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
TANK TALK – progetto per un’azione urbana collettiva
– videoinstallazione
Proiezione del video realizzato durante il workshop del 2-4 maggio.
TANK TALK si struttura in due momenti diversi:
1) una azione urbana, in cui un performer (o vari performer, soggetti agenti) esegue più volte, in luoghi diversi, in città diverse, la coreografia di Piazza Tienanmen;
2) una video installazione in cui viene mostrato il video girato durante l’esecuzione urbana, affiancato al video originale della protesta di Piazza Tienanmen.
L’obiettivo finale è quello di realizzare un video finale composto dai video registrati in un numero abbastanza alto di locations, da 50 a 100; locations possibilmente dislocate in paesaggi geografici e culturali molto diversi e distanti tra di loro.
Codice Ivan nasce nel 2008 dall’incontro di Anna Destefanis, Leonardo Mazzi e Benno Steinegger. Da subito il lavoro del gruppo si orienta principalmente verso le arti performative/teatrali ma avviando anche un percorso di ricerca rivolto all’utilizzo di formati diversi, come installazioni, video e mostre.
TANK TALK – UN ESERCIZIO DI PRESENZA
– Workshop e realizzazione video
In collaborazione con Apache/Teatro Litta
Costo per le 3 giornate del workshop: € 90,00
Numero di partecipanti: 8 – 15
Iscrizione da effettuare con pagamento presso ZONA K o bonifico bancario entro e non oltre il 30 aprile
Per tutte le info 02.36533617 organizzazione@zonak.it
Partiamo da qui: un performer in camicia bianca, pantaloni neri, una busta in mano. Sembra il giovane Cinese che durante la protesta del 1989 in Piazza Tienanmen, ha fermato una colonna di carri armati. Un atto di rivolta. Ma cos’è la rivolta? Forse la rivolta è un atto individuale. Forse la rivolta parte innanzitutto da un lavoro su se stessi. Prendersi cura di se stessi. Per essere presenti. Sì, innanzitutto essere coscienti di esistere, di capire dove siamo e cosa facciamo. Il workshop è un incontro con se stessi. Poi l’incontro con l’altro, con tutte le sue difficoltà ed infine un tentativo di dialogo o di scontro con il mondo, che avanza come un carro armato. La tematica generale che indagheremo in questo laboratorio è quindi la presenza. Sia quella scenica sia la presenza nella vita di tutti i giorni, dove vediamo la scena come una palestra per la vita quotidiana. La performance Tank Talk è fortemente legata alla tematica delle presenza. Il performer incontra passanti e l’unica cosa che fa, è mettere davanti a questi passanti se stesso, cercando di essere semplicemente in ascolto di se stessi, degli altri e del mondo intorno. In poche parole un’esercizio di presenza in pubblico.
Silvia Girardi
concept, regia, drammaturgia Silvia Girardi
performers Sara Rosa Losilla, Carolina Cametti
selezione video Silvia Girardi, Laura Lamonea
videomapping Video Sound Art Festival
dramaturg Laura Tassi
sound design Michael Shiono
set design Daniele Girardi
sculture Dora Ayala
light design Stefano Mazzanti
contributi video ModoFilm, Daniele Girardi
assistente videomapping Alessandra Cassiano
urban ponchos Otto London
assistente regia Margherita Scalise
assistente tecnico Edoardo Verea
foto Luca Sironi
distribuzione terzo paesaggio
PRIMO STUDIO – UMANITÁ – LIBRO I travels through time and space in a magical landscape with a performative flavour, crossing oceans, galaxies and cities to explore the story of a Nature of which Man is a part. In the inability to penetrate it fully, Humanity Book I tries to understand the language through which Nature speaks and feels. It questions evolutionary intelligence, the planetary landscape, ecological threats and conscious individual action. It speaks with the imagined voice of Nature through life forms other than Man, who rarely appears in this account, no longer in his anthropocentric version of observer and dominator, but as the observed. In any case, Man does not know Nature’s point of view, so he must rely on dreams.
– Once man is freed from his presumed and inconsistent self-sufficiency, his profound interactions with the environment are coming to light. The crisis of anthropocentric self-referentiality has proceeded with the emergence of new, more complexly ecocentric instances. – Franco Brevini
Who’s on the scene > two Turritopsis Dohrnii or immortal jellyfish capable of transforming their cells from a mature state back to immaturity, in other words they never die. They have now mastered the evolutionary question and are over 500 million years old in our history since their appearance on the planet. Jelly A is tired of the continuous metamorphic cycle and dreams of evolving into another form; Jelly B experiences the omnipotence of immortality and the supremacy of the species. They have always had the same beckettsian speeches, until something changes their set-up, a strange black wave brings them very close to an unexpected end that they thought unlikely.
– Humanity’s ten-thousand-year-old experiment to adopt a way of life at the expense of nature is failing. A new worldview based on the planetary ecosphere shows us the way. – World Charter for Nature
The Process > Humanity Book I speaks to the audience in the form of a collage of words, videos, music and video art works. The narrative is not linear: it involves the intersection of real-life scenes, magical-realist characters, psychological landscapes, vox populi video interviews of contemporary humans. We use existing and original texts with an emphasis on the emotional and evocative component. Our dramaturgy comes from improvisations, stage writing, and physical compositions. We are inspired by Beckett’s synthesis, A. Kiefer’s painting, Magic Realism and technical-scientific language.
– The survival of the world depends on wildness. The wild is inside us, it is a dream we carry within us. – Thoureau
Special thanks to: Otto London, Mondo Yoga, Scuola Paolo Grassi, ATIR Ringhiera, Greepeace, Filippo Agnello, Ivan Casagrande Conti, Ferdinando Boero, Stefano Piraino, Federica Fabiani, Michele Di Giacomo, Allison DeLauer