performance for 25 spectators c/o private houses in the Isola district and ZONA K
A più voci (Quaderno proibito) is a theatrical performance in four episodes, each of which takes place in a private home or a non-theatrical space and revolves around the relationship between domestic work and creativity. Each episode deals with a specific theme, and the private homes chosen as performance venues become fundamental elements of the story, transforming themselves into open spaces visited by outsiders.
Co-produced by E Production, Periferico Festival and ZONA K, A più voci (Quaderno proibito) is a special project realised by the playwright Tolja Djokovic that saw the involvement of a large community of women from the city of Modena, where a participatory workshop was held starting in June, and that also feeds on the contribution of other women from the cities where it is staged.
Each episode of the series is unique and develops on the basis of the experiences and stories shared during the workshop meetings. The result is a choral process that questions domestic work and the forms in which art manifests itself, seeking new perspectives on the role of women in society and the definition of the woman artist. A più voci (Quaderno proibito) reflects on the concepts of home and domestic work, which can be experienced as sources of pain and frustration but also as reservoirs of skills, energy and vitality.
A project by Tolja Djokovic in dialogue with Serena Terranova / Collettivo Amigdala realised with the participation of Simona Biagi, Anna Chiara Nicolussi, Giulia Matzé, Gabriella Tritta, Paula Nolff, Teresa Righi Riva, Nicoletta Rinaldi, Teodora Grano, Elena De Simone, Teresa Mazzanti, Maria Chiara Vigiano, Chiara Ricci, Emilia Bergamini, Roberta Dell’Oste, Valentina Piro, Gloria Dagnino, Elena Gargaglia, Luisa Motta, Irmtraut Tondorf, Xina Veronese, Elena Lerra, Emilia Bella, Francesca Gerli, Angela Ruggeri graphic design Inner Room, Sanctuary, Economy Fabrizio Goglia production E Production, Periferico Festival, ZONA K
Photo by Davide Piferi De Simoni
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.
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.
A theatrical fiction on citizenship rights that tells the story of the transition from adolescence to adulthood of a second-generation girl grappling with the construction of her identity, conflict with her family and her relationship with her origins, and the obstacles caused by missed citizenship rights in school life and in the world of sport. The story focuses on a pivotal moment in the protagonist’s life: her turning 18, and sees her coming to terms with the desires, expectations and renunciations that this ‘milestone’ brings to her existence. The show talks about school, the relationship between generations, education, privileges acquired by birth and rights denied by law. The adolescent characters are played by girls and boys met along the production route, while adult actors and actresses represent the family and the educating community. The show marks the culmination of three years of work by the Guinea Pigs Performing Arts Laboratory with groups of teenagers in Milan and Lombardy. Every aspect of the creative process is conceived, written in collaboration, and in dialogue with the working group: a collective and transgenerational creation process where each participant finds a space for storytelling, action, and representation. L’Italia è relativa also wants to be an opportunity to reflect on the unconscious privilege that concerns a large part of the population that is already Italian and to publicly question ourselves on what is the society we are imagining or are consciously deciding not to imagine.
a performance by Giulia Tollis and Riccardo Mallus with Letizia Bravi, Marco De Francesca, Ivna Lamart and Ilenia Mia Carrozzo, Giovanni Di Ponziano Tiffany Guaygua dramaturgy Giulia Tollis with contributions by Annasimon Hanna Edward Botros and the actresses and actors directed Riccardo Mallus and Mohamed Boughanmi Rengifo video Julian Soardi sound design Flavia Ripa set design and costumes Stefano Zullo technical direction Marco Ottolini with the precious collaboration of Federica Incrocci with the consultancy Nicola Datena of the Association Le Carbet of Milan and Na. Co. – Narrazioni Contaminate of Turin We would like to thank AGS Pallavolo Milano and the Istituto Comprensivo ‘Gino Capponi’ of Milan and all the people we met in the high schools and in the creation workshops who contributed to the realisation of this show We would like to thank Irene Timpanaro for her red Citroën C3 A Laboratorio d’Arte Performativa Guinea Pigs production, with the support of MiC and SIAE in the framework of the programme ‘Per Chi Crea’ with the support of Intercettazioni – Centro di Residenza Artistica della Lombardia, a project of Circuito CLAPS and Industria Scenica, Laagam, Teatro delle Moire, ZONA K with the support of ZONA K, Industria Scenica, Ilinxarium multidisciplinary artistic residency, Casa degli Artisti di Milano, Compagnia Carnevale, Centro Culturale Barrio’s
Photo: M. Giussani
Photo by the artist
Laboratorio d’Arte Performativa Guinea Pigs creates performances, installations, events, and cultural experiences that investigate social issues in theatrical spaces and urban contexts and are the result of meetings and collaborations with third parties operating in the social field and other artistic disciplines. In 2022 the company, together with the publishing house Marcos Y Marcos and the Arci Post club in Parma, planned and realised a cycle of digital and live events to promote the fruition and diffusion of poetry as part of the project Atlante Sonoro della Poesia Mondiale (Sound Atlas of World Poetry) financed by the Fondazione Cariparma.
Massimo Furlan / Claire De Ribaupierre (CH)
show | duration 60 min | in italian
c/o Parco delle Cave Cava Aurora – Associazione Unione Pescatori Aurora (in case of rain, the show will be staged in ZONA K)
An ancestral bond with the wild world, based on knowledge, patience, and listening with all the senses. Men and animals. Hunters and prey, fishermen and fish, forest rangers and philosophers. What connects them? Forests, rivers, mountains, and lakes where some live, and others search for a world that has almost disappeared. What do their stories, their anecdotes, and their experiences tell us?
On stage, fishermen and hunters—examples of the paradoxes of our time—are intimate connoisseurs of animals in their habitats and bearers of questions about human intervention in natural ecosystems. Their actions and practices combine tradition with contemporary issues, necessary needs (population regulation, human sustenance, etc.), and Sunday pastimes.
“Con l’Animale” is the second chapter of the “Trilogy of Contaminations,” a project in which Massimo Furlan and Claire De Ribaupierre explore the relationships we have with nature and its inhabitants to understand how an environment is structured: who are the main players, how they interact, and how they constantly evolve together. It aims to understand what unites us, what we all have in common. How do we build balances or create imbalances, form alliances or break them, and how do we coexist?
Today, more and more, we are neglecting the ancestral knowledge based on the balance between what we take from nature and the time we give it to regenerate. To no longer know the environment is to neglect it; to exploit it excessively is to destroy it. Without understanding the intelligence of what surrounds us, we are destroying 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, 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.
Yves Degryse/Berlin (BE)
show | duration 110 min in German and Dutch with Italian subtitles
c/o Teatro La Cucina / Olinda onlus via Ippocrate 47, Milan
At the end of the performance on Thursday 14 November, there will be a talk with the director Fien Leysen of the Flemish collective led by Francesca Serrazanetti of Stratagemmi.
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.
Simon Senn (CH)
performance | in French and English with Italian surtitles | duration 60 min viewing is recommended for audiences over 15 years old
At the end of the performance on Friday 8 November, there will be a public meeting moderated by Maddalena Giovannelli (Stratagemmi) in dialogue with Simon Senn and with Ester Fuoco, PhD in Digital Humanities and Researcher in Disciplines of the Performing Arts at IULM in Milan (see full BIO below)
In this digital conference that doubles as a demonstration and confession, Simon Senn, a videographer and visual artist from Geneva, demonstrates how the virtual world and the real world are not always in opposition, revealing the unexpected entanglements between technology, representation, gender, and law.
Simon Senn’s experience began when he bought the digital replica of a female body online. He then went in search of the woman whose body he was « virtually » inhabiting. Onstage he conveys this disturbing experience to the audience.
After downloading the replica (a detailed and evidently accurate reproduction), he brought it to life with easily purchased sensors and discovered what it felt like to « have » a female body – at least through his 3D glasses. The experience was moving. Who is this woman ? Can he do anything he likes with this digital body ? What about the new and enjoyable sensuality this virtual form offers him ? He managed to track down the young woman and begin a discussion with her (one that continues today), where together they investigate this third digital body that exists between them. Arielle is now part of the project and is present in the show.
Simon Senn decided to consult a psychologist and explore his feelings of «gender disturbance », which continue to surprise him – does he perhaps suffer from « Snapchat dysmorphia », the clinically accepted psychological illness of those who wish to transform themselves in order to resemble their online image?
conception and direction Simon Senn with Simon Senn, Arielle F. and a virtual body production Compagnie Simon Senn co-production Théâtre Vidy-Lausanne – Le Grütli, Centre de production et de diffusion des Arts vivants – Théâtre du Loup distribution and tour Théâtre Vidy-Lausanne with the support of Porosus – Pro Helvetia – Fondation Ernst Göhner – Pour-cent culturel Migros – Loterie Romande
Photo from simonsenn.com
Born in 1986, Simon Senn is an artist and theater director, and lives in Geneva. He obtained a Bachelor of Fine Arts from the Haute école d’art et de design de Genève and a Master’s degree from Goldsmiths College in London. At first glance, his work seems to suggest that he is a socially engaged artist, speaking out against a certain type of injustice. However, his works sometimes reveal a more ambiguous approach, exploring aporias rather than articulating addressed criticisms. Even if his videos or installations are normally based on a certain reality, fiction is often mixed in. Be Arielle F is his first proposal for the stage, with which he received the second Prix d’encouragement pour les arts de la scène Premio in 2019. During the health crisis of 2020, a live stream and adapted version of the show was offered digitally by the Théâtre Vidy-Lausanne. In 2024, he collaborates with Indian dancer Rohee Uberoi to capture and encode the movement of Bharata natyam in their projet Rohee, to be shown in Vidy.
Ester Fuoco is PhD in Digital Humanities and Researcher in Disciplines of the Performing Arts at IULM in Milan. From 2021 to 2023 she was a research fellow at the Biorobotics Institute of the Scuola Superiore Sant’Anna in Pisa and at the Univ. IULM with projects related to the application of robotics and AI in the performing Arts. Her recent publications include the volume Deviations in Contemporary Theatrical Anthropology: New Myths and Performative Rituals between XR, Robots and AI (Routledge,2024) and Neither here, nor now. Medial vicissitudes of contemporary performance (Ledizioni, 2022).
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 ATHENSCreated 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)
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: ShowingWithoutGoing.live – 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
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
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…
Faustin Linyekula / Mamu Tshi (RDC/CH)
dance | duration 50 min in French with Italian subtitles
Amandine Ngindu, a renowned krump dancer from Lausanne who goes by the stage name Mamu Tshi, met her Congolese compatriot Faustin Linyekula at Vidy. Together they traveled to the Kasai region to meet her grandmother, with whom she has no common language. In this danced portrait composed together upon their return, Mamu Tshi expresses herself through words and the restrained power of krump, reaching across the borders of her history.
With Mamu Tshi (Amandine Tshijanu Ngindu) Concept and choreography Faustin Linyekula, Mamu Tshi (Amandine Tshijanu Ngindu) Assistant director Angélique Tahé Music Twin Traxamus, Groupe folklorique Atandele (Kananga, DRC) Recorded voices Kaku Musambi Papa Ngindu Papa Mako Griot Tshimina Video Faustin Linyekula Zima Tukala Thanks to Aunt Pauline Bibomba and all the family in Kanyuka, DRC, Zima Tukala (yo moko oyebi), Victor Bafuafua, Sylvie Makela and the Salon Tribus Urbaines General director Veronique Kespi Lighting director Farid Deghou Boussad Sound director Luc Grandjean Stage director Christian Wilmart Production Anouk Luthier Production Théâtre Vidy-Lausanne with support from Studios Kabako (Kisangani, DRC) Support Arts and Humanities Division, New York University Abu Dhabi
photo by Sarah Imsand
Mamu TshiMamu Tshi was born in Congo, which she left at birth for Lausanne, where she lives and works today. Very early attracted to urban dance, she is today part of the world krump elite: in 2020 and 2021, she received the title of “dancer of the year” in this discipline. Freestyle dancing, powerful, expressive and liberating, is part of the street dance movement and is considered, among other things, as an artistic response to the systematic oppression of certain groups and the frustration that results from it. The battles, influenced by hip-hop and full of energy, are generally contested in public spaces by different crews. Mamu Tshi frequented urban dances for a long time before performing for the first time in 2019 at the Théâtre Sévelin 36 as part of the “Quarts d’Heure” – a platform for young choreographers. The same theater then invited her to develop her soloWomb: Entrailles as an “associated artist” for a creation in spring 2023. With her playL’Héritière, Mamu Tshi also completes the international trio Portraits in Otherness commissioned by Akram Khan Company for the tour in Switzerland (Steps festival). In parallel and with the collective “Swiss Krump Movement” and the Warriorz, pioneers of krump in Switzerland, she transmits this culture by organizing training and other community events. The lack of resources led her to initiate a project to include cultures and artistic practices from urban and underground environments in the Swiss cultural landscape, CAaUSE, entre d’Arts Alternatif et Urbain Suisse Émergent. At Vidy, she is a choreography assistant and performer in Sous influence by Nina Negri in 2021, and in 2024 she performs Mamu Tshi, Portrait pour Amandine in collaboration with Faustin Linyekula.
Dancer, choreographer and director, Faustin Linyekula lives and works in Kisangani (Democratic Republic of Congo). After literary and theatrical training in Kisangani, he moved to Nairobi in 1993 and in 1997 co-founded the first contemporary dance company in Kenya, the Gàara company. Returning to Kinshasa in June 2001, he set up a structure for dance and visual theater, a place for exchange, research and creation: Studios Kabako. With his company, Linyekula is the author of more than fifteen plays which have been presented on the biggest stages and festivals in Europe, North and South America, Australia and Africa. Among his collaborations are a production for the Comédie Française (Bérénice, 2009), a creation for the Ballet de Lorraine (La Création du monde 1923-2012, 2012), a solo for a dancer from the National Ballet of Portugal. Linyekula has also imagined performances for museums: the MOMA in New York (2012), the MUCEM in Marseille (2016), the Metropolitan Museum (2017) or the Royal Museum for Central Africa in Tervuren (2018). He teaches regularly in Africa and the United States. Linyekula received the Grand Prize from the Prince Claus Foundation for Culture and Development in 2007. Since 2007, Linyekula’s work and approach have been based in the city of Kisangani, where Kabako Studios supports the training, production and dissemination of young Congolese artists in the field of performing arts, but also video and music. In 2014, Linyekula and Kabako Studios received the first prize from the American CurryStone foundation for the work developed in Kisangani and in particular in the commune of Lubunga with the different communities. In 2016, as part of the Artista Na Cidade biennial, Linyekula was an associated artist of the city of Lisbon, from which he received the medal for artistic merit. From September 2018 and for three seasons, he was associated with the Manège – Scène nationale de Reims in France. In 2019 he was an associate artist of the Holland Festival in Amsterdam. At Vidy, he presented Congo, a trio for singer, actor and dancer based on the eponymous book by Éric Vuillard in 2019. The series of films by young African artists Lettres du continent, which he designed with Virginie Dupray during the pandemic in 2020, was presented by Vidy in the fall of 2020. In 21/22, he led the Imaginaires des futurs possibles cycle with the playwright Claire de Ribaupierre, an initiative bringing together artists, scientists and spectators proposed by Vidy and the Sustainability Center of the University of Lausanne. In 2024 he presents Mamu Tshi, Portrait pour Amandine.
source https://vidy.ch/en/
PAESAGGI CONDIVISI Sette pièce tra campi e foreste
Paesaggi condivisi is a theatrical journey through fields and forests, seven immersive proposals to provoke an examination of our relationship with the landscape and nature.
What if the landscape were a theatre? What if art did not imitate nature, but rather allowed us to experience it collectively? What is at stake in our relationship with “nature” and its representations, in this era in which climate and resources have made us aware of our fragility and interdependence?
Paesaggi condivisi is an invitation to leave the theatre and spend a day in nature; walking and exploring fields and forests, spectators will discover seven works of art, seven variations on the theme of landscape. Stefan Kaegi, from the Rimini Protokoll collective, and Caroline Barneaud, curator of the Théâtre Vidy-Lausanne, have invited ten European artists to share their visions on our relationship with the territory. Performative and choreographic interventions, sound and multimedia creations and dives into philosophy offer a collective and participatory experience.
Paesaggi condivisi is part of the European project Performing Landscape, which sees the involvement of eight partners from Germany, Austria, France, Italy, Spain, Portugal, Slovenia. Artists, cultural organisers and experts reflect on notions of art, the landscape and the territory. Drawing a visible and invisible map of the European locations involved, they reveal the spaces that the share through the lens of the arts and the sciences. An alternative way to examine and reinvent Europe together. Paesaggi condivisi made its debut on 14 May 2023 in Chalet-à-Gobet with the Théâtre Vidy-Lausanne and has currently been adapted and presented in the various locations involved: Avignon, Berlin, Milan, Ljubljana, St. Pölten, the Girona region and the Lisbon region.
The Swiss and German director Stefan Kaegi invites the audience to lie down under the trees, to put on headphones, and to listen to a conversation recorded under similar circumstances. An immersion into sound for a shift in perspective. Conversation with a psychoanalyst, a singer, a curious child, a forest ranger and a meteorologist.
Chiara Bersani and Marco D’Agostin are two Italian artists, one with disability and the other not, who have been exploring the notion of “political body” together for the past ten years. With a local performer, using bodies and words, the duo will stage a strange picnic in which the landscape will become a space of sharing as much as an inaccessible space.
Portuguese choreographers and performers Sofia Dias and Vítor Roriz have developed a choreographic language that includes text and voice, creating shows, performances, and podcasts as well as installations… For Paesaggi Condivis, the duo has composed a sound and choreographic piece for audio-guide headsets, which simultaneously guides two audience groups through the forest, in a kind of pas de deux or surrealistic ritual, between instructions and daydreams. A personal meditation and a collective experience that interrogates our relationship to what surrounds us.
Begüm Erciyas is a Turkish-Belgian artist who develops theatrical devices that offer audiences individual and intimate experiences in a collective context. Daniel Kötter is a director and filmmaker, and has directed a series of virtual reality documentaries that explore the effects of extraction on landscapes and communities.
Ari Benjamin Meyers, an American artist and composer living in Berlin, creates musical pieces for international stages and museums. He is particularly interested in formats that deploy the social and performative issues at stake in music. He takes advantage of this unique occasion to deploy a piece for an entire territory and an entire afternoon and composes for Paesaggi Condivisi UNLESS, 4 musical and sculptural works for the trees, the ground, the birds and the air, which unfold as the landscape and the day go by with 6 local musicians.
El Conde de Torrefiel is a Spanish collective that creates visual and textual theatre pieces in which theatre, choreography, literature and the visual arts cohabit. For the end of the day and of the route, El Conde de Torrefiel will install the audience in a situation in which they will contemplate a “subtitled” landscape, augmented by an LED screen on which thoughts, questions, perspectives and revelations will unfurl. A collective reading of the landscape which will highlight the imperceptible and some of the fictions that govern our representations of nature.
French director Emilie Rousset uses documentary research to create theatrical, installative, and filmic forms in which actors embody the collected archives, creating fruitful superpositions between reality and fiction, original and copy. For Paesaggi Condivisi, she met with an agroecology advocacy officer, a tractor farmer and a bio-acoustician, and recorded their words. Performers and a machine replay these original and several versions, inviting the audience to contemplate, upend, and examine the connections between science, technology, economy and landscape.
PAESAGGI CONDIVISI Sette pièce tra campi e foreste Duration (estimation) : 7 hours, including breaks Performative land art (theatre, performances, music…) Concept and curation Caroline Barneaud, Stefan Kaegi (Rimini Protokoll) With pieces by Chiara Bersani and Marco D’Agostin (Italy), El Conde de Torrefiel (Spain), Sofia Dias and Vítor Roriz (Portugal), Begüm Erciyas and Daniel Kötter (Turkey, Belgium, Germany), Stefan Kaegi (Germany, Switzerland), Ari Benjamin Meyers (USA, Germany), Émilie Rousset (France) Artistic assistant Giulia Rumasuglia, Magali Tosato Stage manager Guillaume Zemor Production and coordination Isabelle Campiche, Aline Fuchs (Théâtre Vidy-Lausanne) With the support of the production, technique, communication and administration teams of Théâtre Vidy-Lausanne Coordination of Performing Landscape Chloé Ferro, Monica Ferrari, Lara Fischer (Rimini Protokoll) Production Rimini Apparat (Germany) and Théâtre Vidy-Lausanne (Switzerland) CoproductionPerforming landscape, European consortium: Bunker and Mladi Levi Festival (Slovenia), Culturgest (Portugal), Festival d’Avignon (France), Tangente St. Pölten – Festival für Gegenwartskultur (Austria), Temporada Alta (Spain), ZONA K and Piccolo Teatro di Milano Teatro d’Europa (Italy).
Berliner Festspiele (Germany).
Performing landscape, European consortium: Bunker and Mladi Levi Festival (Slovenia), Culturgest (Portugal), Festival d’Avignon (France), Tangente St. Pölten – Festival für Gegenwartskultur (Austria), Temporada Alta (Spain), ZONA K and Piccolo Teatro di Milano Teatro d’Europa (Italy).
With the support of INVR Berlin for the virtual reality headsets.
The concept creation was funded by the Federal Agency for Civic Education (Germany)
The prototype in Lausanne was supported by Jorat natural park, the City of Lausanne, the Competence Centre in Sustainability of the University of Lausanne.
Mobile Akademie Berlin (DE)
MILAN AND THE UNPREDICTABLE
performance c/o La Pelota Jai Alai, via Palermo 10, Milan (MM2 Moscova) Free entrance subject to availability. RESERVATION RECOMMENDED, on Eventbrite 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.
HOW TO PARTICIPATE
Access and booking of conversations with expert(s) from 4 p.m. onwards. The cost of each conversation (duration 30 minutes) is €1. . CHECK-IN 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 .
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. LANGUAGES . Conversations in Italian, English, French, Arabic, Spanish, Tunisian dialect, Chinese, Romanian, LIS. For more information on the project www.mobileakademie-berlin.com | www.zonak.it
EXPERTS
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 KMilano a project by Mobile Akademie Berlin produced by ZONA KMilano with the support of MIC and Fondazione Cariplo
Mauro Pescio (IT)
IT’S NOT A HERO’S STORY
Theatrical show | duration 75 min
at ZONA K
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)
THE PACT OF FORGETFULNESS
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 graphicdesign 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).
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 compagniae 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.
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.
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
WE ARE NOTHING WE WILL BE EVERYTHING Participatory theatre play At Cittadella Dei Giovani Viale Giuseppe Garibaldi, 7, 11100 Aosta AO
info and bookings: 016535971 – info@cittadelladeigiovani.it
Does work really define who we are? How well does it meet our expectations? How much weight does it bear on our lives and on the choices we make?
A participatory performance on working men and women, a choir of instances and inquiries.
A public call, tens of workers which respond and a chorus. The “work” like fil rouge. Work as an aspiration, a forced choice, a source of sustenance, but most of all as a motor which derails trajectories, defines self esteem and personal beliefs, and which determines where and who with we spend most of or time. But does work truly define who we really are? How well does it meet out expectations? How much weight does it bare on our life and the choices we make? Does comprehending happiness or individual dissatisfactions help us evaluate collective wellbeing? The concatenation of stories becomes an investigative instrument to transform the collective experience into a shared narration, a hymn thought as a total art piece to re-hug a communities wish, and, through theatre, find new forms of representing reality.
a ZONA K project, direction Alessandro Renda, scenic implant Fabio Cherstich, testo Riccardo Spagnulo, con Matteo Gatta. Alessandra Renda, i cittadini and the coro di Aosta, production ZONA K co-porduction Teatro delle Albe
The project is realised with the support of the Fondazione Compagnia di San Paolo in the scope of Art Waves Produzioni of contemporary culture and with the support of Fondazione Cariplo and the Comune di Milano
Alessandro Renda is an actor of the Teatro delle Albe di Ravenna and from 2001 he is a “guide” in the laboratories of the “non-scuola”, pratica teatral-pedagogica antiaccademica delle Albe, with different experiences in Italy and abroad.
Photos Alessandro Renda
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
at ZONA K 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)
– NATIONAL PREMIERE – 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
at ZONA K
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.
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.
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.
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
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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 zonak.co.uk, ticket €6. After purchasing, you will receive an access code for the walks in the app by email.
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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
BIO 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.
From 8 September 2021 THE WALKS Rimini Protokoll (DE)
a Rimini Apparat production co-produced by ZONA K
[smartphone app]
21 September – 3 October 2021 h. 15.00 – 18.00 every 10′ [closed on Mondays] FASE NOVE // Assolo Urbano Ekin Bozkurt, Chiara Campara, Giulia Oglialoro, Riccardo Tabilio, Francesco Venturi (IT)
with Rimini Protokoll (DE)
a project by ZONA K and Casa degli Artisti
[urban walk] with departure from Casa degli Artisti
20 – 31 October 2021
Vernissage 20 October h. 19.00
Tuesday – Sunday from h. 10.00 to 13.00 and from h. 15.00. to 20.00 [closed on Mondays] GREETINGS FROM … Marilyne Grimmer (FR)
[photographic exhibition]
5 – 7 November 2021 h. 20.00 #NUOVIPOVERI Guinea Pigs (IT)
[show]
19 – 22 May 2021 TURIN / 15 – 19 June 2021 MILAN PLAY ME (ORIGINS PROJECT)
a production ZONA K, creation CODICEFIONDA (IT)
dramaturgical advice Agrupación Señor Serrano (ES) Turin c/o Palazzo del ‘900 Milan c/o ZONA K
13 – 14 July 2021 h. 21.45 THE MOUNTAIN Agrupación Señor Serrano (ES)
presented in collaboration with and c/o Olida/Da vicino nessuno è normale
20 – 21 July 2021 h. 21.00 A CERTAIN VALUE Anna Rispoli / Martina Angelotti (IT)
presented in collaboration with and c/o BASE
RAZIONE K Emergency food kit for theatre addicted
Razione K was the food ration of American soldiers during World War II.
For us, the RAZIONE K is almost like a small but substantial survival ration, “light and compact”. It is about doing and giving what is necessary to stay alive but dosing resources and energy. It is calibrating our strengths and weights, to be really ready to start again in the light of the changes that every event of this magnitude brings with it.
It is a change of pace with respect to the past, the sign of an intermediate year between a before, very clear and defined, and an after still to be written. On the one hand, it is a transitional year that brings to a close projects that have already begun but have not yet been presented to the public. On the other hand, it presents new ideas, following up on the peculiarities that have distinguished us over the years: audience participation, urban performance, attention to the present and research into new languages in the field of live performance.
There are no more focuses but a part 1 and a part 2. Continuing the metaphor of Razione K: a lunch and a dinner, a first course and a second course, a box 1 and a box 2. A first part that is concentrated from April to July and a second part that starts again in September and includes the autumn/winter until the end of 2021.
The desire to reiterate the importance of sharing projects and ideas with other realities of the artistic and cultural scene in Milan remains firm. Never as in the past year and in the current one has the need for relations, perspective exchanges and comparison on the future been so important.This confirms the collaboration with DANAE/Teatro delle Moire, Olinda/Da vicino nessuno è normale, IntercettAzioni, BASE, Stratagemmi, the Cooperativa Sociale Stripes, Terzo Paesaggio.
On a national level, ZONA K is a partner of In-Situ Italia, a cultural consortium for art in public space created together with Indisciplinarte of Terni in collaboration with BASE Milan, Sardegna Teatro of Cagliari and Pergine Festival in Trentino. “In-Situ Italia” gathers the Italian partners of “In-Situ”, the European platform created in 2003 and which today counts 19 partners from 13 countries. In the four-year period 2020-2024, the Italian consortium will promote the networking of skills and resources, collaborating within the European project “(Un)Common Spaces”.
Moreover, from this year ZONA K is among the new partners who have joined the Call for Digital Residencies conceived and promoted by Centro di Residenza della Toscana (Armunia – CapoTrave/Kilowatt), in partnership with Associazione Marchigiana Attività Teatrali AMAT, the Cooperative Anghiari Dance Hub, ATCL Lazio for Spazio Rossellini, the Centre of Residency Emilia-Romagna (L’Arboreto Teatro Dimora di Mondaino – La Corte Ospitale), the Luzzati Foundation Teatro della Tosse in Genoa.
BOX 1 APRIL – JULY 2021 BOX 2 SEPTEMBER – DECEMBER 2021
Roger Bernat (ES)
with the collaboration of Mar Canet and Varvara Guljajeva
and the live Facebook participation of
– Roberto Fratini 20 November at 9.00 p.m. – 9.30 p.m.
– Renato Gabrielli 21st November at 9.00 – 9.30 p.m.
– Magdalena Barile 22 November at 9.00 – 9.30 p.m.
Special guest ROGER BERNAT
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From 18 to 28 November, 24 hours a day, the Catalan director Roger Bernat, who generally creates performances without performers, offers us the opportunity to write an oceanic play directly from the ZONA K website.
Luis Buñuel and Jean-Claude Carrière locked themselves in a room and, embodying their characters, wrote the scripts for their future films. On the theater website, instead of conversing with Buñuel, Carrière or Shakespeare, the internet user converses with ENA, a bot that mimics human conversation. According to the Wikipedia definition, a bot is a sequence of computers that performs repetitive tasks that would be impossible or very burdensome for a human being. To learn how to write, ENA was shown 8 million documents.
The bots that answer the phone when we call big companies, those that affect social networks when elections are approaching or the bots we face in electronic games are brothers and sisters of ENA. But ENA doesn’t want to sell us anything, doesn’t want to inform us of any news (fake or real) and doesn’t even want to comfort us. ENA was conceived with the only purpose of pretending to be a human being, therefore to make theatre. ENA does not understand what she says or is told. For ENA, language is just a sequence of signs to which it responds with another sequence. Any dialogue with ENA will only make sense to the person participating in the conversation and to the audience reading the conversation on the theater’s website at the time. Having a dialogue with ENA is like playing squash with a wall that returns the ball to you. Keep in mind that, as a human being, you may be surprised or angry, or tired. ZONA K cannot be held responsible for messages sent by ENA which may be unpredictable.
CAUTION: ENA learned to write with GPT-2 (OpenAI) and dialogues thanks to DialoGPT (Microsoft) of the Transformer (Google) database. For this reason, although he understands Italian, he answers only in English. Nobody’s perfect.
________________________ Info: online collective writing • duration as desired • in Italian and English translated simultaneously Participation: free, non-stop 24 hours a day on the zonak.it website
If you have spoken to ENA and want a copy of your dialogue, send an email to biglietti@zonak.it clearly indicating the nickname and day of your interview ________________________
A project by Roger Bernat with the collaboration of Mar Canet and Varvara Guljajeva web design and programming Mar Canet and Varvara Guldjajeva graphics Marie-Klara González coordination Helena Febrés co-production FFF and Teatre Lliure thanks to Fabiano Cocozza
BIO
Magdalena Barile lives and works in Milan. Author, playwright and screenwriter, she teaches Theatre Writing at the Civica Scuola di Teatro Paolo Grassi and at the Scuola Belleville and Screenplay at the IED – Istituto Europeo di Design. Her theatre texts, many of which have been translated into several languages, are the most recent: Raffiche (2016); Il divorzio, adaptation of the film Divorzio all’italiana by Pietro Germi (2016); Rosa Conchiglia. Anaïs Nin e i giorni del porno ( (2017); Cosa beveva Janis Joplin (2018); Api Regine. Commedia fantascientifica sull’eliminazione del maschio (2018). She collaborates permanently as author and screenwriter with Swiss Radiotelevision (RSI) and has participated in the writing of several drama and comedy programmes for Italian television (Albero Azzurro, Camera Cafè, Bye Bye Cindarella).
Roberto Fratini Serafide (Milan, 1972), playwright and dance theorist, is a lecturer at the Conservatori Superior de Danza (Istituto del Teatro) in Barcelona, and has held courses and lectures at other European universities. He collaborates with several international contemporary dance and theatre companies (among them Caterina Sagna Company, La Veronal, Roger Bernat FFF, Taiat Dansa, Germana Civera, Aerites Dance Company, Alexandra Waierstall, Sol Picó, Philippe Saire) and has given dramaturgy workshops at different masters and theatre institutions. His book A Contracuento. La danza y las derivas del narrar was published in 2012. In 2013 he received the FAD Sebastià Gasch Prize for his artistic and intellectual trajectory.
Renato Gabrielli, playwright and screenwriter, teaches at the “Paolo Grassi” and the “Luchino Visconti” School of Cinema in Milan. He is the author of the guide Scrivere per il teatro (Carocci, 2015). Among his most recent theatre works: Combattenti (“Hystrio” XXIX-3, 2014), La donna che legge (Cue Press, 2015), Redenzione (2017), Spin (2018), Fammi un’ altra domanda and Nessun miracolo a Milano (2020). In 2008 he won the Hystrio Prize for Dramaturgy. In 2020, with Procedura, he won the Premio InediTo Colline di Torino – Sezione Teatro.
Bozkurt, Campara, Oglialoro, Tabilio, Venturi with Rimini Protokoll
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?
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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-.
BASIC INFORMATION FOR PARTICIPATING
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
BIO
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.
REALITY?
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.
Events:
15 – 24 September 2020 UNDER COVID
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]
In the present, increasingly built on virtual reality, augmented reality, reality shows and fake news, a reflection dedicated to virtual reality could not miss. How much does the immersive experience, now increasingly rampant, allow us to deepen our reality or is it reduced to a simple act of gamification?
Some studies argue that virtual reality can be interpreted as a machine of empathy capable of making us experience different and difficult situations. Is there a difference between policemen who wear VR to imagine themselves as criminals and spectators who virtually experience the violence suffered by migrants? Is there a precise boundary between reality and fiction?
These, the shows of FOCUS VIRTUAL.
cancelled SILKE HUYSMANS & HANNES DEREERE | CAMPO (BE) PLEASANT ISLAND
[multidisciplinary documentary theatre]
presented in collaboration with Fattoria Vittadini
c/o Fattoria Vittadini
postposed MAMMALIAN DIVING REFLEX (Canada) THE LAST MINUTES BEFORE MARS
[multimedia perfomance]
A project of ZONA K and FOG Triennale Milano Performing Arts
c/o ZONA K
13 + 14 and 16 + 17, and from 20 to 24 May CODICEFIONDA (IT) PLAY ME (Origins Project) A ZONA K production
[one-to-one performance]
In the Theatrical Season 2021 RAZIONE K, 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.
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”.
________________________ Info: multimedia performance for single spectators with VR • audience aged 16 and over • duration 30 min. • entrance every 15 min • in Italian
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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 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. Visit oracompagniadisanpaolo.it
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
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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
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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.
SILKE HUYSMANS & HANNES DEREERE | CAMPO (BE)
The show is canceled, according to the regional ordinance of 04/03/20
Nauru is a small island-state in the Pacific Ocean, once known by European explorers as “Pleasant Island”. The history of this island can be seen as a parable of our times. After the exhaustive exploitation of the island’s vast underground phosphate resources, both under Anglo-Australian rule and after its independence in 1968, the island was left in total economic and ecological ruins.
Today Nauru hosts refugee detention centres from which you cannot escape in exchange for big sums of money from Australia. Meanwhile, the island risks to be swallowed by the ocean as a result of the rising sea level.
It is in this post-apocalyptic scenario that the documentarians Silke Huysmans and Hannes Dereere meet the limitations of a world that is intent on endless growth. Drawing on interviews and conversations with the island’s residents and refugees, they seek new perspectives.
What future is there in a place that is exhausted in terms of ecology, economy and humanity? And how do we deal with the gloomy predictions that seem to wait for us?
presented in collaboration with Fattoria Vittadini
c/o Spazio Fattoria – Fabbrica del Vapore, via Procaccini 4 – M5 Monumentale –
Info: multimedia documentary theatre • duration 60 min. • in English with Italian subtitles
Standard ticket: 15,00 € – Students/under 26/over 65/groups: 10,00€
Part of the subscription shows
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By & with: Silke Huysmans & Hannes Dereere Dramaturgical advice: Dries Douibi, sound mixing: Lieven Dousselaere, technical support Anne Meeussen & Piet Depoortere, production: CAMPO, coproduction: Kunstenfestivaldesarts, Spring Festival Utreht, Beursschouwburg, Kunstenwerkplaats Pianofabriek, Veem House For Performance, Spielart & De Brakke Grond residenze Beursschouwburg, De Grote Post, KAAP, Kunstencentrum Buda, Kunstenwerkplaats Pianofabriek, STUK & Veem House for Performance, LOD with the support of the Vlaamse Gemeenschapscommissie & KAAP. Thanks to all partners who collaborated
The work of the young playwriters Silke Huysmans and Hannes Dereere is based on concrete situations, events or places that represent a broader topic. What characterises the duo is how they carry out their research through scientific examination, interviews and fieldwork. After finishing their studies in Gant in 2013, they started working on documentary theatre. In their critically acclaimed Mining Stories (2016), they explored the impact of a recent mining disaster in southern Brazil. The next projects will be produced by CAMPO, with the support of Pianofabriek, KAAP Bruges, Kunstenfestivaldesarts and Beursschouwburg Brussels.
FOCUS GLOBAL
The FOCUS is canceled, according to the regional ordinance of 04/03/20. All the shows are postponed.
Reality tells us that we live in the era of globalisation, made up of incredible potential and ease, despite the economic, political and social distortions that always accompany the great passages. The difficulty of finding new ethical codes, different ways of living together and distributing wealth is answered with closure, anachronistic nationalisms, fear. Is there a possible way?
If globalisation implies the development of different transnational lifestyles, is Ulrich Beck right when he says that “to survive you need a cosmopolitan realism”?
In Go Figure Out Yourself, an encounter with the audience in an unprepared space, five characters take you far beyond the protective walls of the theatre and they show you a place where you can give shape to your own thoughts, simply by looking and listening to others. At the rhythm of a soundtrack that mixes words, music and dance, you are invited to participate in an unpredictable and exciting trail.
Go Figure Out Yourself explores the boundaries between audience and performers.
Simply moving freely in the space, you will become part of a group happening, which will leave you in the end with many questions and few answers. The slowness of everything contrasts with the speed of the individual. The whole is greater than the sum of its parts. Everything is what it is.
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presented in collaboration with and c/o Casa degli Artisti, Corso Garibaldi, 89/A – via Tommaso da Cazzaniga -M2 Moscova-
Info: dance performance • duration 75 min. • in English
Nb: audience and performers share the same stage space. There are no chairs.
Standard tickets: 15,00 € – Students/under 26/over 65/groups: 10,00€ You can pick up tickets at Casa degli Artisti, Corso Garibaldi, 89/A – via Tommaso da Cazzaniga -M2 Moscova-
Part of the subscription shows ________________________
direction, choreography, scenography Wim Vandekeybus, created and interpreted by Sadé Alleyne, Maria Kolegova, Hugh Stanier, Kit King, Tim Bogaerts, dramaturgy Aïda Gabriëls, lighting design Davy Deschepper, Wim Vandekeybus, costume design Isabelle Lhoas assisted by Isabelle De Cannière, technical coordination Davy Deschepper, sound engineer Bram Moriau, stage manager Tom de With, producer Ultima Vez, co-producer Les Brigittines (Bruxelles), with the support of the Tax Shelter measure of the Belgian Federal Government, Casa Kafka Pictures Tax Shelter empowered by Belfius, Ultima Vez is supported by the Flemish Authorisations and the Flemish community commission of the Brussels-Capital region.
Physicality, passion and intuition are the main elements of Wim Vandekeybus’ work, one of the greatest exponents of the international performance scene. A multifaceted artist, choreographer, director, performer who attended the University of Leuven where he studied psychology. Fascinated by the relationship between mind and body, this interest influenced all his choreographic work.
In 1987 he founded the Ultima Vez company with which he made almost 30 productions as well as numerous films and videos. The use of different media and languages translates into a constantly evolving cast that includes dancers, circus performers, actors, musicians and collaborations with artists from different disciplines.
REALITY
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.
SPECIAL EVENT
15 February 2020 WIM VANDEKEYBUS/ULTIMA VEZ (BE) GO FIGURE OUT YOURSELF
[dance performance]
presented in collaboration with and c/o Casa degli Artisti
21 – 22 March 2020 ROGER BERNAT / FFF (ES) NESSUNA CONVERSAZIONE DEGNA DI RILIEVO
[show with headset]
FOCUS VIRTUAL 2 APRIL – 17 May 2020
2 – 3 April 2020 SILKE HUYSMANS & HANNES DEREERE | CAMPO (BE) PLEASANT ISLAND
[multidisciplinary theatre documentary]
presented in collaboration with Fattoria Vittadini c/o Spazio Fattoria
22 – 24 May 2020 MAMMALIAN DIVING REFLEX (Canada) THE LAST MINUTES BEFORE MARS
[multimedia performance]
a ZONA K and FOG Triennale Milano Performing Arts project
13 – 14 and 16 – 17 May 2020 CODICEFIONDA (IT) PLAY ME (Origins Project)
[multimedia performance]
A ZONA K project
FOCUS HUMAN Octobre – Novembre 2020
start October – end November 2020 RIMINI PROTOKOLL (DE) TURNO DI NOTTE
[travelling urban performance]
A ZONA K project in collaboration with Casa degli Artisti
c/o places in the city
28 – 29 Novembre 2020 AGRUPACIÓN SEÑOR SERRANO (ES) THE MOUNTAIN
[multimedia show]
A ZONA K co-production presented in collaboration with Olinda Onlus
c/o TeatroLaCucina
Novembre 2020
CONVENTION
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
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
WORKSHOP DI INTERPRETAZIONE PER ATTORI PROFESSIONISTI
Quando un attore/performer ha raggiunto un livello di consapevolezza tale da rendere il proprio corpo espressivo, liberare la voce e costruire in modo intenzionale un personaggio sulla scena, allora è pronto per un confronto nuovo e per dare vita a un inedito sé in termini performativi.
ZONA K e Teatro Franco Parenti presentano un percorso di formazione tenuto dall’artista Claudio Tolcachir, protagonista indiscusso della nuova scena argentina e regista pluripremiato a livello internazionale. Un workshop in cui sperimentarsi attraverso esperienze di recitazione e rappresentazione scenica, collettive e in solo, al fine di accrescere le proprie potenzialità attoriali.
A chi è rivolto il percorso formativo:
20 attoriprofessionisti che abbiano voglia di affinare le proprie doti attoriali e recitative – costo € 180.00
10 uditori che desiderino entrare in contatto con questo mondo secondo una modalità meno diretta ed immediata – costo € 60,00
Quando: 23 e 24 Novembre ore 11.00 – 18.00 (pausa pranzo compresa) + 25 Novembre ore 10.30 – 13.30
Dove: ZONA K, Via Spalato 11, M5 ISOLA.
Il workshop è tenuto in lingua spagnola con traduzione in sala.
Le iscrizioni corredate di CV devono pervenire entro e non oltre il 16 novembre all’indirizzo info@zonak.it Per info chiamare il numero 393.8767162.
Pic by Mariana Eliano
Il workshop nel dettaglio
La proposta didattica formativa approfondirà le seguenti tematiche:
– Come pensare una scena.
– Come scoprire all’interno di un testo le chiavi di una specifica e vasta evoluzione del personaggio. – Come trarre vantaggio dalle linee d’azione fornite dal testo per conferire verità e credibilità al personaggio e alla scena.
Il principale nemico di un attore è la recitazione, se essa si pone davanti all’azione del personaggio, apparendo così come una semplice rappresentazione. Affrontare la sottile, ma enorme differenza tra azione e recitazione, tra essere e mostrare. Rappresentare un pensiero o un’emozione o realizzare un vero processo di pensiero che produce un’emozione genuina nata nel qui e ora che la scena propone. L’idea è di pensare a un attore indipendente, capace di mettere in campo strategie per proporre e risolvere le scene; un attore dotato di armi necessarie per realizzare le sue idee e di malleabilità tale da incorporare le proposte della direzione e trasformarle in motori propri che arricchiscono il lavoro.
L’analisi del testo dovrebbe servire come una guida, piuttosto che come un panorama insondabile che genera impotenza. I personaggi e i loro diversi strati di verità, contraddizione, menzogne e transizioni prendono forma da un’analisi profonda e pratica allo stesso tempo, in unione con le diverse sfaccettature del performer, creando una vera mappa del personaggio.
In relazione all’azione dobbiamo definire quale significato reale abbia quella parola per noi. Se concordiamo che la realizzazione del carattere consista nella modifica di sè o dell’altro, quindi questo è il suo obiettivo, scopriamo che l’azione è un asse che organizza il nostro modo di pensare e agire. L’emozione deriverà dal naturale scontro tra l’obiettivo del personaggio e la sua opposizione, in aggiunta alle circostanze umane che la compongono, ottenendo così un’emozione genuina e non forzata dalla performance.
Obiettivi ed esercizio fisico
Analisi del testo Lavoro di gruppo per analizzare le scene che si presenteranno, riferendole alla pratica scenica.
Azione, i risultati dell’analisi del testo vengono trasferiti al corpo. Esercizi sperimentali sul corpo (verbi motori nel corpo – verbi motori nel testo).
Esercizi di comunicazione e relazione (attraverso esercizi verbali focalizzati sulla comunicazione e sulla relazione con l’altro).
Pratica scenica Lavoro sulle scene preparate in seguito all’analisi del testo, con l’inserimento di esercizi fisici adatti all’interpretazione scenica. Gli esercizi specifici vengono proposti in base alle difficoltà che si presentano al momento della messa in scena delle azioni performative.
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
EUROPA! EUROPA! is the common thread running through the season. We must talk about Europe today. We feel it is more essential than ever to devote an entire year to a theme that affects us all closely and is redefining new political, economic, social and cultural geographies. We, who were born in Europe, who grew up with the idea, with the ideal of Europe, think it is right to talk about it again, and again, despite or precisely because it is at a fragile and complex moment. And we want to talk about that Europe which was born from the war, which grew up with the ideals of democracy, which is immobilized in the face of new scenarios that are difficult to predict, in the language that belongs to us.
We want to follow the flow of celebrations, anniversaries and commemorations – the so-called English re-enactments – that mark our time and our memory, but also imagine and invent possible scenarios. Because from Europe we have internalized the open borders, the cultural routes, the possible networks, and we can no longer do without them.
WAR, DEMOCRACY, URBAN and NOW will be the focuses that will decline our idea of Europe, today that Brexit is a reality, that populism is at the gates and with it thousands of people. The challenge is open, with all the risks that this entails.
With the 2017 edition, ZONA K’s theatre and multidisciplinary season reaches its 5th year of activity. An important anniversary for an activity that has grown fast, so fast that every now and then it overwhelms and surprises even us. An anniversary that we are happy to celebrate also thanks to the Sandra Angelini Prize awarded by Retecritica for the Best Organizational Project 2016.And thanks to the collaborations with old and new friends that this year allow us to realize a truly extraordinary season: C.L.A.P.Spettacolodalvivo, Danae Festival, la Casa della Memoria, Olinda, Stanze and Triennale Teatro dell’Arte.
ECONOMY
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.
FOCUS MONEY
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 KALEIDER (UK) TheMoney [performance]
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.
Christophe Meierhans (CH/BE)
Can the money we use on a daily basis be held responsible for the bleak state of the world today? What would it mean to hold it accountable for its actions? Trials of Money challenges the idea that money is just a tool or a means, and treats it as a complex being, a “semi-human” entity that has acquired an autonomous operation and escapes the control of the men who use it.
This new version of the performance is based on the collected testimonies of nine witnesses: an ex-banker, a Suisse National Bank employee, a homeless man, a wealthy philanthropist, a Native American, an economics professor, a kibbutz resident, and a criminologist. It invites the public to take part in the actions of a fictitious court, conducted as a collective exercise where all present freely assume the position of prosecution or defense, based on their beliefs and influenced by the proceedings.
Can money actually be tried before a human tribunal? And if the defendant is ultimately found guilty, what should be the appropriate sentence?
WORLD PREMIERE Conference Show – in Italian
A project ZONA K and Stanze
“Show realized within the project Teen Time.”
Concept and direction: Christophe Meierhans Performer: Christophe Meierhans, Luca Mattei Dramaturgy: Bart Capelle With the participation of: Shila Anaraki, Jochen Dehn, Adva Zakai Set design: Decoratelier Jozef Wouters Decor: Giammarco Falcone Light saber microphones: Alexis Pawlak, Gaia Carabillo Costumes: Sofie Durnez, Valerie Le Roy Lighting design: Luc Schaltin Monetary consultant: Olivier Auber Production: HIROS, Elisa Demarré Co-production: AUAwirleben (Bern), BIT Teatergarasjen (Bergen), BUDA (Kortrijk), FAR° (Nyon), Kaaitheater (Brussels), Nouveau Théâtre de Montreuil (Paris), Teatro Maria Matos (Lisbon), Vooruit (Gent), ZONA K (Milan) With the support of: Vlaamse Gemeenschap, ProHelvetia
Christophe Meierhans (Geneva; Brussels) works with and through performance, public space, installation, sound, music and video. His work consists mainly in developing strategies of intervention in everyday life, through the manipulation of accepted conventions, social habits or simple customs. Fragments of reality become the frame for artistic operations that can redirect banality in order to make it reappear under 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 else.
FOCUS SOCIETY
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.
28 – 29 May 2019 LA BALLATA DEI LENNA (IT) Human animal. Liberamente tratto da “il re e pallido” di D.F. Wallace [show]
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 andFESTIVAL 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.
Babilonia Teatri (IT)
A point of excellence in the Italian scene of theatrical research, Babilonia Teatri arrive in Milan with a new creation, a sort of concert through which they manage to pass dense content and full of rebellion. The repeated word that tells the disenchantment for an (im)perfect world, unmistakable feature of the company, is shaped mainly in songs, specially written on the notes of Lorenzo Scuda (Oblivion), building a show where music and theater contaminate and dialogue in an uninterrupted and whirling.
Calcinculo is a show where words take the shape of music. Where music takes the shape of words. We live in an obsessive time that words and images are no longer able to tell by themselves, music comes to the rescue like a medicine or an explosive fuse.
Calcinculo is a show that wants to photograph our today. His perversions and his escapes from himself. His inability to imagine a future, to dream it, to strive towards an ideal, to believe. With this show the Babilonia tell the world around us with their sharp, painful and ironic look.
Show – in Italian
By and with: Enrico Castellani and Valeria Raimondi Music: Lorenzo Scuda Stage direction: Luca Scotton Sound engineer: Luca Scapellato Production: Babilonia Teatri, La Piccionaia centro di produzione teatrale Co-production: Operaestate Festival Veneto Scenes Babilonia Teatri Production 2018. Thanks to Ana Valli Grandi Choir and Cuore Husky rescue
Babilonia Teatri is one of the most innovative companies in the contemporary theater scene, distinguishing itself for a language that is variously defined as pop, rock, punk. It has imposed itself on the Italian scene for its irreverent and divergent look at today’s world. Babilonia Teatri has won numerous awards over the years In addition to the main Italian cities, the company’s shows have been hosted numerous times abroad, from France to Germany, from Austria to Hungary, from Bosnia-Herzegovina to Croatia, from Colombia to Russia. Enrico Castellani and Valeria Raimondi, founders of the company in 2006, are the Artistic Directors of Babilonia Teatri. Playwrights, authors, directors and actors, Castellani and Raimondi are based in Verona. Lorenzo Scuda from 1999 to 2003 studies Musical at the BSMT of Bologna and from there he participates first as musician/orchestral and then as actor and singer in several productions, the most important is Jesus Christ Superstar with the Compagnia della Rancia in the role of Pilate. In 2002 he founded Oblivion. He is author and co-author of the lyrics, arranger and composer of all their productions. They debuted in November 2018 with their first original musical: La Bibbia riveduta e scorretta, directed by Giorgio Gallione. Since 2009 he has been working mainly for Oblivion, also dedicating himself to the activity of teacher for musical courses and seminars for theatrical improvisers throughout Italy.
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).
La ballata dei Lenna (IT)
The show comes to life from the reading of The Pale King, the last novel published posthumously by the American David Foster Wallace, dedicated to the heroic everyday life of a group of officials of the Internal Revenue Service of a provincial town in the USA, with the intention of investigating boredom, and the ability / inability of the human being to survive the bureaucracy. Of The Pale King, a novel left unfinished, following DFW’s suicide, only shreds of unfinished stories remain in which we can glimpse the fragmented existences of the protagonists, and breathe DFW’s torment in trying at all costs to find a meaning to human existence.
Starting from here, La Ballata dei Lenna through a path of identification with the author, has conducted over several months, a search within several offices of the Internal Revenue Service in our country, with the intent to investigate a world that in the common imagination of heroic has very little. The material has produced an original dramaturgy that plays with the fragmentary nature of the novel to give life to a docuteatro that gives, together with the viewers’ eyes, a new sense to the work.
Performance – in Italian
By Paola Di Mitri Directed by Nicola Di Chio, Paola Di Mitri, Miriam Fieno With Nicola Di Chio, Paola Di Mitri, Miriam Fieno Narrator Alex Cendron Lights and visual concept Gennaro Maria Cedrangolo and Eleonora Diana Video and filming Vieri Brini and Irene Dionisio Costumes Valentina Menegatti Production La Ballata dei Lenna Executive production ACTI Teatri Indipendenti Production support Hangar Creatività, ZONA K Milano, Factory Compagnia Transadriatica, Principio Attivo Teatro In collaboration with Scuola Holden
La Ballata dei Lenna is a theatrical research collective founded by Nicola Di Chio, Paola Di Mitri and Miriam Fieno that was founded in 2012 at the Civica Accademia d’Arte Drammatica “Nico Pepe” in Udine, where the three actors trained and graduated. The company’s work focuses on the study of the relationships between the community and its daily life, in an attempt to highlight the points of friction of the contemporary imagination. The idea of theater as a collective representation leads the company to research and use a variety of languages, ranging from the centrality of the actor to its decomposition, from the word to the movement, from sound to image. The three artists ground their work in a perspective that encompasses the art of authorship, the craft of performance, and the role of stage manager.
FOCUS ECOLOGY
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.
3 – 6 October 2019 MICHELE LOSI/PLEIADI ART PRODUCTIONS(IT)
R 500 – SAFARI IN THE URBAN LABYRINTH #STUDIO I. THE ISLAND THAT DOESN’T EXIST [itinerat performance]
19 – 20 October 2019 ANDY FIELD (GB) LOOKOUT “a one on one meeting with a city view” [performance]
23 October 2019 ČERNOBYL’: A CATASTROPHE, A POINT OF DEPARTURE AND AWARENESS. [meeting] by Q Code Magazine
26 – 27 October 2019 BERLIN (BE) ZVIZDAL [CHERNOBYL, SO FAR – SO CLOSE] [performance] c/o TeatroLaCucina
Deflorian/Tagliarini (IT)
Scavi is a collateral project to Quasi niente, a performance freely inspired by the film Deserto rosso by Michelangelo Antonioni, a work around the figure of the film’s protagonist, Giuliana, a “wild woman dressed elegantly” who takes on the marginality that has always attracted the two artists.
Scavi is a collateral project to Quasi niente, a performance freely inspired by the film Deserto rosso by Michelangelo Antonioni, a work around the figure of the film’s protagonist, Giuliana, a “wild woman dressed elegantly” who takes on the marginality that has always attracted the two artists.
Scavi is a performance that wants to be the public restitution of the “discoveries” in the investigation phase of the work on the new creation.
Digging patiently, as archaeologists do, to find a note in the margin, an unexpressed thought, a barely sketched idea, the photograph of an unedited scene. It is the encounter with the creative process, a vast, dense, raw material, of which the work is only the tip of the iceberg. This is how Daria Deflorian and Antonio Tagliarini, together with Francesco Alberici, approached Michelangelo Antonioni’s first color film, Il deserto rosso. At ZONA K they will return the discoveries of their excavations.
A project ZONA K and Triennale Teatro dell’Arte
Included in the program of FOG Triennale Milano Performing Arts.
Show – in Italian
A project by Daria Deflorian and Antonio Tagliarini Written and performed by Francesco Alberici, Daria Deflorian and Antonio Tagliarini Literary advice Morena Campani Accompaniment and international distribution Francesca Corona Organization Anna Damiani Photos Elizabeth Carecchio Coproduction A.D. and Festival di Santarcangelo In collaboration with Istituto Italiano di Cultura di Parigi Production residence Carrozzerie | n.o.t Roma
Daria Deflorian and Antonio Tagliarini are authors, directors and performers. Their first work dates back to 2008, Rewind, homage to Cafè Müller by Pina Bausch. In 2009 they staged From A to D and Back Again. Between 2010 and 2011 they worked on the “Reality Project” which, starting from the diaries of a Cracow housewife, gave life to two works: the installation/performance czeczy/cose (2011) and the show Reality (2012), a work for which Daria Deflorian won the 2012 Ubu Award as best leading actress. Ce ne andiamo per non darvi altre preoccupazioni debuted in 2013 (2014 Ubu Award as best Italian new play while in 2016 it received the Critics’ Award as best foreign play in Quebec, Canada). They created two site specific: Il posto (2014) created and presented in Milan at Casa Museo Boschi/Di Stefano for the project “Stanze” and Quando non so cosa fare cosa faccio (2015). The sky is not a backdrop premiered in 2016 in Lausanne. The show Almost Nothing premiered in October 2018.
Francesco Alberici (1988), completed his classical studies and graduated in Economics and Business at Bocconi University in Milan. He graduates as an actor at the school Quelli di Grock and works in several shows of the same company. With the collective FRIGOPRODUZIONI, of which he is founder together with Claudia Marsicano and Daniele Turconi, he realizes Socialmente and Tropicana, works thanks to which the group obtains several awards. In 2015 he participates in the theatrical specialization course “Il corpo nelle parole” of the Centro Teatrale Santa Cristina. In 2016 he begins a collaboration with Daria Deflorian and Antonio Tagliarini, which leads him to take part in the projects Il cielo non è un fondale, Quasi niente and Scavi.
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.
DOM- with Antonio Moresco (IT)
Art is about making everything false and seeming true.
Art is to make everything true and seem false.
“Realism is the impossible” – W. Siti
After the great success of the last season, the extraordinary operation of DOM- returns, which, starting from the graphic novel by Jiro Taniguchi, builds a dramaturgy of spaces in which to let explode the border between centre and suburbs, between urban and third landscape, between human and non-human.
A man, the writer and playwright Antonio Moresco, walks through the city. Through his journey, the landscape opens up and hides from the eyes of the public, who follow him at a distance, as if to spy on him, poised between identification and detachment.
The spaces follow one another as in an uninterrupted sequence – a square, a station, a cathedral, an uncultivated field, a swamp, a public swimming pool, a motel. The living experience of walking becomes the pretext for a hand-to-hand encounter with reality.
A ZONA K and Danae Festival project Urban, itinerant performance for 15 spectators only.
Conceived, dramaturgy and direction by DOM- / Leonardo Delogu, Valerio Sirna Production Teatro Stabile dell’Umbria, ZONA K, Danae Festival, Terzo paesaggio With Antonio Moresco and with Paola Galassi and Isabella Macchi With the participation of the students of ITAS Giulio Natta of Milan Organisation and guidance Francesca Agabiti Freely inspired by the comic strip by Jiro Taniguchi – L’uomo che cammina Unpublished texts by Antonio Moresco Video project Studio Azzurro Edited by Alberto Danelli, Laura Marcolini, Martina Rosa Original music Fabio Zuffanti Sound processing Lorenzo Danesin Collaboration Museo Del Novecento, Milano Sport, Abbazia di Chiaravalle, Hotel Corvetto 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)
DOM- is a project born in 2013 from the collaboration between the artists Leonardo Delogu, Valerio Sirna and Hélène Gautier. It investigates the language of the performing arts, with particular attention to the relationship between body and landscape, and is committed to the transmission of peculiar practices of dwelling, linked to the space and time of artistic creation. DOM- builds performance events, seminars, walks, writings, gardens, installations, videos, photographic reportages.
Antonio Moresco, Italian writer [Mantua, born 1947]. After completing a difficult apprenticeship, which he recounts in Letters to No One (1997), critically documenting the difficulty of emerging from the condition of being a writer.
After completing a difficult apprenticeship, which he describes in Lettere a nessuno (1997), critically documenting the difficulty of emerging from the condition of being an underground writer rejected by the Italian publishing world, in 1993 he published the collection of short stories Clandestinità (Clandestinity), in which the themes that underpin his work are already present, rendered in a dry and hyper-realistic style that increases its dramatic impact: loneliness, first and foremost, crossed by a dimension of dreaming as estrangement from the self, which is accompanied by the recurring motif of a frantic search for meaning that unravels through oblique and unstable paths. The fulcrum of Moresco’s work revolves around the vast work Giochi dell’eternità (Games of Eternity), written over a period of 35 years, consisting of Gli esordi (1998), Canti del caos (published in two volumes in 2001 and 2003) and Gli increati (2015). His other works include: La cipolla (1995), Lo sbrego (2005), Scritti di viaggio, di combattimento e di sogno (2005), Merda e luce (2007), La lucina (2013), Fiaba d’amore (2014), I randagi (2014), Piccola fiaba un po’ da ridere e un po’ da piangere (2015), L’addio (2016), Fiabe da Antonio Moresco (2017) and, both in 2018, L’adorazione e la lotta and Il grido.
Founder in 2003 of the blog Nazione indiana, in 2005 he created the online and print magazine Il primo amore.
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.
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.
FIRST STUDY. 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.
SPECIAL RESIDENCIES TECHNOLOGY
“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.
FOCUS TECHNOLOGY
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)
[performance]
22 – 24 November 2019 CLAUDIO TOLCACHIR (AR) PRÓXIMO 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 [show]
6 – 10 December 2019 IMAGINOMETRIC SOCIETY(IT) THE MILAN EXPERIMENT [performance] c/o Sala delle adunanze dell’Istituto Lombardo, via Brera 28
LOLA ARIAS
Can art be a way to revive the past? How do reality and fiction overlap? What does the expression documentary art imply? What kind of writing processes allow for this kind of project?
Through videos and materials from her works, Argentinean director Lola Arias talks about her experience in the field of documentary art and interdisciplinary projects using theatre, cinema and visual arts over the last decade. Arias addresses different aspects of the genesis and development of her works, where she problematises the relationship between aesthetics and politics, reality and fiction, artwork and social experiment.
Darren O’Donnell
Telling by involving: the seminar on participative theatre
This training seminar is for whoever wants to gain some advice and innovative strategies to develop site-specific and participative plays, that can be both provocative and original.
The work is based on the active involvement of people (not actors) of different ages and social context.
Artistic director and founder of the Canadian Mammalian Diving Reflex (considered the international expects in this area, always present at the most important international theatre festivals) Darren O’Donnell will guide you in the ideation and test of small performative actions based on his method: social ago puncture, designed to explore and systematize innovative devices to interact with the public.
The seminar in in English, with Italian translation, and is free.
To participate you should have a strong interest in this social practice. Experience is not necessary.
At the end of the seminar, who is interested can produce and send to ZONA K a participative theatre show to realize in Milan (following some parameters set out by ZONA K) to participate at the residence selection of ZONA K 2019.
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Darren O’Donnell is a novelist, essayist, playwright, director, designer and performer. His books (published by Coach House Press) include: Haircuts by Children and Other Evidence for a New Social Contract (2017), Social Acupuncture (2006), which argues for aesthetics of civic engagement, and Your Secrets Sleep with Me (2004), a novel about difference, love and the miraculous. His stage-based works include White Mice (1998), [boxhead] (2000), and All the Sex I’ve Ever Had (2012), all produced by Mammalian. Darren was the 2000 winner of the Pauline McGibbon Award for directing and has been nominated for a number of Dora Awards for his writing, directing, and acting, winning (with Naomi Campbell) for their design of White Mice. His play [boxhead] was nominated for a Chalmers Award and he received a Gabriel Award for excellence in broadcasting for his CBC radio piece Like a Fox. Under his directorship, Mammalian won the 2010 Mayor’s Arts Award for Youth, and his Mammalian Protocol for Collaborating with Children was awarded the Canadian Coalition for the Rights of Children Supporter Award in 2012. Darren has an MSc. in urban planning, a BFA in acting and studied shiatsu and tradition Chinese medicine at The Shiatsu School of Canada. Follow Darren on Twitter: @darrenodonnell Instagram: @o.darren Periscope: @darrenodonnell Snapchat: photoshine
FOCUS POLITICS
Those who want to be political must venture out into the world.
Opening the 2018 theatre season with FOCUS POLITICS is prescient and provocative.
The March elections speak for us. Politics permeates social life in an all too intrusive and shouted way, contributing to spreading disaffection and detachment of citizens. The question arises: is democracy still a representation of popular power? In a rapidly changing society, is the power of democracy still effective? And is it still possible to speak of a public and active Agora?
Two renowned international artists, who have already been guests in previous editions of the ZONA K season, pose these questions. Roger Bernat presents PENDIENTE DE VOTO (PENDING VOTE). A show in which the participation of the public is requested in a political reflection that humorously tackles the mechanisms of power in all democracies and the totalitarian drifts germinating in the community. It is also a reflection on the word citizenship and participatory democracy, which cannot fail to remind us of the forthcoming political elections.
Yan Duyvendak, Nicolas Cilins & Nataly Sugnaux Hernandez (CH) with ACTIONS: a scenic device that gives shape to an ideal democratic assembly where refugees, political leaders and volunteers of the city can express themselves, with the aim of responding with effective and direct actions able to involve positively every single individual and at the same time get out of the doldrums of the rhetoric of good intentions.
Finally, in the Italian section, ZONA K will host the revelation artist Filippo M. Ceredi with BETWEEN ME AND P., an intimate documentary show about a brother who has mysteriously disappeared. Once again it is the action of an individual that becomes a political gesture in the radical refusal to submit to the status quo of today’s society.
Events:
16 – 17 February 2018 h 20.00
Roger Bernat/ FFF (ES) PENDIENTE DE VOTO
[show]
20 February 2018 h 18.30
Eric Gobetti and Simone Malavolti SARAJEVO REWIND 2014>1914
[documentary film]
2 -3 March h 20.00, 4th March 2018 h 17.00
Filippo M. Ceredi (IT) BETWEEN ME AND P.
[performance]
9 – 10 March 2018 h 20.00
Yan Duyvendak & Nicolas Cilins & Nataly Sugnaux Hernandez (CH) ACTIONS
[participatory performance]
c/o Casa della Memoria
Filippo M. Ceredi (IT)
An intimate documentary on a mysteriously missing brother. It is the action of one individual that creates a political gesture by radically refusing to submit to the status quo of our society.
Between me and P. is born from the radical need to rewrite a family story. Pietro disappeared voluntarily without leaving any traces, in 1987, when he was 22 years old.
After 25 years, Filippo, the younger brother started a long research to try and get closer to him and understand what pushed to disappear. The research is an attempt to bring light on this silent and pervasive absence. His scenic elaboration is a way to transmit this story, that talks deeply about the individual and collective present.
Performance in Italian with subtitles in English – Duration 70 min. ca.
Performance by and with Filippo Michelangelo Ceredi. Tutor: Daria Deflorian, within the artistic residence Officina LachesiLAB. Accompaniment to the production: Alessandra De Santis and Attilio Nicoli Cristiani. Accompanying the choreography: Cinzia Delorenzi. Project assistants: Clara F. Crescini, Sara Gambini Rossano, Francesca S. Perilli. Production: Filippo Michelangelo Ceredi, Teatro delle Moire / Danae Festival – 2016. With the support of ZONA K. Photos: Michela Di Savino
Yan Duyvendak, Nicolas Cilins & Nataly Sugnaux Hernandez (CH)
“Is someone willing to do something? And what?¨
ACTIONS gives shape to an ideal democratic meeting where refugees, political figures and volunteers can express themselves, with the goal of responding with effective and direct actions that can involve every single individual. ACTIONS cannot be defined as a show. It is more a scenic device in the form of a documentary that involves the spectators in order to respond to the violence and the urgency of our political reality. It brings back the role of the theatre as a forum within the city life. It is an experience from which you will not leave indifferent.
ACTIONS is a cooperation projects involving:
4 associations from Milan: ASSPI, Black Panthers, Farsi Prossimo e ASNADA
4 refugees: Keita Thei, Jallow Sulay, Noori Abdul Jawad, Ali Dashti Bahiat
1 representative of the department of social politics of Milan
1 representative of ASGI, l’Avv. Luce Bonzano referent of ASGI Lombardia
2 giornalists to keep the debate coherent: Christian Elia, codirettore del Q CODE MAGAZINE e Carla Chelo, ex giornalista de L’Unità
ACTIONS explores the migration crisis, concentrating on ‘here and now’ and dealing with the theme of exclusion and the relationships that exist between art, activism and social changes in a moment in time in which the values of the European democracies are dissolving.
c/o CASA DELLA MEMORIA, Via F. Confalonieri, 14, 20124 Milano In Italian – Duration 140 min. ca.
Ideazione: Nicolas Cilins & Yan Duyvendak & Nataly Sugnaux Hernandez. Produzione Dreams Come True, Genève Coproduction La Bâtie-Festival de Genève; far° Festival des Arts Vivants, Nyon ; Marche Teatro/Inteatro Festival – Ancona, Pour-cent culturel Migros Con il sostegno di République et canton de Genève; Ville de Genève; Pro Helvetia – fondation suisse pour la culture; crédit de la Confédération destiné à l’intégration, Fondation meyrinoise du Casino, Stanley Thomas Johnson Foundation, Fondation Leenaards, Fondation Ernst Göhner, Bureau de l’intégration des étrangers BIE, Fondation JTI, fondation sesam, Ville de Versoix, Ville de Bernex, Ville de Satigny, Fondation suisse des artistes interprètes – SIS, Loterie Romande, CORODIS; Ringrazimanenti: Daniela Almansi, les Amis de La Bâtie, Patrick Falconnet, Christophe Girod e Katia Zenger – Hospice Général Genève, Cie Gilles Jobin, Théâtre de l’Usine
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.
Events:
26 April – 19 May 2018 Mammalian Diving Reflex / Darren O’Donnell (CA) TEENTALITARIANISM with 3 dates + 1
25 May – 10 June 2018 h. 10.00 – 19.00 Barbara Miele (IT) FOREVER YOUNG, THE DREAMS OF SIXTY-EIGHT [photo exhibition]
In collaboration with PHOTO FESTIVAL MILANO
30 – 31 May 2018 h. 20.00 Marta Dalla Via (IT) POLITICAL PENTOTHAL – Rap opera for Andrea Pazienza [show]
5 – 6 June 2018 h. 20.00 She She Pop (DE) SPRING SACRIFICE
[show]
A project ZONA K and Teatro Franco Parenti
Mammalian Diving Reflex Darren O’Donnell (CA)
Nightwalks with Teenagers invites a group of teenagers to take over a neighboyrhood in their city, organizing a night walk in which they will guide the spectators.
“A performance that is a small miracle.” The Guardian
In all the work of the Canadian group, guided by Darren O’Donnell, the social dimension is at the center of a research that materializes in active participation that aim to increase the critical spirit of the public.
With this project, Mammalian Diving Reflex creates the conditions for a unprecented encounter between young and adults, between people from different geographical, culture, socio-economical and race backgrounds that normally don’t have the occasion or motives to spend time together.
The performance is the result of the collaboration between the artists of the group and the group of youngsters involved, developed in a series of workshops that last two weeks.
Concept and direction: Darren O’Donnell. Co-directed by: Tina Fance, Kiera O’Brien, Virginia Antonipillai, Sanjay Ratnan. Executive producer: Eva Verity, Tina Fance. Photography: Martin-Steffen, Amish Morrell, Paul Blakemore, Mammalian Diving Reflex. Created in collaboration with the students of Liceo linguistico Itas Natta, Milan. Production: ZONA K and FOG Triennale Milano Performing Arts. This presentation of Teentalitarianism is made possible in part by the support of the Canada Council for the Arts and the Ontario Arts Council.
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.
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.
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
Mammalian Diving Reflex Darren O’Donnell (CA)
Will you give me the moon?
With the closing of the TEENTALITARIANISM journey, dedicated to teenagers, the Ask for the moon event will be the opportunity for them to publibly expose their works and snatch promeses to the organizers.
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: Konstantin Bock. This presentation of Theentalitarianism is made possible in part through the support of the Canada Council for the Arts and the Ontario Arts Council.
Guinea Pigs (IT)
The show articulates itself it two autonomous branches with a common theme: the violence of power, hidden and invisible, that society does not recognize. Free violence and social-bullying, a women’s body as a land to be conquered: these are the wars that Guinea Pigs tell in a scenic vision founded on the relationship between acting, sonic composition, drama and movement.
Atti di Guerra (War acts) is the first artistic project of the Milanese group, that has already won prestigious rewards in Italy. Four actors on scene, their bodies, the sound, light and the speaking: there are the elements that make the show Atti di Guerra. Two different tensions. On one side the will to remain participating to the acts of violence that are evoked on stage, without embellishments and without special effects .On the other side the tension of a theatrical language far way form the reality of the representation, that makes it possible to observe these violent acts as if they weren’t true, but from a magnifying glass, that isolates the details. The result of of this research made by the Guinea Pigs is a show in which narration and representation travel on two parallel tracks in constant dialogue. The narration is entrusted to the speech, to the bodies, to the sounds and light: metaphorical and sometimes meta-theatrical. The unspoken objective is the creation of a prism that can bring the eyes of the spectators closer to those shards of free and unjustified violence that can explode wherever.
In Italian
The performance on 23 May will be followed by an informal meeting between the company and the audience.
Concept and direction by Riccardo Mallus. Dramaturgy by Giulia Tollis. By and with: Letizia Bravi, Marco De Francesca, Francesco Martucci, Federico Manfredi. Sound composition by Gianluca Agostini. Stage movement by Betti Rollo. Costumes by Laura Dondi. Lighting by Martino Minzoni. Photos: Diego Monfredini and Lucia Baldini
Marta Dalla Via (IT)
Opera Rap for Andrea Pazienza show that with a great sense of rhythm, deals with the confrontation between two generations: those of the disputes on the street, and those of the digital and social square. A tribute to the linguistic palette of Paz that paints with words, scenes of heroin, bullets and free radio’s. Opera Rap embellished with the verses of four young artists coming from the world of freestyle.
Pentothal is one of Andrea Pazienza’s graphic alter-ego’s, but it is also a drug that free’s your inhibitions. The rappers on the stage are like that: they don’t accept censorship. But the pentothal can also be the fatal injection gives to the senteced to death. It is the amnesia of the rest of the world, the reduction of the cultural immune defenses.
In Italian
A Dalla Via Brothers project. By and with Marta Dalla Via and Omar Faedo (Moova), Simone Meneguzzo (DJ MS), Michele Seclì (LETHAL V), Alessio Sulis (REBUS). Technical direction Roberto Di Fresco. Sets and costumes Roberto Di Fresco. A Piccionaia Centro di Produzione Teatrale production + Fratelli Dalla Via + Gold Leaves and Festival delle Colline Torinesi. The show premiered in June 2017 at Festival delle Colline Torinesi.
performed by the She She Pops and their mothers (DE)
“A great show about parents’ faults and mistakes” Der Spiegel
2018 marks the start of a collaboration between ZONA K and Teatro Franco Parenti which, in an unusual and constructive way, present some shows together. An OFF reality and a historic theatre on the Milanese scene thus make explicit a convergence of artistic and thematic interests on some international avant-garde companies.
The performers are on stage with their respective mothers in an unusual version of Igor Stravinsky’s Rite of Spring. The performance focuses on the sacrifice of women in today’s family and society.
Since 1993, the Berlin-based women’s collective She She Pop have been exploring the social boundaries of communication in shows where they combine humour and intransigence on the one hand and spontaneity and sincerity on the other. After inviting their fathers in 2010 to participate in the performance Testament, they continued their investigation by adapting Igor Stravinsky’s Rite of Spring, together with their real mothers. The result is a lucid and irreverent analysis of the contradictory relationships between generations, a sort of manifesto on the role of women, prisoners of the conflict between private life and career.
The performance focuses on the theme of women’s sacrifice in the family and society. Stravinsky’s religious dimension of the ritual of human sacrifice is replaced by the moral question of self-sacrifice in the relationship between women and men and between mothers and daughters. Put in these terms, the topic immediately generates reluctance: sacrificing oneself as a woman for others seems an obsolete issue today. The enormous importance of self-determination and personal freedom that drives our society has obscured the sense of devotion and sacrifice.
The ancient pagan ritual that inspired Stravinsky, on the other hand, is based on the certainty that every community requires sacrifice, and indeed is founded and affirmed precisely through collective sacrifice. As in Stravinsky’s original play, the performance stages a ritual: the meeting between the She She Pops, their mothers and the audience. However, unlike the community gathered by Stravinsky to celebrate the sacrifice of spring, there is no agreement between the She She Pops and their mothers as to how it should be performed. Doubts arise from the very beginning. However, at the same time, the decision to try, together, is firm. “Who were we? Who are we? Why have we become like this?”
A project by ZONA K and Teatro Franco Parenti c/o Teatro Franco Parenti, Via Pier Lombardo, 14 Milan performance in German with Italian subtitles
a project She She Pop by and with Cornelia and Sebastian Bark, Heike and Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Irene and Ilia Papatheodorou, Heidi and Berit Stumpf, Nina Tecklenburg video Benjamin Krieg and She She Pop set design Sandra Fox and She She Pop costumes Lea Søvsø musical collaboration Damian Rebgetz choreographic collaboration Jill Emerson dramaturgical advice Veronika Steininger lighting and technical direction Sven Nichterlein sound Florian Fischer video assistant Anna Zett overtitles KITA (Anna Kasten) coordination and support Fanny Frohnmeyer, Kaja Jakstat, Ruschka Steininger technical support tour Florian Fischer, Manuel Horstmann, Andreas Kröher, Michael Lentner, Sven Nichterlein, Torsten Schwarzbach translation for surtitles Emanuele Galante production/PR ehrliche arbeit – freelance office for culture administration Aminata Oelßner management Elke Weber production She She Pop co-production Hebbel am Ufer, FFT Düsseldorf, Mousonturm Frankfurt, Kaserne Basel, brut Vienna, German Language Theater Festival of Prague/Archa Theater Prag, Kyoto Experiment, Théâtre de la Ville/Festival d’Automne à Paris with the support of the City of Berlin and Hauptstadtkulturfonds Berlin
She She Pop is a collective founded at the end of 1990 by a group of graduates of the “Applied Theater Studies program” in Gießen. The members are Sebastian Bark, Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou and Berit Stumpf. The executive production is by Elke Weber. The performers, mostly women, see themselves as authors, playwrights and makers of their own stage art. The reference to their own biographies is primarily a method – and not an aim – of their work: the biographical material is condensed into a recognisable artistic strategy and stylised positions. The result is a form of theatre strongly linked to experimentation. The theatre is transformed into a space dedicated to utopian communication. She She Pop considers it its task to trace the social limits of communication – and to go beyond the protective theatrical space, in both specific and artistic terms. Since 1998 She She Pop has been based in Berlin. The theatre HAU Hebbel am Ufer has been co-producer and partner since 2003. Other partners, in Germany and abroad, are: Munich Kammerspiele, Schauspiel Stuttgart, Kampnagel Hamburg, Forum Freies Theater Dusseldorf, Mousonturm Frankfurt / Main and Kaserne Basel, brut Wien, Theatre de la Ville / Festival d’Automne de Paris, Festival Kyoto Experiment Archa Theatre Prague, Prague German language Festival and the Konfrontationen Festival Lublin. The group is currently on tour with the following shows: the preview of Oratorio, which will premiere in February 2018 in Berlin, The Ocean is closed (2017), which premiered in October in Berlin and has just been presented at Romaeuropa Festival, Besessen (2016), 50 Grades of Shame (2016), Some of us (2014), Ende (2014), Schubladen (2012). Among the most successful shows, we must remember the extraordinary Testament (2010) which saw the performers on stage with their fathers.
FOCUS CITIES
What role do cities play today? Open, cosmopolitan, incubators of better tomorrows, memories of past cultures, grounds for ecological and social challenges? Or chaotic, closed, provincial even if European, an example of non-integration, uniform and without poetry? The roads are different, they overlap, they run parallel to remind us that it is we who determine the places we live.
And so we are returning to focus on cities, not only as symbols of economic and political power but above all as examples of the richness of Italy’s cultural heritage and the diversity of its urban fabric. And we want to re-appropriate this heritage: by invading spaces, marking landscape maps, building connections, and inhabiting places that are often unknown. Let us once again come out into the open in an unusual and necessary way.
Events:
5 – 7 October 2018 h. 20.00 OHT (IT) PROJECT MERCURY – Performance n°3
[performance]
14 October 2018 h. 20.00 ELEONORA PIPPO (IT) GIRLS IN MILAN ARE LOSING CONTROL. Society fears them. The end is blue.
[performance]
20 – 21 and 24 – 28 October 2018 h. 16.00 DOM – (IT) THE MAN WHO WALKS
[urban walk]
A project ZONA K and Danae Festival
24 – 25 November 2018 h. 11.30 and h. 15.00 DANCE MAKERS (IT) LONG-LASTING LANDSCAPES – Itineraries of urban choreography
[performance]
A project ZONA K and Stanze
Dance Makers (IT)
Landscapes of long duration where time stands still. Places that intertwine and confuse past and present. Spaces to walk through and observe. Bodies that move to compose unusual choreographic scores.
Can dance offer new perspectives and ways of inhabiting the city? Can places – steeped in history, nature and art – become a stimulus for imagination and artistic creation?
The Dance Makers project starts precisely from the relationship between people and territories with the intention of spreading contemporary dance in unconventional places to stimulate reflection on the territory and its resources. This thought is the basis for the creation of choreographies that draw inspiration from architectural elements, geometries, sounds, works of art, history and inhabitants.
Each choreographic itinerary thus becomes unique because it is developed and conceived in close relation to the environment and gives shape to a route in multiple stages in which artistic creations of a performing nature alternate with participatory moments in which the public becomes visitor, spectator and protagonist.
This itinerary in Milan is the result of an articulated didactic project, proposed and produced by STANZE and ZONA K, which involved the dance company DANCE MAKERS as trainers and dancer-choreographers, the school L’ARCOBALENODANZA and the ACCADEMIA DI BELLE ARTI DI BRERA, which made available the spaces of its historical headquarters, with the active participation of a group of students from the Two-year Specialisation Course in Theatre Scenography and Costume for the Performing Arts.
The dancers have inhabited and choreographed the open spaces of the Napoleonic Courtyard of Honour, the Loggiato above it, the steps, the corridors and those indoors, the basement and the Gipsoteca, working in close dialogue with the Costume and Set Design students, who have succeeded in transmuting bodies and places, revealing the ineffable essence of the non-visible.
site-specific project c/o Accademia delle Belle Arti di Brera curated by ZONA K and Stanze
Concept and interpretation: Dance Makers (Anna Altobello, Beatrice Bresolin, Ilaria Campagnolo, Marina Donatone, Giovanna Garzotto, Ana Luisa Novais Gomez, Andrea Rampazzo, Silvia Sessi) with the collaboration of: L’Arcobalenodanza School and the Brera Academy of Fine Arts – Two-year Specialistic Course in Theatre Scenography and Costume for the Performing Arts set designers: Nadir Dal Grande, Ludovica Diomedi, Riccardo Galbussera, Elisa Gelmi, Matilde Grossi, Yang Linqing, Andrea Pogliani, Giulia Trivelli, Shi Shiting, We Yue costume designers: Mara Pieri, Alice Manente, Paola Mammolini, Jagna Nawrocka with the support of: CSC – Centro per la Scena Contemporanea di Bassano del Grappa, Fondazione Cariplo, MIBAC, a performance realised within the Teen Time project with the contribution of Regione Lombardia under the patronage of Comune di Milano photos by: Roberto Cinconze
Dance Makers is a group of dance artists born in 2017 following participation in Dance Makers1, a project organized by CSC – Centro per la Scena Contemporanea in Bassano del Grappa. The group is composed of dancers, teachers, Dance Well – movement research for Parkinson’s and choreographers. The Dance Makers have conceived and realized choreographic itineraries in unconventional spaces, research activities on choreographic practices and performances at B.Motion Danza Operaestate – Festival Veneto, Festival Ammutinamenti – Cantieri Danza and Gender Bender Festival. They have danced in projects curated by Iván Pérez, James Batchelor and Silvia Gribaudi, and are currently involved in a new creation with choreographer Andrea Costanzo Martini. In parallel, they continue to realise site-specific performances in museums and urban spaces, and are active in the organisation of workshops for professionals and non-professionals.
Eleonora Pippo (IT)
SOCIETY FEARS THEM. THE END IS BLUE
“We are not girls.
We are silver bullets for your middle-class brains!”
The friendship between Motta and Castracani – two middle-class girls with a shared passion for medical analysis – tells of the loss of control, the confused search for an identity, the recklessness, the challenge to themselves and the world, the investigation of their own bodies, common to many teenagers.
Inspired by Ratigher’s teen drama of the same name, Eleonora Pippo’s work enriches the plot with the experiences of the girls on stage. A parallel narrative made up of short interviews, live songs chosen by the girls themselves and letters addressed to a self from the future reveals the resources of the Post-Millennial Girls, interweaving fiction and reality that reinforce each other.
The theatre project is based on the formation of a temporary local company made up of girls between 13 and 18 years old, who – in the record time of seven days – work together with the director to create an original performance.
The performance, enriched by the installation La fine azzurra (The blue end), by Eleonora Pippo herself, is staged only once with active participation of the audience.
A PROJECT ZONA K and STANZE c/o ZONA K
People-specific creation for girls under 18 and their community – Duration 60 min.
In each square where the show is programmed, a temporary local troupe of non-professional teenage girls is formed. The production takes place in seven days. The show is staged only once with active audience participation. @le_ragazzine_project by Eleonora Pippo is co-produced by Teatro della Tosse in Genoa and Eleonora Pippo with the support of Coconino Press FANDANGO EDITORE + Kilowatt Festival press office Antonella Bartoli
The bravest girls in Milan are
Camilla Bonati, Clara Topputo, Elena Rieux, J. Gilda Pucci, Matilde Rosati, Paola Ricchiuto, Sara Guttadauro
Eleonora Pippo (Pordenone, 1976). A pupil of Giancarlo Cobelli and Marisa Fabbri at the Scuola del Teatro Stabile di Torino, actress with Valerio Binasco, Tim Stark, Claudio Longhi, Elio De Capitani and Franco Branciaroli, she is the director of “Cinque allegri ragazzi morti IL MUSICAL LO-FI”, the independent experimental musical based on the homonymous comic strip saga by Davide Toffolo, which has conquered the most prestigious Italian stages. He works on the break of the traditional theatrical language, he avoids the scenic illusion, to enter a territory of intimate sharing with the inner world of the characters and of the audience to whom he recognizes the role of protagonist. He directed Cinque allegri ragazzi morti IL MUSICAL LO-FI L’alternativa, La festa dei morti and #tuttonuovo, Marburg, Save your wish, Come fu che in Italia scoppiò la rivoluzione ma nessuno se ne accorse by Davide Carnevali, Ulisse chatta con gli dei Amleto gioca alla playstation, Raskolnikov legge fumetti, Sotterraneo), Cinque donne con lo stesso vestito Yumiura. He won the Premio Scintille at Asti Teatro Festival (2010). She perfected her training at the ViaNegativa company in Ljubljana, with Thomas Ostermeier, Agrupación Señor Serrano and with Richard Maxwell/ New York City Players.
OHT | Office for a Human Theatre (IT)
“Lo spazio siderale per indagare lo spazio dei desideri”
Fiora and Chiara are training to become astronauts and face what is, to all intents and purposes, a space odyssey. The inability to assert themselves is latent in their every gesture and word, yet they do not give up and fight to conquer their portion of space.
It is their total lack of cynicism that turns an aseptic photographic studio into sidereal space.
Starting with Mercury 13, the failed American plan to send thirteen women into space, the show investigates the emotional consequences of not having the opportunity to do what you want to do. Oscillating in this impasse, the show puts the two would-be astronauts in dialogue with John Fitzgerald Kennedy, Jerrie Cobb (the first failed astronaut) and the only strike that took place in space.
With Project Mercury, OHT continues its Performance Series inspired by Richard Sennett’s sociological research on the emotional waste caused by one’s working condition. The first performance (Self-Portrait with Two Friends) deals with failure in a private space. The second (Weaknesses) turns on the exposure of one’s weaknesses in a public place. Finally, the third (Project Mercury) revolves around the absence of privilege in sidereal space.
c/o ZONA K
In Italian – Duration 50 min.
Idea, regia, scenografia Filippo Andreatta di e con Chiara Caimmi, Fiora Blasi drammaturgia Filippo Andreatta e Charles Adrian Gillott esperto spaziale Paolo Giuseppe Bianchi costumi Andrea Ravieli direttore palcoscenico Massimiliano Rassu costruzione pedana Giovanni Marocco produzione Laura Marinelli una produzione OHT con il supporto di Fondazione Caritro, PAT residenza artistica Centrale Fies, Residenze IDRA, Teatro Cantiere Florida
OHT | Office for a Human Theatre was born in 2008, after winning Nuove Sensibilità, national award for young directors at Napoli Teatro Festival Italia, it has obtained Italian and international collaborations with the most prestigious European cultural institutes and important cultural institutions in the world. Finally, Centrale Fies and MART museum of modern and contemporary art of Trento and Rovereto are frequent partners.
DOM– con Antonio Moresco (IT)
“follow the man as he walks / match your step to his
keep a certain distance / sink into the landscape you cross”.
A man – shadowy and elusive – walks through the city. He walks through a variety of urban and suburban spaces – a station, an uncultivated field, an occupied house, a monastery, a recreational club and in between streets, squares, tracks. The audience follows him at a distance, almost spying on him, poised between identification and detachment.
“The man who walks” in Milan is Antonio Moresco, writer, author of narrative, theatrical and non-fiction works. It will be him that participants will have to follow from the centre to the periphery, from open spaces to closed ones. A wonderful experience for spectators/walkers, a rare opportunity to look at one’s own city with other eyes.
Starting from the graphic novel L’uomo che cammina (The Walking Man) by Jiro Taniguchi, DOM- builds a dramaturgy of spaces in which to explore the boundary between urban and third landscape, those abandoned areas at the edge of the inhabited reality. Going deeper and deeper into the substance of the places, the living experience of walking becomes the pretext for an ineliminable tension with reality and the presence of the spectator becomes the very centre of the performance.
A project by ZONA K and DANAE Festival
Urban walk for 18 spectators per performance.
In Italian – Duration 4h and 30 min.
The place of departure will be communicated by text message to each participant the day before the booked performance, so a phone contact will be requested. The performance involves a walk of about 4 hours, comfortable clothing and shoes are recommended. It is not suitable for people with reduced mobility.
creation, spatial dramaturgy and direction DOM- Leonardo Delogu, Valerio Sirna with Antonio Moresco and with Paola Galassi, Isabella Macchi with the participation of the students of ITAS Giulio Natta thanks to Studio Azzurro produced by Teatro Stabile dell’Umbria, Danae Festival, Zona K organisation Francesca Agabiti freely inspired by the comic strip by Jiro Taniguchi – L’uomo che cammina audiovisual documentation Studio Azzurro original music Fabio Zuffanti sound processing Lorenzo Danesin
Special thanks to the association Terzo Paesaggio
DOM- is a project born in 2013 from the collaboration between the artists Leonardo Delogu, Valerio Sirna and Hélène Gautier. It investigates the language of performing arts, with particular attention to the relationship between body and landscape, and is committed to the transmission of peculiar practices of dwelling, linked to the space and time of artistic creation. DOM- builds performance events, seminars, walks, writings, gardens, installations, videos, photographic reportages.
Antonio Moresco, Italian writer [Mantua, born 1947]. After completing a difficult apprenticeship, which he recounts in Letters to No One (1997), critically documenting the difficulty of emerging from the condition of being a writer.
After completing a difficult apprenticeship, which he describes in Lettere a nessuno (1997), critically documenting the difficulty of emerging from the condition of being an underground writer rejected by the Italian publishing world, in 1993 he published the collection of short stories Clandestinità (Clandestinity), in which the themes that underpin his work are already present, rendered in a dry and hyper-realistic style that increases its dramatic impact: loneliness, first and foremost, crossed by a dimension of dreaming as estrangement from the self, which is accompanied by the recurring motif of a frantic search for meaning that unravels through oblique and unstable paths. The fulcrum of Moresco’s work revolves around the vast work Giochi dell’eternità (Games of Eternity), written over a period of 35 years, consisting of Gli esordi (1998), Canti del caos (published in two volumes in 2001 and 2003) and Gli increati (2015). His other works include: La cipolla (1995), Lo sbrego (2005), Scritti di viaggio, di combattimento e di sogno (2005), Merda e luce (2007), La lucina (2013), Fiaba d’amore (2014), I randagi (2014), Piccola fiaba un po’ da ridere e un po’ da piangere (2015), L’addio (2016), Fiabe da Antonio Moresco (2017) and, both in 2018, L’adorazione e la lotta and Il grido.
Founder in 2003 of the blog Nazione indiana, in 2005 he created the online and print magazine Il primo amore.
FOCUS MEDIA
“The fundamental tool for the manipulation of reality is the manipulation of words.”
(Philip K. Dick)
A reflection on the relationship between the means of communication and power, and on the power of communication to condition society’s thinking, to distort the past, to read a single present and imagine incredible futures.
Are we victims of communication, enslaved to the manipulation strategies of economic and political powers, according to the formula communication=power=social control? Or are there still margins for using the media as a positive force, a tool and a road to change?
Looking at the onslaught of electronic devices that now accompany our lives as indispensable prostheses, it seems clear that the use of new tools offers us a different way of perceiving reality, increasingly poised between direct, honest information and a falsification of the same, without control.
Once again, we cast a glance at the positive force of communication, which is not only “fourth power” or “power 4.0”, but is also the force of the different languages that compose it and offer us different looks and readings.
Events:
17 October h. 21.o0, 18 – 20 October 2018 h. 19.30 and h. 21.o0 Berlin (BE)
PERHAPS ALL THE DRAGONS
[performance]
18 – 19 October h. 9.30, 20 October 2018 h. 16.00 Berlin (BE) REMEMBER THE DRAGONS
A project by ZONA K and Triennale Teatro dell’Arte
[performance for ages 11 and up]
15 – 17 November . 20.00, 18 November 2018 h. 17.00 Circolo Bergman (IT) BILDERATLAS
[performance]
20 November 2018 h. 17.00 Lola Arias (AR) THEATRE AS A REMAKE OF THE PAST
[masterclass]
20 – 23 November 2018 h. 17.00 – 21.00 Lola Arias (AR) VETERANS
24 November 2018 h. 20.00 Lola Arias (AR) MY DOCUMENTS
[performance]
1 – 2 December 2018 h. 20.00 Milo Rau/IIPM (CH) HATE RADIO
[performance]
In collaboration with Olinda / TeatroLaCucina
Berlin (BE)
“Breathtaking! And exciting, because each of the characters tells a true story. A collection of collective stories. This work is a descent into the heart of humanity.” Le Figaro
For the first time in Milan, the Belgian company acclaimed throughout Europe with an aesthetically irresistible theatrical installation with intelligent content.
A famous pianist realises on stage that she has studied the wrong concerto – A neurosurgeon swaps the head and body of two monkeys, they survive – In Japan there are 700,000 people who live as hikikomori, locked in their bedrooms for at least a year, completely detached from social life – Six degrees of separation, a theory that states that each individual can connect with another through no more than 6 intermediaries in the world.
Thirty stories, transformed into as many video monologues with a dramaturgical construction that creates coherence between them. The duration of each intervention will be exactly the same. Different interactions will take place at different times. Directors Bart Baele and Yves Degryse have encountered interesting people, facts, anecdotes, adventures, intrigues and thoughts. The themes that emerged from these stories are eclectic: from philosophical hypotheses to scientific detail to anecdotes, etc. A large oval structure on the perimeter of which 30 screens/stories are mounted, accommodates 30 spectators
c/o Triennale Teatro dell’Arte – viale Alemagna, 6 30 spectators for each performance
Performance surtitled in Italian and English
Concept BERLIN (Bart Baele, Yves Degryse) Set design BERLIN, Manu Siebens Text Kirsten Roosendaal, Yves Degryse, Bart Baele Editing Bart Baele, Geert De Vleesschauwer, Yves Degryse Soundtrack and mixing Peter Van Laerhoven Camera Geert De Vleesschauwer Technical direction Robrecht Ghesquière Research and dramaturgy Natalie Schrauwen with Derek Blyth, Sergey Glushkov, François Pierron, Juan Albeiro Serrato Torres, Rinat Shaham, Shizuka Hariu, Shlomi Krichely, Jonas Jonsson, Nirman Arora, Suneet Chhabra, Luci Comincioli, Roger Christmann, Regina Vilaça, Pat Butler, Walter Müller, Adela Efendieva, Andrew Mugisha, Ramesh Parekh, Nico Mäkel, Wim Mäkel, Tamas Sandor, Philippe Cappelle, Romik Rai, Brecht Ghijselinck, Vladimir Bondarev, Andrei Tarasov, Matsumoto Kazushi, Bob Turner, Geert-Jan Jansen, Kurt Lannoye, Robrecht Ghesquière, Laura Fierens, Patryk Wezowski, Hilde Verhelst, Christina Davidsen production BERLIN in co-production with Deutsches Schauspielhaus Hamburg [DE], KunstenfestivaldesArts [Brussels – BE], le CENTQUATRE [Paris – FR], Dublin Theatre Festival [IE], Centrale Fies [Dro – IT], Noorderzon Performing Arts Festival [Groningen – NL], La Bâtie – Festival de Genève [CH], Zomer van Antwerpen [BE]. project co-produced by NXTSTP, with the support of the Culture Programme of the European Union and ONDA – Office national de diffusion artistique BERLIN is associated artist with CENTQUATRE [Paris – FR] with the support of the Flemish Government
Lola Arias (AR)
“Incredibly powerful” Independent
In this 2014 project Lola Arias explores the question of what it means to be a war veteran of the Malvinas/Falkland conflict.
The video installation is made up of five videos that tell the story of how those who became soldiers in 1982 at the age of 18 remember the conflict and how they feel like veterans today at the age of 50. Each of them reconstructs their experience in a place they live every day: a psychologist relives the explosion of a bomb in the psychiatric hospital where he works, a triathlon champion relives the death of his partner in a swimming pool where he trains every day…
All of them will relive their memories as if a time machine had brought their past back to the present day.
Concept and direction: Lola Arias With Argentine veterans of the Falklands War: Guillermo Dellepiane, Daniel Terzano, Marcelo Vallejo, Dario Volonté, Fabián Volonté Staging: Nele Wohlatz, Ignacio Masllorens Filming: Manuel Abramovich Camera: Manuel Abramovich, Ignacio Masllorens Sound: Francisco Pedemonte, Facundo Moreno Production: Sofía Medici, Luz Algranti Editing: Alejo Moguillansky Editing assistant: Nele Wohlatz Translation: Daniel Tunnard
Lola Arias (AR)
“My Documents is a work on failure” Lola Arias
My Documents is the result of the workshop conducted by Lola Arias with a group of Italian artists, which takes its cue from the cycle of conference-shows of the same name where artists from different fields talk about their research, an experience they have lived in a radical way and a story that haunts them.
On stage there will only be the artist with his notes: a way of bringing to light the kind of research that is often lost in an unnamed folder in a computer.
This kind of lecture-performance was created in the 1960s by Joseph Beuys and Robert Smithson, a way of turning a speech into a work of art. In recent years, this format has proliferated in theatre, dance and visual arts, becoming one of the modes of conceptual theatre. Artists such as Rabih Mroué, Tim Etchells and Jérôme Bel have reinvented the genre, making these non-academic lectures a way to present and talk about research and experience.
Conceived and edited by Lola Arias Production by Luz Algranti Technical direction by Marcos Medici
Circolo Bergman (IT)
What is at stake when we put an image of ourselves into circulation? What is this gesture deeply connected with?
Every day, in the open space of the Web, millions of photos are posted through which people attempt to compose an image of their own identity. Places, portraits, selfies create an endless Atlas of the contemporary, almost a modern-day version of the unfinished Atlas of Memory, composed by art historian Aby Warburg at the beginning of the 20th century. Warburg was convinced that archetypes traversed history by embodying themselves in images and, in images, he sought that formula of pathos that would reveal to him the profound spirit that connects our imagination to its origins.
The plates of Bilderatlas Mnemosyne resemble an analogue version of an Instagram profile, in which a constant is sought that connects them together: the photo of a young girl in a club brings the archetype of the Nymph to our day; the analogue photos of a young actor try to recompose the archetype of the Hero.
Circolo Bergman, starting from the personal images of its performers, questions – like Warburg – the presence of archetypes in our time. A modular scenic action, divided into autonomous and interdependent tables, which can be assembled, disassembled and reconstructed in theatrical and non-theatrical spaces, in search of a pervasive Atlas in which the spectator can mirror and multiply himself.
In Italian
concept Paolo Giorgio a project by Sarah Chiarcos Paolo Giorgio Marcello Gori direction Paolo Giorgio original music Marcello Gori staging Circolo Bergman lights Sarah Chiarcos scenographic consultancy Erika Sambiase visual Dario Serio stage photos Jo Fenz production Circolo Bergman texts intimately shared with Sarah Ātman and Alberto Baraghini – first study: IT Festival 2017 – second study: Hors, Teatro Litta, 6-8 October 2017 – third study: Teatro Magro 6 January 2018
Circolo Bergman is a collective composed by: Paolo Giorgio, director and dramaturge; Sarah Chiarcos, dramaturge and responsible for the productions; Marcello Gori, musician, dramaturge, responsible for the sound. It moves between the creation of a repertoire of contemporary dramaturgy and the experimentation in the performative area, declining new writing formats through different media, with a particular interest in site-specific projects. He operates in different territories, starting from live performances and embracing curatorial, exhibition or editorial paths. Depending on the specific nature of each project, the collective is open to collaboration with other professionals (videomakers, curators, artists, critics, actors, performers, dancers), as well as non-professionals. It produced the shows: Werther, o dell’assoluto (2014), La cosa peggiore che possa capitare a un cane (2015), Fondamenta (Teatro Ringhiera, 2015), Calcografia (2016), Macinante (commissioned by Festival Pergine Spettacolo Aperto, 2016), Pergine, via San Pietro 4 (commissioned by Festival Pergine Spettacolo Aperto, 2017).
IIPM/Milo Rau (CH)
‘High-calibre political theatre’.
★★★★★’ De Theaterkrant
Hate Radio tells the story of RTLM/Radio-Télévision Libre des Mille Collines, a Rwandan radio station that played a crucial role in the genocide of the Tutsi minority in 1994, in which around 1 million people died.
The radio was the most powerful tool for violent propaganda. The operators of the radio station prepared for the genocide for months by integrating music, sports, political communiqués and outright incitements to murder into their programming.
Hate Radio focuses on the staging of an RTLM show by three ethnic Hutu extremists and the Belgian-Italian Georges Ruggiu, reconstructing the context philologically and staging survivors of the genocide itself. How does the process of affirming racist ideology work? How is it possible to purge the individual of his humanity?
Director Milo Rau’s work uses documents and direct testimony to answer these questions, letting people experience what happened in history first-hand.
c/o and in collaboration with Olinda/TeatroLaCucina – Ex O.P. Paolo Pini – via Ippocrate, 45
Played in French and Kinyarwanda with Italian surtitles
a production of THE INTERNATIONAL INSTITUTE OF POLITICAL MURDER – IIPM text and direction Milo Rau dramaturgy and conception Jens Dietrich scenes and costumes Anton Lukas video Marcel Bächtiger sound Jens Baudisch with (live) Afazali Dewaele, Sébastien Foucault, Diogène Ntarindwa, Bwanga Pilipili; (video) Estelle Marion, Nancy Nkusi assistant director Mascha Euchner-Martinez executive production and dramaturgy assistant Milena Kipfmüller public-relation Yven Augustin documentation collaboration Eva-Maria Bertschy corporate design Nina Wolters web design Jonas Weissbrodt academic counselling Marie-Soleil Frère, Assumpta Mugiraneza & Simone Schlindwein Casting Bruxells/Geneva: Sebastiâo Tadzio Casting Kigali: Didacienne Nibagwire HATE RADIO is a production by IIPM Berlin/Zürich with Migros-Kulturprozent Schweiz, Kunsthaus Bregenz, Hebbel am Ufer (HAU) Berlin, Schlachthaus Theater Bern, Beursschouwburg Brüssel, migros museum für gegenwartskunst Zürich, Kaserne Basel, Südpol Luzern, Verbrecher Verlag Berlin, Kigali Genocide Memorial Centre and Ishyo Arts Centre Kigali. Supported by von Hauptstadtkulturfonds (HKF), Migros-Kulturprozent Schweiz, Pro Helvetia – Schweizer Kultur-stiftung, Kulturelles.bl (Basel), Bildungs- und Kulturdepartement des Kantons Luzern, Amt für Kultur St. Gallen, Ernst Göhner Stiftung, Stanley Thomas Johnson Stiftung, Alfred Toepfer Stiftung F. V. S., GGG Basel, Goethe- Institut Brüssel, Goethe-Institut Johannesburg, Brussels Airlines, Spacial Solutions, Commission Nationale de Lutte contre le Génocide (CNLG), Deutscher Entwicklungsdienst (DED), Contact FM Kigali, IBUKA Rwanda (Dachorganisation der Opferverbände des Genozids in Rwanda) and the Hochschule der Künste Bern (HKB), Friede Springer Stiftung.
Milo Rau is a theatre and film director, journalist and essayist. He studied sociology, philology and Romance and Germanic literature in Paris, Berlin and Zurich, with mentors such as sociologist Pierre Bourdieu and philosopher Tzvetan Todorov. In 2007 he founded the production company International Institute of Political Murder (IIPM). His shows and films have been presented in over twenty countries. In 2014 he received the Swiss Theatre Prize, the Hörspielpreis der Kriegsblinden award for best radio drama (with “Hate Radio”), the jury prize at the Festival Politik im Freien Theater (with “The Civil Wars”) and the special jury prize at the German Film Festival (with “The Moscow Trials”). In 2015 he was awarded the important Konstanzer Konzilspreis prize and in 2016 the International Theatre Institute prize as part of World Theatre Day. His most performed works include “Last Days of the Ceausescus” (2009), a play/film tracing the farcical trial against dictator Nicolae Ceausescu and his wife, “Hate Radio” (2011), about the role of the radio station RTLM in the 1994 Rwandan genocide, “The Civil Wars” (2014), which analyses the assumptions of insurgency and political engagement through the lived experience of actors on stage, “The Moscow Trials” and “The Zurich Trials” (2013), in which he experiments with the format of theatrical processes. Since 2017 he has been the artistic director of the NTGent theatre centre.
Mammalian Diving Reflex Darren O’Donnell (CA)
What happens when the power shifts to the teenagers?
The Mammalian Diving Reflex , Canadian group, will be presented at FOCUS PEOPLE in ZONA K, with three performative actions, enclosed in the TEENTALITARIANISM event, neologism that sums of the content well. For years, the Mammalian, go around the world with performances and workshops that involve teenagers first hand. Each one of their performances foresees a path with the teenagers of the places in which they are hosted.
The first show, NIGHTWALKS WITH TEENAGERS, 9th to 12th May, organized in collaboration with Triennale Teatro dell’Arte, is a night performance/walk where a group of teenagers brings the spectators around the city, through their own habits, their favorite places, and where they meet their friends. The project then unites the roads of adults and teenagers that otherwise would not have been able to meet. It tries to make adults socialize with the more younger people, to share their world in an unusual way, by offering them to let go in moments of pure contemplation.
The second show, SEX, DRUGS AND CRIMINALITY, 18th May, organized only by ZONA K , is a performances in which teenagers pose questions to famous public figures of the city (politicians, intellectuals, artists) on their juvenile mischief and wrongdoings. Again, the Canadian group, tries to break down the generational gap in a direct and non-conventional way.
The last show is ASK FOR THE MOONS, 19th May, in which the teenagers that have collaborated to the project can present publicly how they would like to go on with the work they have started.
Ideazione e regia: Darren O’Donnell Co-regia: Tina Fance, Kiera O’Brien, Virginia Antonipillai, Sanjay Ratnan Produzione esecutiva: Eva Verity, Tina Fance. Produzione: ZONA K. Questa presentazione di Teentalitarianism è resa possibile in parte grazie al supporto del Canada Council for the Arts e dell’Ontario Arts Council.
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
Ultimo appuntamento con la rassegna di danza contemporanea “it’s a little bit messy”.
PROGRAMMA DELLA SERATA:
EUTROPIA
di MariaGiulia Serantoni
+
VANITAS
di Francesca Penzo.
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Incontro “Fattoria Vittadini a confronto. Il tema dell’identità contemporanea e le sfide del futuro di questa realtà della Danza Milanese”.
Interviene Alessandro Pontremoli
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Aperitivo per festeggiare tutti insieme i 10 anni del gruppo Fattoria Vittadini!
TAM TAM è un percorso di avvicinamento al TEATRO con incursioni di altre discipline come le ARTI VISIVE e il MOVIMENTO CREATIVO.
Scopriamo insieme le diverse possibilità espressive attraverso un lavoro di gruppo e a partire dalle caratteristiche di ognuno.
Quest’anno i bambini saranno guidati dai COLORI: i colori intorno a noi, i colori della città, i colori che indossiamo, i colori che rappresentano emozioni e stati d’animo.
Da stimolo visivo ad azione fisica, da suono o musica a movimento del corpo: un percorso che all’interno di una cornice narrativa esplora lo spazio, il ritmo, il gesto, l’azione individuale e corale.
Al termine è prevista una restituzione aperta a un pubblico di genitori e amici per conoscere suoni, parole e movimenti dei nostri COLORI.
E’ possibile partecipare gratuitamente a una lezione di prova a scelta tra lunedì 23 o 30 settembre. Il numero dei partecipanti è limitato. La prenotazione è obbligatoria: organizzazione@zonak.it – 02.97378443
Le lezioni hanno una durata di 45 minuti e si svolgono il lunedì dalle ore 16.15 alle ore 17.00. Il corso è annuale e prevede 28 appuntamenti totali compresa la lezione di prova e si attiva al raggiungimento del numero minimo dei partecipanti. È previsto un numero massimo di partecipanti. Le iscrizioni verranno registrate in base all’ordine di arrivo dei moduli con relative ricevute di pagamento.
Costo € 420,00.
Agevolazioni:
– 15% per iscrizione entro il 15 settembre pagamento in unica rata;
– 10% per iscrizione pagamento unica rata;
– 5% per iscrizione secondogeniti e iscritti anno precedente pagamento in due rate
Gli sconti non sono cumulabili
El Conde De Torrefiel (ES)
A project by ZONA K, Danae Festival and Triennale Teatro dell’Arte
A conference, a Thai-Chi class and an electronic music session: these are the three scenes that make up the play. There is no obvious conflict on stage, the battle has moved inside the mind. And in the depths of these inner spaces, where freedom is confined, there is a war of thoughts that wakes up every morning and falls asleep every night without ever being resolved.
Guerrilla observes the tensions experienced by Europe: incendiary thoughts of a space of comfort. If everything advances in an apparent state of peace in which there is a feeling of security, why do we involuntarily in our heads invoke war?
The play is written by combining fiction and documentary text, based on a series of interviews with a small group of people who share the same present and the same space, in this case the city of Milan.
conception El Conde De Torrefiel direction and dramaturgy Tanya Beyeler and Pablo Gisbert text Pablo Gisbert in collaboration with the volunteers of Milan assistant Nicolas Chevallier lighting design Ana Rovira scenography Blanca Añón sound Adolfo García assistance with choreography Amaranta Velarde music Pink Elephant on Parade, Salacot performers Amaranta Velarde and volunteers from Milan co-production Kunstenfestivaldesarts Brussels, Steirischer Herbst Festival Gratz, Noorderzon Festival Groningen with the support of the European project NXSTP and the support of Graner, Centre de creació Barcelona, ICEC – Generalitat de Catalunya, INAEM, Ministerio de Cultura de España, Institut Ramón Llull
El Conde De Torrefiel is a company founded in Barcelona in 2010 by Tanya Beyeler and Pablo Gisbert.
Their work is articulated through a textual and visual aesthetic where theatre, choreography, literature and plastic arts coexist. The starting point of the project lies in an analysis of the present and an immediate questioning of the possibilities of our time. The company’s latest works have been presented at major European festivals including Kunstenfestivaldesarts in Brussels, Festival d’Automne in Paris, Steirischer Herbst in Graz or Dublin Theater Festival.
With the support of
Floor Robert/InQuanto teatro (IT)
“We are not free. We are locked inside our bodies. We are bound to our history. We are inevitably part of the past. We carry within us things that are no longer there. We accept this. But there remains the possibility of coming and going between what is real and what is fantasy. How much can we be influenced by this?”
Influenza is a show to look at like a picture book, letting the images transport you into an alternative world.
Memories, desires, fears, presences from the past, a mysterious yet familiar universe.
Floor Robert moves among these suggestions, retracing with his body events and situations, real or imaginary, hinting at and unravelling stories.
Accompanied, at times, by figures that seem to have come out of those stories. It is a journey inside a room, but you can suddenly find yourself in a meadow, in a forest, or in space. To see everything that does not exist but that, for this very reason, ultimately influences us.
a performance by inQuanto teatro | conceived and choreographed by Floor Robert | with Floor Robert, Giacomo Bogani, Francesco Michele Laterza | music by Manuele Atzeni | technique by Monica Bosso | costumes by Eva Sgrò | organisation and communication by Julia Lomuto | winner of the competition Sillumina – Copia privata per i giovani, per la cultura | finalist of the show DNA Appunti Coreografici | with the support of Fondazione Fabbrica Europa, CSC Centro per la Scena Contemporanea – Operaestate Festival Veneto, Romaeuropa Festival, Le Murate. Progetti Arte Contemporanea, spazioK_kinkaleri, Sosta Palmizi, Samotracia/Associazione Punto A Capo, Teatri Sospesi, CS376.
Floor Robert was born in Haarlem, Holland, and now lives in Florence. She has worked as a performer with Kinkaleri, Compagnia Tardito-Rendina, Marco D’Agostin and Angela Antonini and with the Dutch companies NNT and Paradox. In 2010 she was awarded a special mention in the Premio Hystrio. She is co-author of the shows of inQuanto teatro and famigliafuchè, companies she helped to create. Since 2014 she has started her own independent creation process. inQuanto teatro is an artistic collective founded in Florence in 2010, which deals with performance, education and art in the public sphere. Its works are characterised by a multidisciplinary and dramaturgical approach that mixes media culture and literary tradition.
Wolfgang Tillmans (DE)
“Dear friends, […] we have reached a critical moment that could prove to be a turning point for Europe as we know it. turning point for Europe as we know it. […] Brexit could mean the end of the EU. It is an imperfect institution, but on the whole it stands for a democratic worldview, for human rights and fosters cooperation.”
With these words, German artist and photographer Wolgang Tillmans, winner of the Turner Prize, decided to take the field in May 2016 with an anti-Brexit advertising campaign.
Hundreds of posters, with slogans capable of attracting the attention of young people in particular, invaded the streets of the UK in an attempt to stem the rejection of Europe. Today, in the light of the facts, Tillmans is not backing down and is continuing the project in a Pro-EU version.
Is politics real?
A fake populist party, which appeared within a few weeks in 2010 in Estonia, received thousands of members and was given 20% in the pre-election polls. How was this possible? What role did the media play and what is our perception of politics? How much does political language now use the tools of fiction?
NO75 Unified Estonia touched on the fears and hopes and embodied the manipulations and delusions that underlie politics. Could it happen elsewhere today?
We talk about it with Daniel Vaarik (one of the creators of Unified Estonia) and Marcello Maneri (professor of Sociology of Cultural and Communicative Processes at Bicocca University). The meeting will be moderated by Danilo De Biasio.
Free entrance
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.
EXTRA FOCUS
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.
19 – 21 May 2017 h. 20.30 KÖSZEG OPERA retablO (CH)
[performance].
25 May 2017 h. 20.30 INFLUENZA Floor Robert/InQuanto teatro (IT)
[performance]
Milo Rau e CAMPO (CH/BE)
A project by ZONA K and Triennale Teatro dell’Arte
Milo Rau, one of the most popular and controversial directors of contemporary theatre, arrives for the first time in Milan with an ambitious project that starts from a cruel news story – linked to the figure of the paedophile and murderer Marc Dutroux – and comes to reflect on the materialisation of feelings on stage.
Milo Rau and the International Institute of Political Murder (IIPM) have conquered the biggest theatres in Europe in recent years with their uncompromising political theatre. Their work is based on first-hand accounts and reconstructions of real events that mercilessly tackle the great taboos of our time.
In collaboration with the Belgian production centre CAMPO, they have created Five simple scenes to recount a tragic episode in Belgian history. Five simple scenes, interpreted by children between the ages of 9 and 13, to show a disturbing image of contemporary society and reveal the limits of what children know, feel and do.
How can they really understand the meaning of manipulation, empathy, loss, subjugation, disappointment or rebellion? What does it mean to involve children in adult theatre? What happens when we watch them act? What does it reveal about our fears and desires?
In Flemish with Italian subtitles. Due to the theme, the show is intended for an adult audience. c/o TRIENNALE TEATRO DELL’ARTE – viale Alemagna, 6
Concept, text and direction Milo Rau text and performance Aimone De Zordo, Fons Dumont, Arno John Keys, Blanche Ghyssaert, Lucia Redondo, Pepijn Siddiki, Hendrik Van Doorn, Eva Luna Van Hijfte performance film Sara De Bosschere, Pieter-Jan De Wyngaert, Johan Leysen, Peter Seynaeve, Jan Steen, Ans Van den Eede, Hendrik Van Doorn & Annabelle Van Nieuwenhuyse dramaturgy Stefan Bläske assistant director and performance coach Peter Seynaevec childcare and production assistant Ted Oonk research Mirjam Knapp & Dries Douibi scenes and costumes Anton Lukas video and sound design Sam Verhaert production CAMPO & IIPM co-production Kunstenfestivaldesarts Brussels, Münchner Kammerspiele, La Bâtie – Festival de Genève, Kaserne Basel, Gessnerallee Zürich, Singapore International Festival of Arts (SIFA), SICK! Festival UK, Sophiensaele Berlin & Le phénix scène nationale Valenciennes pôle européen de création photo Phile Deprez
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.
MONOPOLY
PER PROBLEMI TECNICI LA PERFORMANCE E’ STATA RIMANDATA
Roger Bernat – Si laurea nel 1996 e riceve il Premio Extraordinario dell’Institut del Teatre di Barcellona. Lavora con Thierry Salmon e Xavier Albertí. Tra il 1998 e il 2001 fonda e dirige, insieme a Tomás Aragay, la General Elèctrica, centro di produzione per il teatro e la danza. E’ autore e regista dei suoi primi spettacoli, tra i quali 10.000 kg (Premio speciale della Crítica de Catalunya 96/97), Confort Domèstic (Premio della Crítica al Text Dramàtic 97/98), Àlbum, Trilogia 70, Bones Intencions, Bona Gent, LALALALALA, Amnèsia de Fuga, Tot és perfecte o Rimuski. Dal 2008 inizia a creare dispositivi scenici nei quali il pubblico occupa la scena e si fa protagonista dello spettacolo esso stesso. “Gli spettatori sono inseriti in un meccanismo che li invita a obbedire o cospirare, in ogni caso a mettersi in gioco e con il proprio corpo e prendere posizione.” I suoi spettacoli, tra i quali Domini Públic (2008), Pura coincidència (2009), La consagración de la primavera (2010), Please Continue: Hamlet (2011), Pendiente de voto (2012) Desplazamiento del Palacio de la Moneda (2014) o, Numax Fagor plus (2015), sono stati presentati in una ventina di paesi diversi.
Varvara Guljajeva & Mar Canet lavorano insieme dal 2009. Essi hanno esposto le loro opere d’arte in numerosi festival internazionali. L’anno scorso il duo è stato commissionato da Google e dal Barbican Centre per la creazione di un nuovo pezzo di arte per la mostra Digital Revolution. E quest’anno le loro opere saranno esposte a Sydney.
FOCUS NOW
Un progetto di
Con il sostegno di:
Con il patrocinio del
In collaborazione con:
Gob Squad (DE/UK)
Featuring Fanny Alexander.
“Be yourself, be honest with yourself, follow your dreams and reach for the stars”. This is the mantra of a generation that prizes individualism as the ultimate expression of freedom. But who is this “self” you think you are? How did you become who you think you are? What makes you, really you? And what happens when we venture outside the concept of ‘uniqueness’?
Gob Squad takes the audience through twenty years of work, made up of collective processes, big ideas, videos and soundtracks, and in doing so leaves the stage, blends in with the audience creating shifts of identities and bodies. As the audience gets involved the collective identity develops through a playful and experimental perspective.
Using a technique Gob Squad calls ‘remote acting’, the show begins with a conventional lecture and ends as a moving meditation on the nature of the self. It is an experience that balances curiosity, courage, risk-taking, and the relationship between childhood freedom and shared responsibility for everything that happens.
The Milan version is performed by Marco Cavalcoli and Andrea Argentieri for Fanny & Alexander
Concept Gob Squad Concept Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Bastian Trost, Simon Will Sound Jeff McGrory, Martin Cooper Video Sarah Harrison, Sean Patten Production Management Eva Hartmann UK Producer Ayla Suveren Interns Valeria Germain Production Gob Squad With the support of Senatsverwaltung for Science, Research and Culture Berlin and The Arts Council of England Photos Jean-Philippe Offord/ Cartel Photos
Gob Squad (DE/UK)
A ZONA K project in collaboration with Triennale Teatro dell’Arte.
Overwhelming, involving, noisy, Revolution Now! dusts off from the past the revolutionary moments decisive for humanity with which the public, as in history, will have to get involved. Because for one evening it will be “all or nothing”.
“A magnificent, courageous and epic theatrical experience.”
The Guardian
Gob Squad, the most provocative British-German collective of the moment, exponents of a theatre that challenges representation and the public and transfers them directly into the “temples” of urban life, has decided to stage at least one of them and transform the theatre into the bubbling headquarters of a group of revolutionaries, connected live to the channel of a small TV station that broadcasts non-stop proclamations, manifestos and songs of revolt.
Is it time for a revolution? Aren’t our lives a little too comfortable? Are we ready to sacrifice them for the cause?
It is certain that the word ‘revolutionary’ has lost its meaning since it became glamour, a label for selling practically anything, from rock stars to sanitary towels.
Played in English, with scenic translation in Italian c/o Triennale Teatro dell’Arte – viale Alemagna, 6
conception and interpretation Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Laura Tonke, Bastian Trost, Simon Will live music and arrangements Christopher Uhe, Masha Qrella video Miles Chalcraft, Kathrin Krottenthaler sound Jeff McGrory technical direction Chris Umney costumes Pieter Bax dramaturgy and executive production Christina Runge dramaturgical consultants Aenne Quiñones, Götz Leineweber artistic assistants Milena Kipfmüller, Tina Pfurr interns Hannah Senft, Florian Wessels Gob Squad Management Eva Hartmann tour management Mat Hand production Gob Squad co-produced Donaufestival Niederösterreich, Schauspiel Köln and Volksbühne am Rosa-Luxemburg-Platz with the support of Berliner Kulturverwaltung photos Thomas Aurin * extraordinary participation of Marco Cavalcoli (Fanny & Alexander) for the Italian version
Gob Squad is a seven-headed monster, an artistic collective with seven leaders. It has a schizophrenic identity: two nations and two languages. For over 20 years Gob Squad has been searching for a new way to combine media and performance, producing performances, video installations, radio plays, films and urban interventions. Gob Squad was founded in 1994, while its members were still at Nottingham Trent University and Giessen. Berlin has been the creative home of the group since 1999. Its members are: Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Bastian Trost and Simon Will. Other artists are invited to collaborate on particular projects. Their productions have been performed all over the world: Super Night Shot (2003), Gob Squad’s Kitchen (2007, winner of New York’s Drama Desk Award 2012), Saving The World (2008, winner of the Goethe Preis at the Impulse Festival), Before Your Very Eyes (2011), Western Society (2013) and the most recent War And Peace (2016).
Oliver Frljić (BA/HR)
NATIONAL PREMIERE In collaboration with OLINDA
Oliver Frljic, a provocateur and controversial filmmaker, enters reality and the collective consciousness at close quarters. Inspired by Peter Weiss’s “The Aesthetics of Resistance”, Frljic explores Europe’s confrontation with the refugee crisis. A Europe ready to forget its colonialist past and the violence it derived from it in order to erect walls and close borders.
La nostra violenza e la vostra violenza is one of the most controversial European shows of the moment, asking uncomfortable and non-rhetorical questions right up to the end. As spectators moved by imaginary scenes in the semi-obscurity of a theatre, do we still remain indifferent to real people in refugee camps across Europe?
Are we proud to call ourselves Europeans or should we be ashamed of Europe? Do we mourn the victims of terrorist attacks in Europe with the same empathy as those in the Middle East? Are we buying a clear conscience with simple declarations of solidarity? Are we aware that violence only begets more violence?
Due to the subject matter and the presence of full nudity, the show is intended for an adult audience.
In Croatian, Slovenian, English with Italian subtitles c/o TeatroLaCucina, former Psychiatric Hospital Paolo Pini, via Ippocrate 45, 20161 Milan, Italy
Direction and music selection: Oliver Frljić; Dramaturgy: Marin Blažević Scenography: Igor Pauška, Costumes: Sandra Dekanić; Lights: Dalibor Fugošić and David Cvelbar; Artistic advice: Aenne Quiñones; Assistant director: Barbara Babačić, Sound design: Silvo Zupančič; Production manager: Hannes Frey. Starring: Barbara Babačić, Daša Doberšek, Uroš Kaurin, Dean Krivačić, Jerko Marčić, Nika Mišković, Draga Potočnjak, Matej Recer, Blaž Šef; Production: HAU Hebbel am Ufer, Berlin; Co-production: Slovensko mladinsko gledališče, Ljubljana, Wiener Festwochen, Zürcher Theaterspektakel, Kunstfest Weimar, Hrvatsko narodno kazalište Ivana pl. Zajca, Rijeka; Regional co-producer: MESS Sarajevo; Funding: German Federal Cultural Foundation. Translation into Italian: Živa Brecelj
OLIVER FRLJIC (Travnik, 1976) is a leading name on the European new film scene. His previous productions – Turbo Folk, Bacchae, Spring Awakening, Cursed be the traitor of his homeland – have all stood out for the impact they have had on audiences. In 2012, he staged the controversial Zoran Ðind about the assassination of the Serbian prime minister. Also in that year, another of his projects, 25.671, was about the number of people deleted from the residence registers of the Republic of Slovenia. Until last June he was superintendent of the Croatian National Theatre in Rijeka (HR).
