
The show had its national premiere at the Teatro Astra in Turin on 9 June 2012, as part of the XVII Festival delle Colline Torinesi.
Happy Meals cites the famous children’s menu of the unnamed fast-food giant, which was perhaps the first, together with the equally famous carbonated soft drink with a secret recipe, to replace the term “hunger” with the term “happiness” in people’s stomachs, discovering a new, unexpected and insatiable appetite for our overfed digestive systems. But he also cites Becketti’s Happy Days, the senseless binge of words (of food) that saves us from the senseless desert of existence: ‘there is so little that can be said (eat), that one says (eat) everything, everything there is’.
Eating is a recreational act, for almost all of us. A small private party. It is an interval from which we expect to find a part of ourselves. For everything else (nourishment, energy, vitamins, proteins) there are supplements. And coffee, of course.
With this show we go on stage to talk about food: we do it thanks to Chiara, who is an actress and lends her body and voice to a unique experiment in emotional nutrition, exposing her meals to the public. We do this thanks to Cuochivolanti, who are cooks and have seen more dramas, tragedies, comedies and farces than any playwright by making people eat. With Enrico Ascoli’s precious sound mechanisms, we make them, the food, talk too, trying to understand its hidden and mysterious language, just in case we manage to grasp an important message. And then there are you. The diners. Perhaps you would like to give us your opinion. Your stomach’s opinion.
Enjoy your meal.
Cuochivolanti is the brainchild of Davide Barbato, Roberta Cavallo and Patrizia Capuzzi. Since 2009 they have been working with Chiara Cardea, an actress. Their activities are varied and range from catering and home cooking to the creation of events, shows and performances. Company productions: Kitchen Kabarett (2007); Cooking Time (2009); Tempesta di pasta (2009); L’ultima cena di Leonardo (2010); Cucinasonora (2010-2011); Anima in bocca (2012) and, with the Ass. CuochiLab, Happy Meals (2012), a project that won the STT – Sistema Teatro Torino tender.
Since 2010 Cuochivolanti have been curating the project Play with Food – La scena del cibo, the first visual and performing arts festival entirely dedicated to food. As part of the festival, Cuochivolanti has co-produced new visual and performing arts creations by artists from Turin and all over Italy. Work is currently underway for the fourth edition of the festival (20-24 March 2013), whose programme is built around four ongoing calls for ideas.
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Costanza Givone
the evening begins with Ingoia e fai finta di niente
a performance by and with Costanza Givone
set design and lighting design Samuele Mariotti
assistant director and designer João Vladimiro
photos Luís Martins
A young woman meets herself in a space that is neither inside nor outside: the skeleton of a room. An ancient game of chess reveals to her the story of a perfectly shaped princess named Salome. A head falls off. There is no turning back. The head stares motionless at the girl, for eternity. Escape is impossible. They belong to each other, there is nothing left for them but to live, in a grotesque world, where reality is madness, and only in a dream is peace found.
A performance inspired by Salome’s story about the loss of self. The mind is shipwrecked, the lights that guide us go out, the floor crumbles under our feet in a show where dance, theatre and plastic arts meet.
A chess game tells us about Salome’s life, a clay head, which transforms in the actress’s hands, reveals her inner world.
I am interested in the encounter between the arts; in my work as in my training, I navigate the boundaries between the different artistic disciplines. Important people in my artistic training are the director N.Karpov (theatre biomechanics), the dancers and choreographers Virgilio Sieni, Simona Bucci, Sofia Neuparth, Ainhoa Vidal, Peter Michael Dietz, Vera Mantero, the dancers of the figure theatre company Derevo, Thanya Kabarova and Alexej Merkushev, the actress Gey Pin Ang (Grotowsky centre), the singer and vocal researcher Gabriella Bartolomei. I also consider fundamental for my growth the work as performer and co-creator with the Zaches Teatro company in italy and with the choreographers Madalena Victorino and Aldara Bizarro in Portugal. (Costanza Givone)
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Compagnia Gorsciaskji
the evening continues with Salomè ha perso il lume
dramaturgy by Anna Schirru
directed by Anna Schirru
with Maria Gorini and Caterina Sciariada
Two sisters live their daily dystopia.
They distort natural Time and Space to create a microcosm that is theirs alone, regulated by a decalogue that marks their lives and that they have inherited, just as one inherits eye colour.
To maintain this balance they use the only strategy they know: play, the only moment of authenticity. A child’s game that becomes an opportunity to give free rein to adult, violent and turbid impulses, impulses that would otherwise be constantly silenced. If you want to survive, all you can do is keep quiet: swallow and pretend nothing is happening.
We have created a surreal and perverse but perfect balance.
The Gorsciaskji Company was founded in November 2011 by three young actresses: Anna Schirru, Maria Gorini and Caterina Sciariada. The three girls, one from Milan, one from Rome and one from Cagliari, met at the propaedeutic acting course at the Paolo Grassi School of Dramatic Art and chose Milan as the base for the company. With a similar vision of theatre and aesthetic taste, they embarked on a journey during which the physiognomy of the company was outlined. Ingoia e fai finta di niente is their first work.
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MO.Lem
the evening begins with Visual Bluff
coordination and direction by Marco Ivaldi, Marco Monfredini and Francesca Tortora
with Chiara Cardea, Roberta Maraini, Silvia Mercuriati, Salvo Montalto, Elena Pisu
technical direction Andrea Sancio Sangiorgi
distribution, organisation and press office OffRome
stage photos Alessandro Bosio
poster image Marco Monfredini
filming and video editing Giulia Gobbi and Francesco Dinolfo
the project TRICHER has been selected for the NAPOLI FRINGE FESTIVAL 2013
I want to do a survey.
I want to know the truth.
I want to find the right question to get the answer I don’t expect.
I want to stop lying.
I want to be an eyewitness.
I want to give my testimony.
Our starting question is always the same: “What is the difference between not telling the truth and lying?”
In this third chapter we will try to answer by focusing our analysis on the contribution that “Testimonies” can make to the search for _no lie_.
MO.Lem continues to deepen the themes addressed in the previous chapters by updating them on the basis of the continuous real changes in society and politics. The show changes according to the period of its staging, it is a continuous work in progress that allows the companies to work constantly together on the project. The show is conceived and structured to be staged also (and above all!) in unconventional places, which allow a more direct relationship with the public, so as to reproduce an ideal “agora”. “[…] A work in progress in which five actors deal with social and current themes, representing and dismantling the dearest fairy tales of our memories. […] The economic crisis, job insecurity and the chimera of a steady job are ready to get to the heart of the play and create a surreal and realistic atmosphere. […]”. Stefano Rogliatti – Quotidiano Piemontese, 13/04/2012
The MO.Lem collective (Movimento Libere Espressioni Metropolitane) was founded in July 2009 and is formed by the Turin-based theatre companies Anticamera Teatro, Chi per Es Teatro, Ivaldi|Mercuriati and Chiara Cardea, joined in 2012 by Grimaco Movimentiumani. The aim of the collective is to unite different theatrical experiences for the realisation and organisation of projects linked to contemporaneity.
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Panda Project
the evening continues with Mo.Lem (Movimento Libere Espressioni Metropolitane)
with Beatrice Cevolani, Hendry Proni and Delia Trice
If you are at the supermarket checkout you expect the cashier to be honest. Yet the trolley is full of packages on which there are pictures of a perfect product that you won’t find inside the boxes. And you know it.
If you are at a poker table you think bluffing is legal.
If you go to the theatre you think you’re sitting there listening to and watching people put on a show.
If you go to see a Panda Bluff instead? You don’t. Because first you will be a spectator, then a spectator, then an actor, then a participant, then something that doesn’t yet have a name because it’s pure avant-garde, or a bluff. We won’t tell you, but if you don’t try you’ll never know.
We were thinking of a show, a format was born: in Panda Bluff we take a subject, we dissect it, we shake up a bit the conventions of theatre and the convictions of the audience to try to show that enacting declared fictions, in some cases fictions, in some cases, is the only way to be true.
Panda Project are Hendry Proni, Beatrice Cevolani and Delia Trice. Three actors with different backgrounds (academic, performance, group theatre) have been working in theatres, festivals and squares for years, with various groups/companies (Koiné, ALDES-Roberto Castello, Teatro Due Mondi), collaborating and have collaborated with anyone who has given them prestige, space or money. Now they have decided to stay together for a while. Panda Project was born, followed by Panda’s Heart. “Maybe we thought we were old enough. Or maybe we were the right people. We don’t know exactly when this project was conceived, but we are sure it was a good moment. We didn’t look for it, it’s true, but we’ll never tell them that.”
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Codice Ivan
This event is preceded by
THE CITY OF HAPPINES. Milano Tappa specifica per l’Isola by Codice Ivan
h 21.00 (at ZONA K)
CODICE IVAN (Firenze)
GMGS_What the hell is happiness
collective creation Codice Ivan
scenes Codice Ivan
original music Private Culture
production Codice Ivan
co-production Centrale Fies
in collaboration with Fondazione del Teatro Stabile di Torino/Prospettiva
with the support of FAF (Florence), Contemporanea Festival/Teatro Metastasio Stabile della Toscana
creative residencies Centrale Fies (Dro), Pim Off (Milan), FAF (Florence), Spazio K Kinkaleri (Prato)
Codice Ivan thanks nEXt Emerson (Florence), Private Culture, Simona Bonacina.
Codice Ivan is part of the Fies Factory project
There is only one innate error, and that is to believe that we exist to be happy. (A. Schopenhauer)
The project GIVE ME MONEY, GIVE ME SEX_What the hell is happiness? (GMGS), stems from the need to confront a concept, an engine of everyday life and its often obsessive search: happiness. Everyone struggles to achieve it without understanding where or how to go. The only certainty is the (self-)banishment from a perfect world, and the awareness of the daily difficulty of choice. And so we ask ourselves: how should we live?
Codice Ivan was founded in 2008 by Anna Destefanis, Leonardo Mazzi and Benno Steinegger. The group’s work was immediately oriented mainly towards the performing arts/theatre, but it also started a research path aimed at using different formats. In 2009 they won the Scenario Prize with Pink, Me & The Roses and in 2011 the TransartPrize with the project SCORE. Since 2009 Codice Ivan has been part of Fies Factory, a project of Centrale Fies.
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inQuanto teatro
The evening begins with LOLA POLIO. Poemetto borderline
with Floor Robert, Giacomo Bogani, Andrea Falcone, Francesco Michele Laterza
lyrics Andrea Falcone
musical project Giacomo Bogani
lighting design and technique Giulia Broggi
stylistic consultancy Maria Sole Vannetti
production inQuanto teatro
co-production Operaestate Festival Veneto
in collaboration with Kinkaleri, La Piccionaia
nil admirari | jury mention Premio Scenario 2011
Nil admirari is a research project started at the beginning of 2011. The project, presented at the Final of Premio Scenario, was awarded with the Special Mention of the Jury. “For the wit of a scenic game that involves the audience with intelligence and irony and for the creation of an original language that invents a parallel world populated by objects and governed by accumulation and non-sense”.
AD 2012 is a work about time, built on discrepancies and analogies between old and new gestures and discourses. It is a work against time. We respect every version of the facts based on a before, a now and an after, but that is not what interests us. We seek an awareness: where are we?
AD 2012 is a work out of time, bringing together characters from Sacred Representations and passages of recitar cantando with ephemeral scenes and artificial landscapes, with everyday objects that we cannot find normal. In contradiction, in error, that is where we find ourselves. This is a human portrait, perhaps that of a generation, more certainly that of a genre of people: romantics, one might say. In love with the elsewhere and the otherwise. Time has passed, we are told, but it is not true: time remains, it is we who are leaving.
inQuanto teatro is an artistic collective founded in 2010 in Florence by Andrea Falcone, Floor Robert and Giacomo Bogani. Part of a wider network of links and unions, extended in space and time, inQuanto teatro collaborates or has collaborated with Giulia Broggi (performance, graphics, video editing), Matteo Balbo (performance, graphics), Susanna Stigler (photography), Duccio Mauro (photography), Maria Sole Vannetti (costumes) and Francesco Michele Laterza (performance). Currently, inQuanto teatro is part of Officina Teatro, a project of Operaestate Festival Veneto for young companies, and receives the support of Kinkaleri and La Piccionaia – I Carrara, Teatro Stabile d’Innovazione di Vicenza. inQuanto teatro is a network of tense connections and understandings in the artistic field; a knitting with many hands, reusing plots and shreds from another time to weave the text of tomorrow.
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