“Paesaggi condivisi”è un viaggio teatrale tra campi e foreste alla scoperta di sette proposte artistiche. Interventi performativi e coreografici, creazioni sonore e multimediali, affondi filosofici offrono un’esperienza collettiva e partecipata per interrogarci sul rapporto con paesaggio e natura.
Se il paesaggio fosse un teatro? Se l’arte non imitasse la natura, ma ci permettesse di viverla collettivamente? Cosa è in gioco nel nostro rapporto con la “natura” e le sue rappresentazioni, nel momento in cui clima e risorse ci hanno portato alla consapevolezza della nostra fragilità e interdipendenza?
Paesaggi condivisi invita a lasciare il teatro e trascorrere una giornata nella natura: camminando ed esplorando campi e foreste, gli spettatori scopriranno sette proposte artistiche, sette variazioni sul tema paesaggio. Stefan Kaegi, del collettivo Rimini Protokoll, e Caroline Barneaud, curatrice del Théâtre Vidy-Lausanne, hanno invitato dieci artisti europei a condividere le loro visioni sul nostro rapporto con il territorio. Interventi performativi e coreografici, creazioni sonore e multimediali, affondi filosofici offrono un’esperienza collettiva e partecipata.
Paesaggi condivisi è parte del progetto europeo Performing Landscape, che vede coinvolti otto partner provenienti da Germania, Austria, Francia, Italia, Spagna, Portogallo, Slovenia, Svizzera. Artisti, organizzazioni culturali ed esperti sviluppano una riflessione sulle nozioni di arte, paesaggio e territorio. Disegnando una mappa visibile e invisibile dei luoghi europei coinvolti, svelano gli spazi che condividono attraverso la lente delle arti e delle scienze. Un modo diverso di guardare e reinventare insieme l’Europa. Paesaggi condivisi ha debuttato il 14 maggio 2023 a Chalet-à-Gobet con il Théâtre Vidy-Lausanne, e viene attualmente adattato e rappresentato nei diversi luoghi coinvolti: Avignone, Berlino, Milano, Lubiana, St. Pölten, la regione di Girona e la regione di Lisbona.
Stefan Kaegi (Rimini Protokoll)
Regista svizzero del collettivo tedesco Rimini Protokoll, crea solitamente progetti inusuali per lo spazio urbano. In Paesaggi condivisi invita i partecipanti a sdraiarsi sotto gli alberi, con il viso rivolto verso le chiome: una conversazione registrata da ascoltare in cuffia li guiderà in un’esperienza sonora immersiva che inverte le prospettive.
Chiara Bersani e Marco D’Agostin
Coreografi e danzatori italiani, una con disabilità e l’altro no, esplorano insieme la nozione di “corpo politico” da più di dieci anni. Per Paesaggi condivisi offrono al pubblico un picnic inconsueto, nel quale il paesaggio è tanto condiviso quanto inaccessibile.
Sofia Dias e Vítor Roriz
Dal 2006, il duo di artisti e coreografi portoghesi ha sviluppato un linguaggio coreografico che combina movimento, linguaggio e suono. Per Paesaggi condivisi il duo ha creato una composizione sonora che guida e coordina due gruppi di spettatori attraverso la foresta, in una specie di pas de deux che mette in discussione i legami tra uomo e natura. Testi, canzoni e paesaggi sonori danno forma a una nuova geometria dello spazio da condividere con gli altri partecipanti.
Begüm Erciyas e Daniel Kötter
Begüm Erciyas, artista turco-belga, e Daniel Kötter, regista tedesco, creano mondi intimi, ibridi e sfaccettati con l’aiuto di diversi media e tecnologie. In Paesaggi condivisi propongono ai partecipanti di indossare visori VR per immergersi in un paesaggio svuotato di ogni presenza umana e lasciato alla mercé dello sfruttamento economico. Gli spettatori diventano invisibili gli uni agli altri e fanno un’esperienza intima e collettiva al contempo.
Ari Benjamin Meyers
Compositore e artista americano che vive a Berlino, nel suo lavoro esplora la natura performativa e socio-politica della musica insieme a musicisti di ogni estrazione e provenienza. Per Paesaggi condivisi ha accolto la sfida di comporre per il territorio. Le sue composizioni musicali, interpretate da artisti locali, accompagnano l’intero cammino disegnando vibranti cartografie sonore dello spazio.
El Conde de Torrefiel
Il collettivo spagnolo composto da Tanya Beyeler e Pablo Gisbert mette solitamente in scena spettacoli in cui dialogano testi e “tableaux vivants”, ponendo la lettura al centro del dispositivo. Per Paesaggi condivisi il duo propone ai partecipanti un paesaggio “sottotitolato”: su uno schermo led immerso nell’ambiente naturale scorre un testo che gli spettatori sono invitati a leggere collettivamente – insieme al paesaggio circostante – per analizzare, decostruire e reinterpretare le nostre rappresentazioni della natura.
Émilie Rousset
Regista francese, indaga e raccoglie archivi e materiale documentario che elabora nelle sue opere teatrali, nelle sue installazioni e nei suoi film. Per Paesaggi condivisi ha raccolto le parole di esperti – un avvocato ambientalista, un agricoltore, un tecnico bio-acustico - che saranno portate al pubblico da alcuni performer e una macchina agricola, invitandolo ad esplorare i legami tra scienza, tecnologia, economia e paesaggio.
Ideazione e cura Caroline Barneaud e Stefan Kaegi (Rimini Protokoll) Con pièce di Chiara Bersani e Marco D’Agostin (Italia), El Conde de Torrefiel (Spagna), Sofia Dias e Vítor Roriz (Portogallo), Begüm Erciyas e Daniel Kötter (Turchia, Belgio, Germania), Stefan Kaegi (Germania, Svizzera), Ari Benjamin Meyers (Stati Uniti, Germania), Émilie Rousset (Francia) Interpretato da performer e partecipanti locali Produzione e coordinamento Isabelle Campiche, Aline Fuchs (Théâtre Vidy-Lausanne) Con il supporto dei team produzione, tecnica, comunicazione e amministrazione del Théâtre Vidy-Lausanne Coordinamento di Performing Landscape Chloé Ferro, Monica Ferrari, Lara Fischer (Rimini Protokoll) Assistenza artistica Giulia Rumasuglia Direzione tecnica Guillaume Zemor Produzione Rimini Apparat (Germania) and Théâtre Vidy-Lausanne (Svizzera) Produzione locale ZONA K e Piccolo Teatro di Milano Teatro d’Europa CoproduzionePerforming landscape, consorzio europeo: Bunker and Mladi Levi Festival (Slovenia), Culturgest (Portogallo), Festival d’Avignon (Francia), Tangente St. Pölten – Festival für Gegenwartskultur (Austria), Temporada Alta (Spagna), ZONA K e Piccolo Teatro di Milano Teatro d’Europa (Italia).
Un progetto fortemente voluto che segna l’arrivo e la ripartenza, la sintesi di una volontà e di una visione del nostro costruire progetti di teatro partecipato fuori formato.
Combinando l’intimità del tête-à-tête con la spettacolarità dell’installazione teatrale, il Market for Useful Knowledge and Non-Knowledge mette in scena la comunicazione e lo scambio come un’opera d’arte e una performance partecipata di ampio respiro. Per ogni città che lo presenta, il Mercato è creato ex novo, con un focus tematico diverso legato al contesto urbano contemporaneo. La performance prevede un’inedita assemblea di un centinaio di “esperti”, le cui diverse conoscenze – che possono andare dall’ovvio e irriverente all’inaspettato e sorprendente – forniscono una visione enciclopedica del tema selezionato. Si tratta di temi urgenti, di interesse cittadino e universale, di argomenti spesso riportati dai media ma sui quali manca un approfondimento. In un grande spazio – definito agorà – gli esperti sono convocati non a tenere una conferenza per un’intera platea ma molteplici sessioni individuali di 30 minuti ciascuna, in cui si mettono a disposizione del singolo spettatore. I dialoghi possono prendere la forma di un interrogatorio, di una disputa, di un esercizio, di una confessione. The Market for Useful Knowledge and Non-Knowledge trasforma la natura performativa di ogni interazione sociale in un accattivante spettacolo teatrale.
Ideato da Hannah Hurtzig e presentato per la prima volta nel 2004, The Market for Useful Knowledge and Non-Knowledge è stato messo in scena 34 volte in paesi in Germania, Polonia, Turchia, Lettonia, Francia, Israele, Finlandia, Colombia, Gran Bretagna e molti altri ancora.
L’artista, curatrice e drammaturga berlinese Hannah Hurtzig ha fondato la Mobile Academy Berlin nel 1999. Da allora ha esplorato modalità di trasferimento della conoscenza in teatri, ambienti accademici, musei e mostre d’arte. Oltre al Mercato della Conoscenza Utile e della Non Conoscenza, tra i progetti in corso vi sono installazioni e archivi. Questi sono stati presentati in musei e in diverse biennali, tra cui Venezia, Taipei, Novosibirsk e Delhi.
Uno spettacolo nato come podcast dalla penna di un attore-scrittore, Non è la storia di un eroe è la restituzionelive del podcast Io ero il Milanese di e con Mauro Pescio. Lo spettacolo è il racconto di un uomo che nella vita ha fatto tante scelte sbagliate, un uomo con cui la sfortuna si è accanita, un uomo che ha toccato il fondo, ma che da quel fondo si è rialzato. La storia di Lorenzo è diventata un podcast, intitolato Io ero il Milanese, prodotto da RaiPlay Sound, diventato un vero e proprio caso nel 2022. Partito in sordina, grazie al passaparola il podcast ha conquistato il pubblico superando i 700 mila ascolti. Ora la storia di Lorenzo S. potrà essere conosciuta dal vivo:
lo spazio teatrale è, per antonomasia, la spazio della rivoluzione, adatto quindi a dare voce alla rivoluzione personale di Lorenzo S. e alla sua storia difficile, dura, ma anche piena di speranza.
di Mauro Pescio e Lorenzo S. con Mauro Pescio grafiche di Lorenzo Terranera
Mauro Pescio, autore radiofonico e teatrale. Dopo essersi diplomato alla Civica Scuola di Teatro Paolo Grassi di Milano si trasferisce a Roma dove fonda una compagnia teatrale con cui lavora per dieci anni. Dal 2012 è autore di “Voi siete qui” per Radio24 e dal 2015 di “Pascal” di Radio2. Per Audible ha scritto “La piena”, prima produzione italiana di Amazon di un podcast teatrale. Dal 2017 collabora con Radio3 per la trasmissione di audiodocumentari “Tre soldi”.
Performance in lingua spagnola con sottotitoli in italiano | Durata 55 min
Sabato 11 novembre Sergi Casero incontrerà il pubblico a fine spettacolo.
c/o ZONA K, via Spalato 11
“Perché conosco a malapena il passato di mia nonna?”
Il patto dell’oblio è uno spettacolo che interroga/indaga la trasmissione intergenerazionale del silenzio politico in Spagna dall’inizio della dittatura franchista fino ai giorni nostri.
Attraverso una raccolta di sguardi intimi sulla memoria collettiva spagnola, questo spettacolo performativo nasce dalla riflessione che, per indagare la violenza politica nella storia recente del paese, è necessario svelare le abitudini di oppressione domestica intrecciandosi con un senso di oblio generazione dopo generazione, nonché le conseguenze che questa omissione storica ha prodotto nei successivi discendenti di famiglie come quella dell’autore.
Autofiction e analisi storica vanno di pari passo in questo esercizio di memoria che, attraverso il linguaggio della luce, esamina dal vivo i contorni del silenzio collettivo di fronte ad un pubblico invitandolo a vagare tra le lacune della memoria attraverso le quali il dolore represso è filtrato silenziosamente nel corso di decenni.
Con il desiderio di mitigare intimamente il trauma provocato dalla storia ufficiale che parla di vincitori e vinti come collettivi senza spessore personale, Casero esplora le diverse condotte generazionali rispetto all’amnesia istituzionalizzata, come quella incarnata dai suoi parenti stretti. Mentre il pezzo si svolge, attraverso quel silenzio emergono voci che parlano delle conseguenze dell’oblio, così come degli spazi attraverso i quali ricostruire la nostra memoria.
di e con Sergi Casero Nieto produzione Centrale Fies / Live Works residenze Centro de Residencias Artisticas Matadero Madrid consulenza drammaturgica Mònica Molins promozione Domenico Garofalo
Sergi Casero Nieto (Barcellona, 1991) Il suo lavoro si colloca all’intersezione tra design, azione e ricerca. Nel suo lavoro esplora l’uso della performance come strumento per rappresentare i risultati della ricerca, prestando particolare attenzione alla progettazione di dispositivi scenografici. L’informazione storica diventa fisicamente presente nel suo lavoro, approfondendo le contro-narrazioni come le testimonianze orali o la memoria collettiva, mettendo in discussione le narrazioni egemoniche attraverso la presentazione di prospettive multiple del passato. Il suo lavoro è stato presentato, tra le altre istituzioni europee, alla Veem House for Performance (Amsterdam), al Het Nieuwe Instituut (Rotterdam), al Van Abbe Museum (Eindhoven), all’Arts Santa Mònica (Barcellona) e alla Centrale Fies (Dro, Italia).
proiezione con live set elettronico | durata 50/70 min
c/o Teatro Out Off, via Mac Mahon 16
Un Grand Tournelle zone buie del cosmo, lì dove scaturiscono insieme la tenebra e le sofferenze delle generazioni, il rapporto dell’uomo con la natura, con l’eros, con i compagni animali, con il tempo e con la tecnica, con l’assoluto: l’impossibile. Sotto il nome del demone che tentò Faust, Mephistopheles, Anagoor raduna il materiale video raccolto tra il 2012 e il 2020 in un unico viaggio per immagini attraverso le lacrime del mondo, musicato in un live set elettronico da Mauro Martinuz. La materia cinematografica di spettacoli teatrali come Lingua Imperii, Virgilio Brucia, Socrate il sopravvissuto, Faust, Orestea, è composta da immagini profeticamente raccolte nei musei e nei templi, nelle case di cura per anziani e negli allevamenti intensivi, tra macellai, pastori e pellegrini, in India, in Iran, ad Olimpia, sulla ferita campagna veneta e sul Vesuvio. L’enorme quantità di materiale inedito trova nuova composizione in questo volo e caduta in forma di concerto cum figuris. Un concerto per immagini sul mondo, l’umano e l’animale, la violenza contro i corpi e il profitto in un’opera che ben mostra la visione estetica e politica della compagnia. Un’opera-film dove l’immagine che scorre trova il suo movimento nel suono live di Mauro Martinuz per condurci in un contemporaneo fuori dal tempo: quello dei corpi e della loro devastazione, dei soprusi di un capitalismo sempre più accelerato che nega le stagioni, il paesaggio e i sentimenti. Uomo contro natura ma anche uomo contro uomo. Mephistopheles eine Grand Tour è un film “mondo”, un gesto politico di consapevolezza.
scritto e diretto da Simone Derai musica e live set Mauro Martinuz montaggio Simone Derai fotografia Giulio Favotto assistente alla regia Marco Menegoni riprese Giulio Favotto, Simone Derai, Marco Menegoni coordinamento organizzativo Annalisa Grisi management e promozione Michele Mele produzione esecutiva Centrale Fies / Laura Rizzo, Stefania Santoni produzione Anagoor 2020 coproduzione Kunstfest Weimar*, Theater an der Ruhr**, Fondazione Donnaregina per le arti contemporanee / Museo Madre***, Centrale Fies, Operaestate Festival Veneto in collaborazione con Fondazione Campania dei Festival – Napoli Teatro Festival Italia, Villa Parco Bolasco – Università di Padova
*supportato dal Ministero dell’Ambiente, Energia e Protezione della Natura della Turingia;
**supportato dal Ministero della Cultura e della Scienza della Renania Settentrionale – Vestfalia; *** finanziata da POC Regione Campania 2014-2020.
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 Asforzo 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
Dopo il debutto nel 2022, ZONA K ripropone in forma videoinstallativa, l’importante lavoro di indagine e coinvolgimento di persone realizzato con la produzione Non siamo niente, saremo tutto. Interviste, filmati, audio che fermano un oggi lavorativo complesso, fatto di forti gap generazionali, di aspettative mancate, di realizzazioni, di voglia di partecipare. Un archivio online – fotografia del mondo del lavoro oggi – partito dalle testimonianze dei primi lavoratori coinvolti e in continua crescita per ogni piazza che lo spettacolo tocca. L’installazione sarà accompagnata da un talk di approfondimento sul mondo del lavoro oggi che coinvolgerà il regista, i partecipanti ed esperti del settore, coinvolti anche grazie alla collaborazione con l’Istituto Ferruccio Parri.
regia Alessandro Renda dramaturg Jens Hillje con i cittadini e le cittadine di una chiamata pubblica di Milano e La Spezia editing e visual effect video Francesco Tedde, Alessandro Tedde (Antropotopia) produzione ZONA K
Il progetto è realizzato con il sostegno della Fondazione Compagnia di San Paolo nell’ambito di Art Waves Produzioni di cultura contemporanea e con il sostegno di Fondazione Cariplo e del Comune di Milano.
Alessandro Renda è attore, regista e filmmaker. Dal 1998 è membro del Teatro delle Albe di Ravenna. Prende parte a numerosi spettacoli della compagnia, da I Polacchi (1998) a L’isola di Alcina (2000), da Salmagundi (2004) a Stranieri (2008) da Inferno (2017) e Purgatorio (2019) tra gli altri. Porta in scena da oltre un decennio il monologo scritto da Marco Martinelli Rumore di acque (2010), con diverse tournée in Europa e negli Stati Uniti. Dal 2001 è “guida” nei laboratori della non-scuola, pratica teatral-pedagogica antiaccademica delle Albe, con diverse esperienze in Italia e all’estero. Dal 2003 si occupa di video, realizzando proiezioni per la scena o “traduzioni” in video di molti spettacoli della compagnia o documentari attorno a esperienze teatrali.
Jens Hillje (Germania, 1968) dal 1990 lavora nella scena del teatro indipendente tedesco come attore, autore e regista. Nel 1996 ha fondato insieme a Thomas Ostermeier lo spazio ‘Barracke’ al Deutsches Theater. Dal 1999 fino al 2009 è Chief-dramaturg e membro della direzione artistica della Schaubühne di Berlino con Thomas Ostermeier e la coreografa Sasha Waltz. In qualità di dramaturg lavora con i maggiori esponenti del teatro europeo. Nel 2000 crea ha creato il F.I.N.D Festival nel 2000 alla Schaubühne uno dei più rinomati festival in Germania. Dalla stagione 2013/14, Jens Hillje è co-direttore artistico e Chief-dramaturg del Gorki, insieme a Shermin Langhoff. Dal 2021 è free dramaturg. Nell’estate 2019 è stato insignito del Leone d’Oro alla carriera alla Biennale di Venezia.
Una compagnia di teatro che decide di mettere in scena “Il Capitale”di Karl Marx. Lo decide perché, dopo la fine del primo lockdown, sente la necessità di mettersi in ascolto di chi, nella fase immediatamente successiva, avrebbe perso il posto di lavoro. Nicola ed Enrico decidono così di girare l’Italia alla ricerca di quei luoghi in cui le pagine di Marx diventano persone, luoghi, accadimenti. Un giorno finiscono in una fabbrica, la GKN di Campi Bisenzio, che ha appena chiuso. In un mattino dell’estate 2021, il 9 luglio per la precisione, i 422 operai che ci lavorano ricevono una mail: non devono tornare al lavoro il giorno dopo: sono licenziati. Da quel giorno gli operai occupano la fabbrica. I primi giorni dell’autunno la compagnia entra per la prima volta alla GKN. Gli operai li invitano a mangiare il cinghiale con loro. Da quel giorno loro dormono lì, dentro la fabbrica occupata, su delle brandine. Nel frattempo Nicola ed Enrico intervistano centinaia di operai, partecipano a picchetti, assemblee, manifestazioni, ascoltano, osservano, cercando di volta in volta di tornare alle pagine di Marx per tentare di instaurare un dialogo creativo tra “Il Capitale” e quello che succede al presidio, tra un classico della letteratura filosofica ed economica e un gruppo di esseri umani in carne ed ossa. Poi la loro attenzione si concentra su tre persone in particolare: Iorio, manutentore, Felice, operaio addetto al montaggio e Tiziana, operaia addetta alle pulizie, che invitano in teatro con loro per fare insieme uno spettacolo. Comincia così la creazione de IlCapitale, uno spettacolo che racconta cosa significa trascorrere vent’anni in fabbrica a fare dei pezzi, delle differenze tra chi lo ha fatto e chi non lo ha fatto mai, dell’estrazione di plusvalore, della chiusura di una fabbrica tra tante, di cosa succede quando un gruppo di operai decide di tentare di fare la storia, di come per qualche tempo le logiche del Capitale vengano estromesse da un perimetro di spazio, quello di uno stabilimento industriale occupato. Di come il Capitale, prima o poi torni a presentare il conto. Il Capitale è anche la storia dell’incontro tra una compagnia di teatro e un gruppo di operai metalmeccanici nell’autunno del Capitale. Il Capitale è soprattutto uno spettacolo sul tempo, sul suo scorrere, su chi lo possiede, su chi lo vende, lo acquista, lo libera.
un progetto di Kepler-452 drammaturgia e regia Enrico Baraldi e Nicola Borghesi con Nicola Borghesi e Tiziana De Biasio, Felice Ieraci, Francesco Iorio – Collettivo di fabbrica lavoratori GKN e con la partecipazione di Dario Salvetti luci e spazio scenico Vincent Longuemare sound design Alberto Bebo Guidetti video e documentazione Chiara Caliò consulenza tecnico-scientifica su “Il Capitale” di Karl Marx Giovanni Zanotti assistente alla regia Roberta Gabriele macchinista Andrea Bovaia tecnico luci e video Giuseppe Tomasi fonico Francesco Vacca elementi scenici realizzati nel Laboratorio di ERT produzione Emilia Romagna Teatro ERT / Teatro Nazionale si ringraziano Stefano Breda e Cantiere Camilo Cienfuegos di Campi Bisenzio
Kepler-452 è una compagnia teatrale che nasce nel 2015 a Bologna dall’incontro tra Nicola Borghesi, Enrico Baraldi, Paola Aiello e, per la parte organizzativa, prima Michela Buscema e poi, dal 2021, Roberta Gabriele. Fin dalla sua nascita la compagnia coltiva un’urgenza: aprire le porte dei teatri, uscire, osservare ciò che c’è fuori, nell’incrollabile convinzione che la realtà abbia una forza drammaturgica autonoma. I formati teatrali realizzati spaziano dal coinvolgimento in scena di non-professionisti sulla base delle proprie biografie, a reportage teatrali che trasformano indagini sul reale in momenti performativi, alla creazione di percorsi audioguidati e altri dispositivi di interazione con lo spazio urbano, fino alla realizzazione del Festival 20 30 che, a partire dal 2014, ha portato in scena tanti under 30 nel tentativo di tracciare un affresco generazionale. A partire dal 2018 comincia un percorso di produzione con ERT / Teatro Nazionale “ Il giardino dei ciliegi – Trent’anni di felicità in comodato d’uso” (2018) mentre nel 2019 debutta “F. – Perdere le cose”. A partire dal 2017 realizza diverse edizioni di Comizi d’amore, un format di teatro partecipato che racconta in scena alcune comunità a partire dalle domande poste da Pasolini nel suo documentario omonimo.
“Il teatro è l’elaborazione collettiva di un’ipotesi di lavoro che avviene solo quando, all’uscita dallo spettacolo, la consapevolezza di non aver interpretato bene il ruolo del pubblico si mescola all’intuizione dei tanti modi per farlo meglio. In un mondo in cui la Partecipazione è un dato di fatto ma quasi mai reale, il teatro si assume il compito, non facile, di mettere in campo una partecipazione che, senza essere necessariamente un dato di fatto (o proprio perché non lo è), riesce a essere reale.” (tratto da Seeing oneself living di Roberto Fratini&Roger Bernat)
Come si fa cultura? In che misura programmare è una forma di drammaturgia dissimulata? E se la Cultura consta di programmi, portati a termine da persone programmate per programmare, a che programma obbedisce il soggetto comune quando è messo a gestire la cosa culturale? Fare cultura è insomma una prestazione attorale o drammaturgica? Fare Cultura è una performance per interpreti qualificati o sarebbe meglio affidarla a incompetenti? Come si scelgono gli spettacoli per un festival? Quali sono i ragionamenti che una direzione artistica affronta? Esistono criteri puramente estetici? Da che spettacolo mentale, da che copione ideologico tiriamo fuori le nostre opinioni sugli spettacoli altrui? Quali gli scontri, le discussioni artistiche, economiche, etiche e politiche? Che quota di finzione ammette lo scenario del dibattito? Quanto teatro ammette la sincerità del forum? Quali le tensioni personali e la risoluzione dei conflitti in un processo di scelta? Quali processi non manifesti, occasionalmente paradossali e in qualche caso grotteschi, rendono accessibile al pubblico un certo artista o un certo spettacolo? Che porzione di Dioniso muove l’ebbrezza di decidere?
A partire da queste domande nasce il progetto condotto dal regista catalano Roger Bernat/FFF (ES), mirato a indagare come si costruisce un dispositivo che racconti e insceni i processi decisionali e di selezione, le turbolenze dialettiche celate dietro al lavoro di una direzione artistica.
Il lavoro ha origine dalle suggestioni e dalla ricerca che Roger Bernat sta sviluppando a partire dal Festival a direzione artistica partecipata under 25 Up To You curato da Qui e Ora Residenza Teatrale e dalla Rete Risonanze.
Roger Bernat sarà spettatore per sei mesi del lavoro di Up To You e di altri festival della Rete Risonanze. Lo spettacolo sarà un dispositivo che riproduce, testimonia e tergiversa intorno a questa esperienza.
progetto di Roger Bernat con drammaturgia di Roberto Fratini e la partecipazione di Francesca Albanese, Silvia Baldini, Josephine Magliozzi e Laura Valli software Matics Barcelona suono Joan Solé montaggio video Txalo Toloza gráfica Marie-Klara González produzione e curatela Qui e Ora (Milano) coproduzione Capotrave – Infinito e Kilowatt Festival (Sansepolcro), con il sostegno di Risonanze Network (rete italiana di festival e direzioni artistiche partecipate da giovani under 30) e del MIC
Questo spettacolo non sarebbe stato possibile senza la collaborazione disinteressata di: Agnès Mateus e Quim Tarrida, Agrupación Señor Serrano, Alessandra García, Animal Religion, Atresbandes + Bertrand Lesca & Nasi Voutsas, Azkona/Toloza, Baró d’Evel, Brodas Bros, Cabosanroque, Cris Blanco, Col·lectiu VVAA, David Espinosa, El Conde de Torrefiel, Germana Civera, Iniciativa Sexual Femenina, Joan Català, Jordi Oriol, Juana Dolores, Las Huecas, Macarena Recuerda, Malpelo, Marcel·lí Antúnez, La Veronal, Marta Galán, Nao Albet e Marcel Borràs, Ça Marche, Núria Guiu, Nyamnyam, Pere Faura, Quim Bigas, Societat Doctor Alonso e Soren Evinson.
Roger Bernat artista e regista catalano, dopo aver iniziato gli studi di architettura e di pittura, studia drammaturgia e regia all’Institut del Teatre di Barcellona. Nel 2008 fonda Roger Bernat/FFF e inizia a creare performance in cui il pubblico prende la scena e diventa protagonista. «Gli spettatori passano attraverso un dispositivo che li invita a obbedire o a cospirare, e in ogni caso a pagare con il proprio corpo e impegnarsi». La prima performance partecipativa è Domini Públic (2008), cui fanno seguito tra gli altri Please continue (Hamlet) (2011), Pendiente de voto (2012) We need to talk (2015), No se registran conversaciones de interés (2016-17) e The place of the Thing (2017), Flam (2019), ENA (2020), Desnonissea (2021), PIM PAM(2021) or Terra Baixa (2022). Roger Bernat utilizza gli strumenti teatrali per costruire drammatizzazioni collettive in cui, come in ogni comunità, è il pubblico ad avere il difficile compito di mettere in scena se stesso. Queste drammatizzazioni partecipative confondono i ruoli di attore e spettatore e mettono il pubblico di fronte all’esperienza del dubbio. Sebbene i suoi progetti siano stati presentati prevalentemente in contesti teatrali, nell’ultimo decennio i suoi dispositivi sono stati prodotti da istituzioni come Documenta Kassel o la Biennale di San Paolo.
Qui e Ora è una compagnia di produzione costituita da artiste provenienti da esperienze diverse ma accomunate da una stessa visione poetica. Lavora su drammaturgia autografa e ama confrontarsi e collaborare con altri artisti e artiste per dare vita alle proprie opere, in un meticciamento di linguaggi e visioni. Nasce nel 2007 sul territorio della provincia di Bergamo con il progetto Être – Esperienze Teatrali di Residenza, opera in ambito nazionale e internazionale con produzione di spettacoli, organizzazione di rassegne, curatela di laboratori. Qui e Ora è teatro che parla del presente, che prova a costruire immaginari collettivi e dare forza alle contraddizioni con uno sguardo ironico. Dal 2012 nella provincia di Bergamo Qui e Ora realizza un progetto artistico e culturale che porta il territorio e i cittadini – attraverso laboratori, inchieste, rassegne e festival teatrali – al centro della sperimentazione artistica e della creazione di prodotti culturali. Nel 2015 inaugura il Granaio, un progetto di ospitalità in residenza di artisti/e presso un ex granaio ristrutturato. Nel 2018 Qui e Ora è riconosciuta dal MIBAC come “impresa di produzione di teatro di innovazione”.
Performance urbana in cuffia | in inglese e italiano, durata 45 min
c/o quartiere Sarpi. Il luogo esatto della performance verrà comunicato al pubblico unicamente via mail.
Ispirato all’osservazione di tutto ciò che ci circonda di cui scriveva Georges Perec, con la performance urbana [ The Frame ] il collettivo austriaco/catalano Eléctrico 28 ci invita ad accomodarci in un teatro pop-up situato in una tranquilla strada cittadina per osservare la vita che scorre, per pensarla, calcolarla, determinarla e condividerla. Quattro personaggi, addestrati all’osservazione e all’organizzazione dello spazio, delle cose e degli esseri viventi, s’immergono nella vertigine del presente e traducono, con semplicità poetica, ciò che accade in lettere, le lettere in parole e le parole in frasi. Per un breve lasso di tempo, tutto diventa un grande spettacolo teatrale che non finisce mai. Una commedia senza trama che sta in equilibrio sul filo della banalità delle cose che accadono aggrappata alla lente d’ingrandimento del teatro. [ The Frame ] è un invito ad aprire il cuore e gli occhi per scoprire l’irrilevante, l’insignificante, le cose della vita. [ The Frame ] è una grande opportunità per fermarsi ed osservare. Un esercizio drastico. Una pacifica ribellione al pensiero dominante.
creazione di Daniela Poch, Josep Cosials, Jordi Solé and Alina Stockinger occhio esterno Claudia Mirambell Adroher, Sergi Estebanell produzione Eléctrico Express & Arnau Vinós musica e suono Jakob Rüdisser costumi Sarah Sternat foto Eva Freixa / Clemens Nestroy video Raúl Moreno coproduzione Generalitat de Catalunya (Departament de Cultura) ICEC & theaterland steiermark & Fira Tàrrega con il supporto di 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.”
con il contributo di
Eléctrico 28 è un collettivo di artisti austriaci e catalani che dedica il proprio lavoro allo spazio pubblico e ai suoi abitanti. Amano le sorprese delle strade, le immagini cinematografiche che si possono creare su questo ampio palcoscenico in continua evoluzione e la memoria visiva che rimane quando ce ne andiamo. Adorano esplorare le zone grigie tra realtà e finzione, mettere in discussione le convenzioni sociali e teatrali e ripensare il ruolo del pubblico. L’umorismo e la filantropia sono le principali forze trainanti del loro lavoro.
Spettacolo multimediale partecipato | durata 75 min
c/o ZONAK. Per partecipare occorre richiedere tessera 2023 almeno 24 ore prima dello spettacolo. Fallo subito, clicca QUI
Attraverso un dialogo che oscilla tra il teatro e il documento, dove la narrazione dal vivo si fonde alla narrazione audiovisiva, due adolescenti si confrontano: Giorgia, una ragazzina italiana di 14 anni, racconta la sua vita quotidiana di europea che vive in un florido tempo di pace, nella quale giace tuttavia il dolore di una guerra familiare; Abdo un giovane rifugiato siriano avvicina Giorgia alla conoscenza di un’altra guerra: quella fatta di bombe, missili ed esplosioni sotto cui vivono da undici anni migliaia di suoi coetanei in Siria.
Gli spettatori sono invitati a entrare delicatamente in un mondo privato e lacerante insieme ai protagonisti che, attraverso dispositivi elettronici e materiali personali, accettano di esporre una elaborazione viva e dal vivo della loro biografia e degli aspetti privilegiati e dolorosi che hanno segnato le loro storie fino ad oggi. Lo spettacolo va alla ricerca di un equilibrio tra storia personale e storia epocale, in un intenso affresco emotivo dove la tecnologia dilata come una lente di ingrandimento il nostro presente e apre squarci su mondi non poi così distanti, mostra i volti della guerra, entra dentro le case e ne fa vedere i frammenti, i ricordi, i futuri possibili.
concept e regia Nicola di Chio, Miriam Selima Fieno in scena Abdo Al Naseef Alnoeme, Giorgia Possekel drammaturgia Miriam Selima Fieno scenografia virtuale e light design Maria Elena Fusacchia videomaking Nicola Di Chio, Miriam Selima Fieno, Abdo Al Naseef Alnoeme, Giorgia Possekel video di archivio Hazem Alhamwy realizzazione miniature Ilenia Lella Fieno video di archivio Hazem Alhamwy spazio sonoro Antonello Ruzzini produzione Tieffe Teatro Menotti, Bottega degli Apocrifi con il sostegno di CSS Teatro Stabile di Innovazione del FVG / Dialoghi – Residenze delle Arti Performative a Villa Manin 2022_2024, Qui e Ora Residenza Teatrale, L’ Arboreto Teatro Dimora di Mondaino, Teatro Giovani Teatro Pirata / AMAT, Zona K in collaborazione con Mishwar Ong.Vincitore Premio YOUNG&KIDS 2022 FIT Festival Lugano Menzione Premio Scenario Infanzia 2020 Vincitore Bando Alte Marche Creative 2021
Nicola Di Chio e Miriam Selima Fieno sono attori, registi e autori. Si diplomano alla Civica Accademia d’Arte Drammatica “Nico Pepe” di Udine. Lavorano insieme dal 2011 nell’ambito delle performing arts creando opere di drammaturgia contemporanea che spaziano dalla fiction alla non fiction. Realizzano gli spettacoli “Lybia. Back home”, “Human Animal”, “RealItaly”, “Cantare all’amore”, “La protesta”. Vincono il Bando Ora! di Compagnia di San Paolo, il Premio Scintille, il Bando Funder35 di Cariplo, il Bando Hangar Creatività di Regione Piemonte, il Bando Next, il Premio In-Box. Negli anni ricevono importanti riconoscimenti, realizzano rassegne e festival, conducono percorsi formativi. Dal 2018 dirigono il loro lavoro verso il teatro documentario definendo una nuova strada di indagine e produzione che li porta a realizzare progetti ibridi i quali fondono il teatro al giornalismo narrativo al cinema del reale, affrontando temi legati alla geopolitica, ai diritti umani, alle relazioni tra Occidente e Medioriente. Lavorano con attori, musicisti, bambini, rifugiati, giornalisti, e creano opere che intrecciano non solo discipline diverse come il teatro, il cinema e la musica, ma anche identità culturali e artistiche distanti. Con i nuovi spettacoli documentari “Fuga dall’Egitto” e “From Syria: is this a child?” vincono il bando IntercettAzioni, il Bando Movin’up, il premio Young&Kids al Fit Festival di Lugano, la menzione al Premio Scenario Infanzia, il bando Alte Marche Creative. Attualmente sono impegnati nella realizzazione del nuovo film del regista siriano Hazem Alhamwi e nella scrittura del loro primo lungometraggio.
– PRIMA NAZIONALE – un progetto di ZONA K e Triennale Teatro Milano
Performance multimediale partecipata con utilizzo di Visori 3D per 30 spettatori | durata 90 min | la performance è caratterizzata da un’intensa presenza di fumo
c/o ZONAK
Guardiamo con nostalgia nel cielo notturno quel piccolo punto rosso e sogniamo stupidamente di ricominciare, come se i problemi sulla Terra si risolvessero più facilmente a -65° e con l’aiuto di alte dosi di radiazioni cosmiche. Combinando performance dal vivo e realtà virtuale, The Last Minutes Before Mars ci invita a entrare nel mondo di un gruppo di giovani per incontrarne famiglie e amici e trascorrere del tempo negli spazi preziosi delle loro vite. Ciò fa da sfondo all’incontro con gli altri estranei presenti in sala, in un’esperienza collettiva che riflette sulla consapevolezza di far parte tutti dello stesso viaggio, in movimento verso la medesima direzione – indipendentemente da quello che ci accade –; ora, centinaia di migliaia di anni fa e oltre, in un futuro troppo terrificante e bello da immaginare.
ideazione, regia: Darren O’DonneII co-direzione: Chiara Prodi team di co-ideazione: Darren O’Donnell, Konstantin Bock, Alice Fleming, Tina Fance, Sorcha Gibson, Thule Van Den Dam, Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Morena Marra, Craig McCorquendale, Genny De Leon, Elisa Fasiello, Mervin Kyle Fajardo, Fi Nicholson, Gianluca Benvenuti con: Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Elisa Fasiello, Mervin Kyle Fajardo produttori esecutivi: Alice Fleming, Ryan Lewis, Virginia Antonipillai produttore associato: Craig McCourquodale musiche: Isola Music ringraziamenti: Stephen O’ConneII, Letizia Gozzini (ITAS Giulio Natta)
The last Minutes Before Mars è stato originariamente co-commissionato e coprodotto da ZONA K e Triennale Milano Teatro, in collaborazione con l’ITAS Giulio Natta di Milano e con il sostegno del Canada Council of the Arts, deII’Ontario Arts Council e deII’Ambasciata del Canada in Italia.
Guidata da Darren O’Donnell, Mammalian Diving Reflex è una compagnia fondata a Toronto nel 1993. Dopo essersi allontanata da un’impostazione teatrale più tradizionale per passare a pratiche di impegno sociale incentrate sulla performatività. Creando spettacoli alla ricerca di contraddizioni da trasformare in esperienze esteticamente brillanti, i Mammalian cercano sempre di travolgere loro stessi e il pubblico con idee e sensazioni, lasciando che sia l’intuizione a guidare il percorso. (mammalian.ca)
Darren O’Donnell è romanziere, saggista, drammaturgo, filmmaker, regista di performance, direttore artistico e fondatore di Mammalian Diving Reflex. La sua missione è quella di dar vita a un tessuto sociale che integri profondamente la cultura e le istituzioni culturali, aumentandone la capacità di risposta sociale. Nel 2000 ha vinto il Pauline McGibbon Award per la regia ed è stato nominato per diversi Dora Awards di Toronto per scrittura, regia e recitazione, vincendo, insieme a Naomi Campbell, per il progetto While Mice. II suo lavoro con la compagnia Mammalian è entrato nella top 100 dello Yerba Beuna Culture Centre del 2016. È stato nominato due volte per il BKM-Preis Kulturelle Bildung tedesco e per il premio inaugurale Ellen Stewart Award di New York.
10 è cifra doppia e cifra tonda, quella delle grandi occasioni da festeggiare e dei bilanci da presentare. Sono stati anni di corse, rincorse, discussioni e punti interrogativi. Anni in cui abbiamo sperimentato e osato. Ci siamo prese libertà e le abbiamo condivise. Abbiamo conosciuto e incontrato i vicini del quartiere prima e poi il resto del mondo. Abbiamo ascoltato e tradotto lingue diverse. Abbiamo preso confidenza con le nuove tecnologie, il multimediale e il digitale, conversato con computer e programmato smartphone, composto playlist e immaginato nuovi format. Abbiamo invaso piazze, strade e fermate della metropolitana, camminato per strade e sentieri periferici ma anche guardato il mondo dall’alto. Abbiamo visto l’alba e i tramonti appena fuori città, giocato con ragazzi e bambini e inseguito anziani in calzamaglia che si credevano Superman. Abbiamo ballato il pop tedesco, il pasodoble catalano e il rock inglese. Abbiamo quasi fondato un partito. Ci siamo più volte innamorate come tutte le ragazze libere.
Il desiderio di capire, entrare nelle questioni, immaginare e scoprire nuovi modi di fare è rimasto quello di dieci anni fa. Il mondo per noi è ancora tutto da sfogliare, molte le urgenze da sondare, tante le domande da verificare anche se spesso le risposte ci stanno un po’ strette. E così andiamo avanti, sempre più convinte che mettere al centro dei progetti le persone e il loro agire sia un modo per ascoltare mille prospettive diverse e aprire nuovi sguardi sul mondo che ci circonda. Ci interessa il futuro. I prossimi dieci anni. Le sfide ci sono sempre piaciute. Crediamo nella pluralità del pubblico e nella coerenza del nostro lavoro, la cui visione si fonda sulla convinzione che la creazione artistica sia una leva attiva e attivatrice per la riflessione e l’azione collettiva sulle dinamiche sociali della vita contemporanea.
Gli spettacoli che presentiamo nascono e raccontano vite vissute, esperienze anche estreme, spesso lontane dalla narrazione urlata dei media e dei social. Alla base della ricerca artistica degli spettacoli in programma possiamo trovare sempre un dato reale, una testimonianza o un documento storico/scientifico, un’urgenza da raccontare. Perché sono l’insieme delle piccole storie, dei gesti audaci e delle scelte controcorrente che fanno la Storia. E questa continuerà a essere la nostra direzione.
10 – cifra doppia e cifra tonda – si apre già con un +1 per immaginare una nuova decade, raccontare mondi altri, sempre più convinte che la potenza dell’opera artistica possa trasformarsi in azione politica e incidere sul nostro futuro più prossimo.
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
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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!
Che suono ha un quadro? Come si muove un’immagine? Sai ballare come un colore?
A Sottosopra niente è come sembra: qui ci sono opere d’arte da guardare e… da ascoltare! Trasformati anche tu in un’opera d’arte, trova il ritmo e le parole…scoprirai una storia ogni volta diversa.
Attraverso suggestioni visive, i bambini saranno stimolati a esplorare lo spazio, il ritmo, il suono, sperimenteranno la propria voce e l’espressività del gesto e lavoreranno su coppie di opposti: lento e veloce, piano e forte, sotto e sopra, lontano e vicino.
Un percorso di avvicinamento al TEATRO, giocando con l’ARTE e il MOVIMENTO CREATIVO.
Al termine del percorso annuale è prevista una restituzione aperta a un pubblico di genitori e amici per far conoscere anche a loro il mondo di Sottosopra.
E’ possibile partecipare gratuitamente a una lezione di prova per tutto il mese di ottobre, fino esaurimento posti disponibili: 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.
Agevolazioni:
Sconto 20% per iscrizione entro il 15 settembre con pagamento in unica rata;
Sconto 15% per iscrizione con pagamento unica rata;
Sconto 10% per iscrizione secondogeniti e iscritti anno precedente con pagamento in unica rata;
Sconto 5% per iscrizione entro il 15 settembre, secondogeniti e iscritti anno precedente con pagamento in due rate.
Gli sconti non sono cumulabili.
E’ possibile utilizzare un voucher Eden Red.
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).
Annalisa Piras and Bill Emmott (IT/UK)
Documentary, winner of the prestigious 2016 Civis Media Award, awarded by the President of Germany for Best European Information.
A plane, in the midst of severe turbulence, tries to land in various European capitals but no airport gives permission. The old continent fell into total chaos. On board the plane, an elderly passenger tells an unsuspecting girl about a failed Europe.
Fiction, reality or premonition?
The documentary film directed by filmmaker, journalist and director of the Wake Up Foundation Annalisa Piras and produced by Bill Emmott (former editor of the Economist and President of The London Library and the Wake Up Foundation) shows a dystopian future in which the European Union no longer exists. Everything is portrayed in a lucid and straightforward way, from the rise of nationalism to seven years of economic crisis and growing dissatisfaction with democracy.
The stories told by five citizens from five EU countries make the whole thing true.
In English with Italian subtitles
FOCUS NOW
A fractured Europe, new uncontrolled migrations, business tycoons turned into new Caesars, ignorance without borders, violence inside and outside the home. And vice versa: a conscious economy, multicultural societies, courageous acts by courageous people, millennials projected towards sharing, borders that resist openness.
Today seems to be a time of disorientation and uncertainty. We are anchored to a present we do not like; polls speak of mistrust and discontent; the media show images of attacks, refugees, environmental disasters; politics mainly tells of itself lost in rampant individualism. Yet reality seems to be less worse than it is perceived to be, and statistical data provide other numbers.
But then what era are we living in? Are we allowed to be optimistic about the future, or is the present nothing more than the prelude to a new Middle Ages?
For us, NOW is all that. We want to be optimistic and believe in new possible revolutions, but we look reality in the face with the eyes of artists who live and interpret the present. Whether they are caustic, provocative, irreverent, condemning or astonishing.
Events:
14 October 2017 h. 20.00 and 15 October 2017 h. 16.00 FIVE EASY PIECES Milo Rau (CH)
[performance c/o Triennale Teatro dell’Arte].
18 November 2017 h. 20.30 and 19 November 2017 h. 17.00 OUR VIOLENCE AND YOUR VIOLENCE Oliver Frljić (HR)
[performance c/o La Cucina Theatre]
In collaboration with OLINDA
22 – 23 November 2017 h. 20.00 REVOLUTION NOW! Gob Squad (DE/UK)
[performance c/o Triennale Teatro dell’Arte].
In collaboration with Triennale Teatro dell’Arte
24 – 25 November 2017 h. 22.00 LIVE LONG AND PROSPER Gob Squad (DE/GB)
[double-screen film]
01 – 02 December 2017 h. 20.30 ISOLA E SOGNA Ateliersi (IT)
[documentary concert]
Christophe Meierhans (CH/BE)
Some use for your broken clay pots is a performance that involves the audience in a collective debate lasting about two hours, around an imaginary democratic system that the performer tries to “sell” to his audience as a better alternative to our current democratic regimes.
The script of the performance is a real constitutional book imagined for a democratic state, made available to the audience during the performance. This constitution and the democratic institutions it prescribes were developed and written in close collaboration with a team of jurists from several Belgian universities.
It is a work of ‘constitutional fantasy’ that includes all the organs, procedures, assemblies, rules and regulations necessary to define a complete democratic system that is, in theory, functional. It was developed with the intention of producing something as different as possible from our current regulations, to discuss what democracy represents using a possible logic of defence from the public, through a method that is as rational and strong as possible.
Some use for your broken clay pots is thus an exercise in constitutional creativity. Challenging the ability to imagine an alternative to our current (universally understood) political system, artist and spectators together confront the limits of our understanding of democracy, experimenting with an amusing, surreal and highly topical idea of participatory performance.
In Italian
Conceived, directed and with: Christophe Meierhans Dramaturgy: Bart Capelle in collaboration with: Rudi Laermans Advising team: Anne-Emmanuelle Bourgaux(ULB), Rudi Laermans(KU),Jean-Benoît Pilet(ULB),Dave Sinardet(VUB) Constitutional jurist: Anne-Emmanuelle Bourgaux Scenography: Sofie Durnez Conception & graphic design publication: The Theatre of Operations Illustration: Nuno Pinto Da Cruz Co-production: Kaaitheater(Brussels), Workspace Brussels, Vooruit Arts Centre (Ghent), Teatro Maria Matos (Lisbon), BIT Teatergarasjen (Bergen), Kunstenfestivaldesarts (Brussels) Production: Mokum / Hiros with the support of: de Vlaamse Gemeenschapscommissie & Government of Flanders Production Italian version: ON (Bologna) with the participation of Festival di Santarcangelo (2015)
Christophe Meierhans (Geneva; Brussels) works with and through performance, public space, installation, sound, music and video. His work mainly consists of developing strategies of intervention in everyday life, through the manipulation of accepted conventions, social habits or simple customs. Fragments of reality become the framework for artistic operations that redirect banality in order to make it reappear from 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 different. In 2015, he presented the project Some use for your broken clay pots at Santarcangelo.
FOCUS DEMOCRACY
In 1988, Gorbachev saw in the Great European House, founded on democratic values even before economic values, the idea and the direction to be followed for the construction of a great European continent.
Thirty years later, the great expectations seem to have imploded and the new ‘great sickness’ is increasingly the victim of populist attacks.
How many ‘exits’ await us? Is this then the result of democracy?
There are those who say that voting no longer leads to anything, that power now lies elsewhere, in the upper echelons of the economic powers. There are those who believe, instead, that it is still possible to make a difference. Demographic and sociological analyses show that the categories most at risk (the poor, the unemployed, the elderly) are the most distant from the ballot box, and that the spread of democracy is leading to an ever-widening economic gap in society.
So where does democracy lie? In complex bureaucratic institutions with no direct relationship with the citizens, but who nonetheless adorn themselves with the name of representatives of the people, or in the voice of new nationalist and revanchist barkers with no vision of the future?
“Tocqueville said: “To go forward, one must learn to look far. We want to try to look far ahead, with the disruptive force that only the artistic imagination can have. We want to seek affinities, accept changes, broaden our view by testing alternatives that are more or less possible in view of the future, not only the immediate future, but also the more distant future.
19 March 2017 h. 11.00 THE MOVIE BAND La democrazia si fa musica organised by ZONA K with Francesca Badalini and Monica Galassi
[workshop 4 – 7 years]
26 March 2017 at 17.00 EUROPA A DOMICILIO/HOME VISIT EUROPE by Rimini Protokoll (Haug/Kaegi/Wetzel) (DE/CH)
[theatrical board game for 15 people – 11<14 years + adults c/o private houses]
In collaboration with STANZE
AA.VV.
Mehdi Charef, Emir Kusturica, Spike Lee, Kátia Lund, Jordan Scott, Ridley Scott, Stefano Veneruso, John Woo. Sette registi di fama internazionale, sette paesi, sette storie di infanzia negata, invisibile.
Uno scopo: sollevare il problema dei bambini ignorati e renderlo visibile grazie al cinema, come lo stesso Kusturica afferma «Credo che il cinema possa avere ancora una missione culturale e terapeutica, come nei tempi antichi, quando la gente si riuniva per vedere una tragedia e accresceva la conoscenza, imparava a vivere meglio».
film dai 12 anni – durata 108 min – ingresso € 3,00
Il 12 febbraio 2002 l’ONU proibisce il reclutamento dei minori di 18 anni nei conflitti, istituendo così la Giornata Internazionale contro l’uso dei bambini soldato. Ciononostante sono ancora più di 250.000 i bambini e gli adolescenti arruolati nel mondo. In un focus che parla di conflitti armati, diventa per noi indispensabile dichiarare il nostro no alla guerra tout court ma soprattutto alla guerra che priva i bambini del loro diritto a un’infanzia non violenta. Questa la proposta per parlarne ai bambini e ai ragazzi.
“Il Re gridò: Butta la strabomba! Il pilota guardò in giù e vide i bambini che giocavano. Ma quelli sono bambini che giocano! Se sgancio li ammazzo! Vedo solo bambini e gente che lavora, il nemico non lo vedo, il nemico non c’è!”.
Un corale NO ALLA GUERRA! guidati da un bel racconto di Mario Lodi e dalle storie provenienti dagli ospedali di Emergency.
Il 12 febbraio 2002 l’ONU proibisce il reclutamento dei minori di 18 anni nei conflitti, istituendo così la Giornata Internazionale contro l’uso dei bambini soldato. Ciononostante sono ancora più di 250.000 i bambini e gli adolescenti arruolati nel mondo. In un focus che parla di conflitti armati, diventa per noi indispensabile dichiarare il nostro no alla guerra tout court ma soprattutto alla guerra che priva i bambini del loro diritto a un’infanzia non violenta. Questa la proposta per parlarne ai bambini e ai ragazzi.
Guarda anche All the invisible children
The representation of war between history and performance
Imagining an event that should have happened without it happening, enacting a re-enactment, a re-enactment, to make us participate. Imagine how our actions as ‘improvised diplomats’ could have changed the course of history to resist that war which changed the political geography of Europe.
How has our perception of war changed? Now that diplomacy seems to have disappeared and war no longer has clear fronts and borders?
A discussion with Alessandro Colombo Professor of International Relations at the University of Milan, Giovanni Scirocco Professor of Contemporary History at the University of Bergamo and the LIGNA Collective.
Free admission
Volksbuhne Berlin (DE)
Due to technical problems, the video version of the show has been cancelled.
The video version of a cult show in the history of German theatre, which was part of the permanent repertoire of the Berlin Volksbühne for 14 years.
In 1993, the work by the then little-known Christoph Marthaler – which takes its title from “Indian Song” by the poet Paul Scheerbart (meaning something like “Do away with the European! Do away with him! Do away with him!”) – succeeded in capturing the profound sense of the decline of the GDR: the fatality, the absurdity, the waiting, the bureaucracy, the inscrutability. The description of an existential condition that has not aged with the years and has proved to be pregnant with meaning for the European citizen in general.
“Murx” is a play that contains all the distinctive elements of what later became Christoph Marthaler’s famous theatre. Anna Viebrock’s staging, the waiting room, the large wall clock with the inscription ‘so that time does not stand still’, which is missing some of the dropped letters, the people dressed in thin 1970s tracksuit jackets, the thick glasses, all brought back an imaginary world of the GDR that has never ceased to exist on stage and in people’s minds since.
Without words, only sung, duration 120 min
Direction: Christoph Marthaler; Set design and costumes: Anna Viebrock; Music: Jürg Kienberger, Christoph Marthaler; Dramaturgie: Matthias Lilienthal; Production: Volksbühne Berlin
Agrupación Señor Serrano (ES)
A project ZONA K and TRIENNALE TEATRO DELL’ARTE From the leading group of the Catalan scene, Silver Lion at the 2015 Venice Biennale.
New world wars. Some say the third one is already underway. Some say it’s already underway. Some say it’s being told in fiction and TV series. There are those who are doing dress rehearsals. The boundaries between reality and fiction are blurring in our globalized world.
Even on the theatre stage, the levels of narration and representation are multiplying, creating new perspectives, effects and revelations, also thanks to the use of new languages and technologies. The Catalan collective unleashes on the stage of A House in Asia an explosive device that recounts the most important manhunt of the 21st century: the location and capture of Osama Bin Laden.
Three houses, the same. The house where ‘Geronimo’ (nickname given to Bin Laden by the US Army) is hiding in Pakistan. An exact copy of that house in a military base in North Carolina. A third house, always identical, reconstructed on a set in Jordan, where a film is being shot. A sheriff obsessed with a white whale. Cowboys and Indians. Planes and beers. Copies, strategies, reproductions and cheeseburgers.
With its unmistakable artistic mode of scale models, video projections, live direction and performance, Agrupación Señor Serrano presents a “theatrical western” in which reality and its copies are confused, drawing a merciless pop portrait of the post-9/11 decade, a seed for the 21st century.
In English, with Italian subtitles c/o TRIENNALE TEATRO DELL’ARTE
Creation Àlex Serrano, Pau Palacios, Ferran Dordal with Àlex Serrano, Ferran Dordal, Alberto Barberá production and assistant director Barbara Bloin, video realization Jordi Soler production GREC 2014 Festival de Barcelona, Hexagone Scène Nationale Arts et Sciences – Meylan, Festival TNT – Terrassa Noves Tendències, Monty Kultuurfaktorij, La Fabrique du Théâtre – Province de Hainaut
Agrupación Señor Serrano – Silver Lion of the Venice Biennale 2015 – Founded by Àlex Serrano in Barcelona in 2006, Agrupación Señor Serrano is a theatre company that produces its own shows based on material taken from contemporary reality. It uses some of the most innovative technical means and traditional tools to constantly redraw the boundaries of its theatre. It makes use of numerous artistic collaborations and combines in its productions theatre, performance, live video, sound, scale models, to stage stories capable of telling the contradictions of contemporary human experience. Evolution, globalisation and survival are among the main themes dealt with in the latest productions. Today, the core of the group is composed of Àlex Serrano, Pau Palacios and Barbara Bloin.
Valters Sīlis (LV)
The play – a rare and striking example of contemporary political theatre that tackles the turmoil of history by stepping outside the realm of narrative and denunciation – is based on a real event.
In 1945, one hundred and sixty-seven Baltic legionnaires were the subject of a dispute between Sweden and the Soviet Union, when the latter requested their extradition to the Stockholm parliament, in order to judge them (and send them to death) for their relationship, in most cases forced, with the Nazi army.
Leģionāri is constructed as a discussion, in which two young people debate, in different languages, this historical fact, which is also conjugated to the present and given back to the spectators, inviting them to take their own position, and generating a reflection on the hurt feelings, betrayals and offences of which human history is made, finally opening up the eternal dilemma between the freedom of individuals and the freedom of society.
An example of post-dramatic theatre, the show asks what really happened, why, and whether it could happen differently today.
In English with episodes in Latvian, Swedish, Finnish and German.
Dramaturgy Carl Alm, Ieva Kauliņa, Kārlis Krūmiņš, Valters Sīlis direction Valters Sīlis with Carl Alm, Kārlis Krūmiņš scenography Ieva Kauliņa lights Jānis Sniķers, Māra Jarovoja
Valters Sīlis (1985) Latvian actor and director, graduated in directing from the Latvian Academy of Culture in 2012 and works both in small independent theatres (Dirty Deal Theatre, Theatre Ģertrūdes ielas teātris) and at the National Theatre in Riga, establishing himself as one of the most promising directors of his generation. Leģionāri is created together with the actors Carl Alm and Kārlis Krūmiņš, who are to all intents and purposes co-authors of the show.
Ligna (DE)
The German collective Ligna brings to the stage a vision, a possible European History that never took place.
In August 1914 a congress of the Second Socialist International was planned in Vienna with the aim of reacting to a possible start of the Great War with a general strike, which would hopefully collapse the infrastructure of the countries involved and prevent the start of the conflict. The congress and the strike never took place. The speeches and speeches of the participants in the congress had already been written, the requests for permission formulated and submitted, but the war anticipated and cancelled their implementation.
On the occasion of the centenary of the First World War, The Great Refusal explores the individual and collective possibilities of refusal through the re-enactment of a story that never took place and whose end is unknown.
The audience is invited to take part in a historical fiction: the congress of the Socialist International will take place in Milan, opening up a parallel universe in which war is questioned as an unavoidable destiny. Everyone will be confronted with a series of ‘resistance exercises’, a training of individual and collective poses and gestures of rejection.
Il grande rifiuto is the result of a series of research residencies in Bolzano, Bologna, Genoa and Reggio Emilia that took place in April 2015.
In Italian
Creation Ole Frahm, Michael Hueners and Torsten Michaelsen; artistic coordination and Italian production: Elena Basteri; Emanuele Guidi; Elisa Ricci Co-production partners: ar/ge kunst Bolzano / Bozen; Festival Transart Bolzano / Bozen; Santarcangelo 2015 Festival Internazionale del Teatro in Piazza 45th Edition; On; Fondazione Luzzati – Teatro della Tosse; Terni Festival Internazionale della Creazione Contemporanea / Teatro Stabile dell´Umbria. Supported by: Goethe – Institut Genua; Goethe – Institut Mailand; Nationales Performance Netz (NPN) International Guest Performance Fund for Dance. Support for the residency programme: Goethe – Institut
The LIGNA collective has existed since 1997 and is made up of artists Ole Frahm, Michael Hueners and Torsten Michaelsen, who began working at Freies Sender Kombinat (FSK), a non-profit public radio station in Hamburg, in the early 1990s. Since 2002 their work has focused on creating ephemeral situations that involve the audience as an active group, a combination that produces unpredictable and uncontrollable effects that challenge the management of space. One of the examples of LIGNA’s use of media is Radio Ballet (2002), in which radio listeners are offered a choreography of forbidden gestures in places that previously seemed public and are now under control, such as stations or shopping centres. Other projects such as The new Man (2008) or Oedipus (2010) question the space of theatre as an apparatus that shapes subjectivity. The latest works The last Commune or Secret Radio (both 2014) instead invite participants to stage complex interactions in a public space that only gradually reveals itself as such.
“Supported by the Nationales Performance Netz (NPN) International Guest Performance Fund for Dance, which is funded by the Federal Government Commissioner for Culture and the Media on the basis of a decision made by the German Bundestag.”
