A show born as a podcast from the pen of an actor-writer, Non è la storia di un eroe is the return of the podcast Io ero il Milanese of and with Mauro Pescio. The show is the telling of a man which in life has made many wrong choices, a man which unluckiness has gotten fierce to, a man who’s touched the bottom, but from which he risen back. Lorenzo’s story became a podcast, titled Io ero il Milanese, produced by RaiPlay Sound, become a real and true case in 2022. It took off quietly, and thanks to word of mouth it conquered the public, overtaking 700 thousand plays. Now Lorenzo S.’s story can be known live: theatre space is, per antonomasia, the space of the revolution, hence suitable to give voice to the personal revolution of Lorenzo S. And his past, difficult, tough, but also full of hope.
of Mauro Pescio e Lorenzo S. with Mauro Pescio and the special participation of Coro Amici della Nave di San Vittore under the cure of Associazione Amici della Nave, Associazione Verso Itaca, ZONA K
Mauro Pescio, radio and theatrical author. After graduating from Civica Scuola di Teatro Paolo Grassi di Milano he moves to Rome where he founds a theatre company with which he works for ten years. From 2012 he is author of “Voi siete qui” for Radio24 and from 2015 Radio 2’s “Pascal”. He has written “La piena” for Audible, Amazon’s first Italian production on a theatre podcast. Since 2015 he collaborates with Radio3 for the transmission of audiodocumentaris “Tre Soldi” (A few bucks).
Sergi Casero Nieto (ES)
THE PACT OF FORGETFULNESS
Performance in the Spanish language with subtitles in Italian | duration 55 min
On Friday, Nov. 10, at the end of the performance, there will be a meeting open for the audience with Sergi Casero and Angelo Miotto (journalist and co-director of Q Code Magazine) and Maddalena Giovannelli of Stratagemmi Prospettive Teatrali
At ZONA K, via Spalato 11
“Why to I barely know my grandma’s past?”
El Pacto del Olvido is a theatrical monologue which looks into the historic silence on the civil war and Francisco Franco’s reign in Spain, on his intergenerational transmission and the effects he has had on those who were born after the dictatorship.
The performance combines personal experiences, historical stories and documents collected during the research Casero conducted around the “Il Patto dell’oblio” affair, a Spanish amnesty law which passed soon after the the dictators Francisco Franco’s death in 1975 which impedes the investigation on the crimes committed during the 40 years of rule. In the monologue Casero tries to rebuild an incomplete national historiography through the recounts of the grandma who witnessed the civil war. It deals however with a fragmented narration, fruit of an auto-censorship at this point internalised at transgenerational level. This performative work is born from the reflection which, to confront Spain’s recent political violence, it is necessary to reveal the habits of domestic oppression on which oblivion has been woven into generation after generation, idem for the aftermath which this historic omission has produced in the successive descendents of families such as Casero’s.
Autofiction and historical analysis go hand in hand in this memory exercise which, through the language of light, examines the surroundings of the collective silence, inviting the spectator to explore the empty gaps of memory in which decades of furtively repressed decades of pain are insinuated. With the intention of intimately toning down the trauma provoked by the official speech which talks about winners and wins as collectives with no personal background, Casera investigates the varying generational behaviours respecting the institutionalised amnesia, incarnated in their relatives.
Until what point can silence push itself before becoming oblivion?
Ideation and direction Sergi Casero Nieto author Testo di Sergi Casero Nieto with citations and fragments of Jorge Luís Borges, Federico García Lorca, text of memory of Clara Valverde interpreted by Sergi Casero Nieto assistant to the dramaturgy Mónica Molins Duran assistance Elsa Casanova Sempé English translation Vincent Sanchís Puerto Italian translation Sofia Breschiane scenography, stage and stage objects Sergi Casero light design Sergi Casero with the supervision and help of Mifuel Angel Ruz Velasco costumes Sara Clemente graphicdesign Sergi Casero distribution Domenico Garogalo production Centrale Fies / Live Works residence Centro de Residencias Matadero Madrid
Sergi Casero Nieto (Barcelona, 1991) His work occurs at the intersection between design, action and research. In his work he explores the use of performance as an instrument to represent the results of research, paying particular attention to the projection of scenographic techniques. The historical information becomes physically present in his work, delving deeper into counter-narrations such as the oral testimonies or the collective memory, putting into discussion the hegemonic narrations through the presentation of multiple past perspectives. His work has been presented, amongst the other European institutions, at the Veem House for Performance (Amsterdam), at the Het Nieuwe Instituut (Rotterdam), at the Van Abbe Museum (Eindhoven), at the Arts Santa Mònica (Barcellona) and at the Centrale Fies (Dro, Italia).
proiezione con live set elettronico | durata 50/70 min
c/o Teatro Out Off, via Mac Mahon 16
A fine replica si terrà l’incontro con la compagniae la giornalista Ira Rubini (Radio Popolare Milano).
Un Grand Tour nelle zone buie del cosmo, lì dove scaturiscono insieme la tenebra e le sofferenze delle generazioni, il rapporto dell’uomo con la natura, con l’eros, con i compagni animali, con il tempo e con la tecnica, con l’assoluto: l’impossibile. Sotto il nome del demone che tentò Faust, Mephistopheles, Anagoor raduna il materiale video raccolto tra il 2012 e il 2020 in un unico viaggio per immagini attraverso le lacrime del mondo, musicato in un live set elettronico da Mauro Martinuz. La materia cinematografica di spettacoli teatrali come Lingua Imperii, Virgilio Brucia, Socrate il sopravvissuto, Faust, Orestea, è composta da immagini profeticamente raccolte nei musei e nei templi, nelle case di cura per anziani e negli allevamenti intensivi, tra macellai, pastori e pellegrini, in India, in Iran, ad Olimpia, sulla ferita campagna veneta e sul Vesuvio. L’enorme quantità di materiale inedito trova nuova composizione in questo volo e caduta in forma di concerto cum figuris. Un concerto per immagini sul mondo, l’umano e l’animale, la violenza contro i corpi e il profitto in un’opera che ben mostra la visione estetica e politica della compagnia. Un’opera-film dove l’immagine che scorre trova il suo movimento nel suono live di Mauro Martinuz per condurci in un contemporaneo fuori dal tempo: quello dei corpi e della loro devastazione, dei soprusi di un capitalismo sempre più accelerato che nega le stagioni, il paesaggio e i sentimenti. Uomo contro natura ma anche uomo contro uomo. Mephistopheles eine Grand Tour è un film “mondo”, un gesto politico di consapevolezza.
scritto e diretto da Simone Derai musica e live set Mauro Martinuz montaggio Simone Derai fotografia Giulio Favotto assistente alla regia Marco Menegoni riprese Giulio Favotto, Simone Derai, Marco Menegoni coordinamento organizzativo Annalisa Grisi management e promozione Michele Mele produzione esecutiva Centrale Fies / Laura Rizzo, Stefania Santoni produzione Anagoor 2020 coproduzione Kunstfest Weimar*, Theater an der Ruhr**, Fondazione Donnaregina per le arti contemporanee / Museo Madre***, Centrale Fies, Operaestate Festival Veneto in collaborazione con Fondazione Campania dei Festival – Napoli Teatro Festival Italia, Villa Parco Bolasco – Università di Padova
*supportato dal Ministero dell’Ambiente, Energia e Protezione della Natura della Turingia;
**supportato dal Ministero della Cultura e della Scienza della Renania Settentrionale – Vestfalia; *** finanziata da POC Regione Campania 2014-2020.
La compagnia Anagoor è fondata da Simone Derai e Paola Dallan a Castelfranco Veneto nel 2000, configurandosi fin da subito come un esperimento di collettività. Oggi alla direzione di Simone Derai e Marco Menegoni si affiancano le presenze costanti di Patrizia Vercesi, Mauro Martinuz e Giulio Favotto, Monica Tonietto, Gayané Movsisyan, Massimo Simonetto mentre continuano a unirsi artisti e professionisti che ne arricchiscono il percorso e ne rimarcano la natura di collettivo. Il teatro di Anagoor risponde a un’estetica iconica che precipita in diversi formati finali dove performing art, filosofia, letteratura e scena ipermediale entrano in dialogo, pretendendo tuttavia, con forza e in virtù della natura di quest’arte, di rimanere teatro. Dal 2008 Anagoor ha la sua sede nella campagna trevigiana, presso La Conigliera, allevamento cunicolo convertito in atelier e dal 2010 fa parte del progetto Fies Factory di Centrale Fies – art work space. Michele Mele e Annalisa Grisi completano il team seguendo management e curatela del progetto artistico.
ZONA K (IT)
WE ARE NOTHING WE WILL BE EVERYTHING Participatory theatre play At Cittadella Dei Giovani Viale Giuseppe Garibaldi, 7, 11100 Aosta AO
info and bookings: 016535971 – email@example.com
Does work really define who we are? How well does it meet our expectations? How much weight does it bear on our lives and on the choices we make?
A participatory performance on working men and women, a choir of instances and inquiries.
A public call, tens of workers which respond and a chorus. The “work” like fil rouge. Work as an aspiration, a forced choice, a source of sustenance, but most of all as a motor which derails trajectories, defines self esteem and personal beliefs, and which determines where and who with we spend most of or time. But does work truly define who we really are? How well does it meet out expectations? How much weight does it bare on our life and the choices we make? Does comprehending happiness or individual dissatisfactions help us evaluate collective wellbeing? The concatenation of stories becomes an investigative instrument to transform the collective experience into a shared narration, a hymn thought as a total art piece to re-hug a communities wish, and, through theatre, find new forms of representing reality.
a ZONA K project, direction Alessandro Renda, scenic implant Fabio Cherstich, testo Riccardo Spagnulo, con Matteo Gatta. Alessandra Renda, i cittadini and the coro di Aosta, production ZONA K co-porduction Teatro delle Albe
The project is realised with the support of the Fondazione Compagnia di San Paolo in the scope of Art Waves Produzioni of contemporary culture and with the support of Fondazione Cariplo and the Comune di Milano
Alessandro Renda is an actor of the Teatro delle Albe di Ravenna and from 2001 he is a “guide” in the laboratories of the “non-scuola”, pratica teatral-pedagogica antiaccademica delle Albe, with different experiences in Italy and abroad.
Photos Alessandro Renda
CAPITAL. A book that we haven’t read yet
Theartre Show | duration 100 min
At Teatro Out Off, via Mac Mahon 16
Once the play has finished on Wednesday 4th October the meeting with the company and Prof. Vittorio Morfino (ordinary Professor of the History of Philosophy at University Milano-Bicocca) will be held. Moderated by Ira Rubini (Radio Popolare Milano)
A theatre company that decides to play “Il Capitale” (Capital) by Karl Marx. It decides this because, after the end of the first lockdown, it feels the urge to listen to in the immediate successive stage, would lose their position of employment. Nicola and Enrico hence decide to cruise around Italy at the research of those places in which the pages of Marx became people, locations, events. One day they end up in a factory, the GKN of Campi Bisenzio, which has just closed. One morning of the 2021 summer, the 9th to be precise, the 422 employees which worked there received an email: they did not have to return to work the day after: they’ve been fired. From that day on the employees occupy the factory. In the first days of Autumn the company entered for the first time at the GKN. The workers invite them to eat boar together. From that day on they sleep there, inside the occupied factory, on some cots. Meanwhile Nicola and Enrico interview the hundreds of workers, participate at pickets, assemblies, manifestations, listen, observe, each time looking to return to Marx’s pages to try to establish a creative dialogue between “Capital” and what happens in the environment, between a classic on philosophical and economic literature and a group of human beings in flesh and bones. Then their attention shifted onto three people in particular: Iorio, maintainer, Felice, worker responsible for setting up and Tiziana, worker responsible for cleaning, which they invite to the theatre to make a show together. This is the start of the creation of Il Capital, a show which recounts the meaning what spending 20 years in a factory making pieces, of the difference between who’s done it and who has never done it, of the extraction of surplus value, the closing of one factory amongst many, of what happens when a group of workers decide to attempt to make history, of how for some time the logics of the Capitale become ousted from a perimeter of space, one of an occupied industrial establishment. Of how Il Capital, sooner or later will return to present the bill. Il Capital Is also the story of the meeting between a theatre company and a group of metal labourers in the Capitale’s autumn. Il Capital is especially a show on time, on its passing, on who owns it, on who sells it, buys it, frees it.
A Kepler-452 project dramaturgy and direction Enrico Baraldi and Nicola Borghesi with Nicola Borghesi and Tiziana de Biasio, Felice Ieraci, Francesco Iorio – factory workers collective GKN and with the participation of Dario Salvetti light and scenic space Vincent Longuemare sound design Alberto Bebo Guidetti video and documentation Chiara Calió technical-scientific advice on “Capital” by Karl Marx Giovanni Zanotti assistant to the direction Roberta Gabriele machinist Andrea Bovaia light and video technician Giuseppe Tomasi sound engineer Francesco Vacca scenic elements created in the Laboratorio di ERT production Emilia Romagna Teatro ERT / Teatro Nazionale thanks to Stefano Breda and Cantiere Camilo Cienfuegos di Campi Bisenzio
Kepler-452 is a theatre company born in 2015 in Bologna from the encounter between Nicola Borghesi; Enrico Baraldi, Paola Aiello and, for the organisation role, first Michela Buscema and then, since 2021, Roberta Gabriele. Since it’s birth the company cultivates this urgency: opening the doors of theatres, go out, observe what’s around, in the unshakable conviction that reality has an autonomous dramaturgical force. The theatrical formats created range from the involvement of non-professionals on stage on the basis of their own biographies, to theatrical reportages that transform investigations into reality into performative moments, to the creation of audio-guided itineraries and other devices for interaction with the urban space, up to the creation of the Festival 20 30 which, starting from 2014, brought many under 30s on stage in an attempt to paint a generational fresco. Starting from 2018, a production path begins with ERT / Teatro Nazionale (“ Il giardino dei ciliegi – Trent’anni di felicità in comodato d’uso” (The cherry garden – Thirty years of happiness on loan for use) (2018) while in 2019 F. – Perdere le cose” (F. – Losing things) debuts. Starting from 2017, its creats several editions of Comizi d’amore, a participatory theatre format that tells the story of communities on stage starting from the questions posed by Pasolini in his honomymous documentary.
photos Luca Del Pia
Mammalian Diving Reflex/Darren O’Donnell (CA)
– NATIONAL PREMIERE – A ZONA K and Triennale Teatro Milano project
Participatory multimedia performance with the use of 3D visuals for 30 spectators | duration 90 min | the performance is characterised by an intense presence of smoke
at ZONA K
With nostalgia we watch that little red dot in the night sky and we stupidly dream of restarting, as if problems on earth are resolved more easily at -65º and with the help of high doses of cosmic radiation. Combining live and virtual reality performance, The Last Minutes Before Mars invites us in to enter the world of a group of youngsters to meet their families and friends and spend some time in spaces precious in their lives. This acts as a background to the meetings with the other strangers present in the room, in a collective experience which reflects on the recognition of everyone being part of the same journey, in motion towards the same direction – independent of what happens to us -; now, hundreds of years in the past and beyond, in a future to terrifying and attractive to imagine.
Ideation and direction: Darren O’Donnell co-direciton: Chiara Prodi co-ideation team: Darren O’Donnell, Konstantin Bock, Alice Fleming, Tina France, Sorcha Gibson, Thule Can Den Dam, Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Morena Marra, Craig McCorquendale, Genny De Leon, Elisa Fasiello, Mervin Kyle Fajardo, Fi Nicholson, Gianluca Benvenuti with: Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Elisa Fasiello, Mervin Kyle Fajardo executive producers: Alice Fleming, Ryan Lewis, Virginia Antonipillai associate producers: Craig McCuorquodale music: Isola Music thanks to: Stephen O’Connell, Letizia Gozzini (ITAS Giulio Natta).
The last Minutes Before Mars was originally co-comissioned a coproduced by ZONA K and Triennale Milano Teatro, in collaboration with the ITAS Giulio Natta di Milano and with the support of the Canada Council of the Arts, the Ontario Arts Council e the Ambasciata del Canada in Italia.
Guided by Darren O’Donnell, Mammalian Diving Reflex is a company founded in Toronto in 1993. After having distanced itself from a more traditional theatrical setting to move towards more socially engaging practices focused on performance. Creating shows to research the contradictions to transform into aesthetically brilliant experiences, the Mammalian always look to overtake themselves and the public with ideas and sensations, leaving intuition to lead the way.
Darren O’Donnell is a novelist, essayist, dramaturge, filmmaker, performance director, artistic director and founder of Mammalian Diving Reflex. His mission is the one to give life to a social tissue which deeply integrates culture and cultural institutions, increasing their capacity for social response. In 2000 he won the Pauline McGibbon Awards for direcion and was nominatod for numerous Dora Awards of Toronto for writing, direction and acting, winning, alongside Naomi Campbell, for the project While Mice. His work with the Mammalian company entered in the top 100 of the Yerba Beuna Culture Centre in 2016. He has been nominated twice for the german BKM Preis Kulturelle Bildung and New York’s Ellen Stewart inagrual prize.
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.
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
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.
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
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)
5 – 7 November 2021 h. 20.00 #NUOVIPOVERI Guinea Pigs (IT)
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
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”.
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.
________________________ Info: single viewer multimedia performance with VR use – audience aged 15 and over – duration 30 min. – entrance every 15 min – in Italian
TURIN c/o POLO DEL ‘900
Palazzo San Celso – Corso Valdocco 4/A Torino
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 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
PROJECT AND DEVICE traces of a multimedia theatre.
This year, for the Human Rights Festival, we have decided to propose a program entitled PROJECT AND DEVICE – traces of a multimedia theatre in which we present three different examples of how theatre questions the crisis of democracy, the role of the media in shaping reality, and the new digital roads. In this sense, theatre is once again an instrument of civil reflection, not only for its contents but also for the devices used.
Valentina Kastlunger and Valentina Picariello, artistic directors of ZONA K, will introduce the meetings.
21 April, 16:30 – 17:00 THEATRE | Art, Algorithm and Automation. The journey of _Phase Nine with the Rimini Protokolls
with Riccardo Tabilio and Chiara Campara, artists of the collective work FASE NOVE // Assolo Urbano
The pandemic emergency has led to a division of social components into relevant and non-relevant. Artistic professions have not been included among the socially necessary. Should we think of a world without art and those who work in it? Can such a deep crisis be an opportunity? FASE NOVE // Assolo Urbano is an urban walk through the most important places for art in Milan, which become the stage for audio installations that, through interviews with various experts, confront the provocative question: Why does art exist?
22 April, 16:30 – 17:00 THEATRE | Play me: technological devices between gaming and live performance
with Andrea Ciommiento, creative director for Play Me (ZONE K)
Teenagers, hyper-connected and fragile, terrified and attracted by the image of themselves on social media, experts in sexting, video-gaming and binge drinking, owners of SmartPhones as an extension of their bodies. Do we really know them? In this performance the spectator will relate to them in an immersive experience. PLAY ME (ORIGINS PROJECT) is the result of work on the stories of young people encountered during the dramaturgical research phase in Turin and Milan. Production ZONA K, conceptual and dramaturgical support Agrupación Señor Serrano.
23 April, 16:30 – 17:00 THEATRE | The Mountain. Does the truth exist?
with Pau Palacios of Agrupación Señor Serrano
Climbing a mountain means overcoming difficulties to reach the top and see the world “as it is”. But often, when you look down from above, you see clouds and fog covering everything and the landscape is constantly changing. What is the world like then? What is the truth like? Does it exist? In The Mountain, the latest show by the award-winning Catalan company, the first Everest expedition with an uncertain outcome, Orson Welles with the War of the Worlds, a fake news website, a drone scanning the audience, snow, fragmented images and Vladimir Putin speaking contentedly about trust and truth converge.
Trasforma un racconto e un’opera d’arte in un gesto.
Attraverso l’esplorazione personale e l’improvvisazione, creiamo insieme una sequenza di gesti che ci divengono cari e arriviamo alla composizione di una sequenza da restituire al gruppo.
Il movimento creativo diventa stimolo per l’immaginazione: mente e corpo, riflessione e azione, da soli ma in gruppo anche a distanza, per risvegliare la creatività, scoprire possibilità e recuperare un po’ di tempo per sé.
CHIUSO 24 aprile primo incontro – dalla Letteratura alla Danza
partendo da un paio di brani tratti dal “Colibrì” di Sandro Veronesi, ognuno darà movimento alle immagini ricevute; rifletteremo sulle azioni agite spontaneamente dal corpo, sulle pause, sulle forme assunte. Attraverso il tramite dello schermo, cercheremo la relazione con gli altri partecipanti e accoglieremo le idee che questa produrrà. Infine, selezionati i movimenti per noi più significativi, li collegheremo tra loro e sulla musica in una composizione da ripetere e perfezionare.
Ed ecco: una danza, un atto artistico che offriamo allo sguardo dell’altro, che racconterà qualcosa di noi.
15 maggio secondo incontro – dall’Arte alla Danza
l’osservazione di un paio di sculture (la “Nike di Samotracia” e “Forme uniche della continuità nello spazio” di Umberto Boccioni) ci offrirà spunti di riflessione sul movimento e la stasi: si può rendere il dinamismo attraverso una forma fissa? Cosa ci invita al movimento e cosa invece ci chiede la pausa, ci trattiene? Cosa succede al nostro corpo, alla pelle e all’interno, quando ci muoviamo? Cosa rappresenta il movimento per noi? Dove vorremmo andare? A quale velocità? Ognuno risponderà con la propria danza a queste e ad altre domande, cercherà una propria forma simbolica e la perfezionerà in funzione della sua resa estetica ed espressiva.
Ogni schermo collegato al laboratorio diverrà così una vetrina espositiva all’interno di un moderno Museo di sculture viventi.
Costo € 30,00 per 1 incontro
Costo € 60,00 per 2 incontri
Se invece vuoi procedere direttamente all’iscrizione clicca QUI
Il percorso si svolgerà su piattaforma Zoom. Prevede la partecipazione esclusivamente ai due incontri e si attiverà al raggiungimento del numero minimo di partecipanti.
Per l’incontro del 15 maggio l’iscrizione deve pervenire entro e non oltre mercoledì 12 maggio.
Monica Galassi – Danzeducatore®: dopo uno scorcio di vita da ballerina presso diversi teatri italiani e una decina d’anni da giornalista e comunicatrice in ambito culturale, sto vivendo la mia “terza giovinezza” professionale nell’educazione: non insegno a futuri danzatori, ma a persone che attraverso la danza imparano a sentirsi creative, belle, apprezzabili, capaci e integrate. Dal settembre 2013 tengo laboratori di danza educativa e di comunità rivolti a bambini e ragazzi, sia nelle scuole di Milano e provincia (dal nido alla secondaria di secondo grado), sia in strutture pubbliche e private in orario pomeridiano. Ho collaborato con l’Accademia del Teatro alla Scala, Lilopera, Le voci della città, Reggio Children; attualmente lavoro per ZonaK, Civita, Gallerie d’Italia.
Migliorare il tedesco attraverso i film: 4 cine lezioni interattive tra visione e analisi delle scene, discussioni, riflessioni, azioni teatrali e giochi linguistici.
Una proposta per approfondire la lingua tedesca utilizzando il linguaggio cinematografico, guidati da un’artista-filmmaker.
I 4 incontri online -della durata di un’ora ciascuno- sono così strutturati:
Visione di un film in lingua tedesca (20 minuti).
Conversazione in lingua tedesca.
Approfondimenti su un aspetto del film attraverso esercizi e giochi con riflessioni e scambio di idee e opinioni
Azione in lingua tedesca: teatro/video/foto.
Interazione attraverso il linguaggio artistico: recitare una scena, studiare l’inquadratura e analizzarne il significato, lavorare sulle immagini.
Alla fine di ogni lezione sarà richiesto un lavoro da svolgere in autonomia per l’incontro successivo.
Il percorso si attiverà al raggiungimento del numero minimo di partecipanti, in caso contrario, la quota anticipata verrà interamente rimborsata. Il percorso prevede un numero chiuso di partecipanti. Per rendere la lezione più efficace per tutti, è necessario conoscere in anticipo il livello linguistico delle e dei partecipanti: sul modulo d’iscrizione è presente una sezione dedicata proprio a loro.
_____________________ Costo € 80,00promo -25% Costo 60,00 per 4 lezioni.
Compila subito il modulo d’iscrizione cliccando >>> QUI <<<
BÄRBEL BUCK – artista & filmmaker Già da bambina ho sempre amato ascoltare storie di ogni tipo. Preferibilmente storie vere, storie che qualcuno realmente ha vissuto. Ecco perché ho deciso di diventare una documentarista.
Questo è stato il mio inizio nel mondo delle immagini in movimento per la televisione e il cinema. L’arrivo di mia figlia mi ha portato più a contatto con le fiabe, la magia, lo stupore, la curiosità e la fantasia. Mi chiede spesso di raccontarle della mia vita quando ero piccola.
Penso che i racconti ci aiutino a capire il nostro intimo e il mondo che ci circonda. E i bambini con la loro visione molto speciale delle cose e le loro domande correlate possono darci un accesso completamente nuovo non solo alla vita degli altri, ma anche alla nostra.
Per me, il video e teatro sono una combinazione ideale per andare a esplorare a fondo delle meraviglie e delle narrazioni di vita. Con questi strumenti è possibile esprimere se stessi, vivere una fantasia, ma anche sperimentare e rendere accessibile la storia di altre persone.
Sono molto felice di aver potuto accostare da diversi anni la mia passione per le narrazioni e le immagini in movimento ai bambini, che mi mostrano quanto sia intenso essere pienamente coinvolti in una esperienza, nella vita e in tutto quello che li riguarda e che mi fanno pensare alle grandi domande della vita.
L’intento è quello di stimolare gli artisti delle performing arts all’esplorazione dello spazio digitale, come ulteriore o diversa declinazione della loro ricerca autoriale. Dovrà trattarsi di progettualità artistiche legate ai linguaggi della scena contemporanea e della performance, che nascano direttamente per l’ambiente digitale o che in esso trovino un ambito funzionale ed efficace all’esplicitarsi dell’idea artistica. A titolo di esempio: non si tratta di presentare percorsi di lettura o riprese video di testi o spettacoli esistenti o da farsi, bensì di concepire progetti artistici che abbiano nello spazio web il loro habitat ideale, indicandone anche le modalità di fruizione e interazione da parte dello spettatore, per il quale prevedano un accesso attraverso il pagamento di un biglietto, di modo da valorizzare il lavoro dell’artista, non come una gratuità. Il progetto deve prevedere una restituzione on-line aperta al pubblico, da tenersi nel corso della settimana che va dal 22 al 28 novembre 2021.
Ciascuna delle 6 proposte vincitrici riceverà un contributo di residenza di 3.500 euro + iva, che sarà pagato dietro la presentazione di regolare fattura.
I promotori del presente bando hanno individuato in Laura Gemini, Anna Maria Monteverdi e Federica Patti tre esperte nell’ambito della creazione digitale che saranno le tutor degli artisti durante lo sviluppo dei loro progetti: ciascuna di loro seguirà specificamente 2 dei 6 progetti vincitori.
I 6 lavori vincitori potranno avvalersi anche di altri contributi produttivi forniti da ulteriori soggetti dello spettacolo, ovvero non si richiede loro alcun vincolo di esclusiva per ciò che riguarda la produzione che resta nell’assoluta disponibilità gestionale degli artisti.
Oltre ai 6 progetti vincitori, è prevista l’eventualità che i promotori del presente bando segnalino un numero ristretto di altri progetti, per portarli all’attenzione del sistema teatrale e coreografico nazionale, con l’auspicio che altre istituzioni possano a loro volta sostenerli, alle medesime condizioni del presente bando.
Gli artisti interessati al partecipare alla selezione dovranno entrare nel portale www.ilsonar.it, selezionare le pagine relative a bando Residenze Digitali e compilare i campi richiesti dal modulo di partecipazione online.
Verranno richiesti loro:
1) una presentazione dell’artista o della compagnia (massimo 1.000 battute);
2) una descrizione del progetto di Residenza Digitale che si intende realizzare (massimo 2.000 battute);
3) l’indicazione dell’eventuale partner tecnico (programmatore, webmaster, fornitore di specifico know-how) e/o della piattaforma che supporti le necessità tecniche dell’opera;
4) un allegato di tipo non testuale che possa illustrare le modalità di realizzazione on-line previste e/o immaginate (video, audio, pdf, PowerPoint), che potrà essere caricato come allegato o fornito come link esterno.
I materiali sopra descritti dovranno essere caricati online entro le ore dodici (mezzogiorno) di lunedì 8 marzo 2021.
É previsto un colloquio conoscitivo, da realizzarsi in videoconferenza, nel periodo 29-31 marzo, con i candidati che avranno superato la prima fase della selezione.
All’atto di invio dei propri materiali, gli artisti e le compagnie accettano implicitamente tutte le norme contenute nel presente bando, incluso il Decalogo allegato che ne costituisce parte integrante.
Con il presente bando, il Centro di Residenza della Toscana (Armunia, CapoTrave/Kilowatt) e i suoi partner AMAT, Anghiari Dance Hub, ATCL per Spazio Rossellini, Centro di Residenza Emilia- Romagna (L’Arboreto – Teatro Dimora di Mondaino, La Corte Ospitale), Teatro della Tosse, ZONA K, non vogliono rinunciare alla propria vocazione di accoglienza degli artisti in residenza presso le proprie strutture, piuttosto vogliono esplorare un’ulteriore opportunità di creazione che apre nuove sfide formali e concettuali, produce contenuti artistici innovativi e affianca le forme consuete di fruizione dello spettacolo dal vivo.
RESIDENZE DIGITALI: IL NOSTRO DECALOGO
COSA FACCIAMO PER SUPPORTARE LE 6 RESIDENZE DIGITALI VINCITRICI DEL BANDO
Accompagniamo il processo creativo degli artisti con 6 incontri collettivi da remoto (aprile, maggio, giugno, settembre, ottobre, novembre) a cui partecipano tutti gli artisti selezionati, le tutor e tutti i promotori del progetto nonché titolari di residenza, per conoscere bene i progetti di ricerca e monitorarne l’andamento, anche attraverso la discussione collettiva intorno al diario di appunti multimediale redatto da ogni compagnia, dove si sedimentano criticità e potenzialità dei processi artistici in atto.
Seguiamo individualmente e da remoto ognuno dei progetti, dividendoci tra titolari di residenza una responsabilità esecutiva, ciascuno su uno specifico progetto: l’obiettivo è quello di aiutare gli artisti a risolvere specifici problemi gestionali che si ponessero durante la realizzazione dei loro progetti.
Offriamo a ciascuno dei progetti un contributo economico di 3.500 euro + iva (o al lordo di ritenuta d’acconto).
Mettiamo a disposizione di ogni progetto una tutor esperta in digital performance, che segua le varie fasi di elaborazione dei progetti artistici, nonché offra occasioni di elaborazione teorica e strumenti pratici utili allo sviluppo dei progetti.
Sperimentiamo i modelli elaborati dagli artisti durante le fasi di sviluppo.
Divulghiamo la conoscenza dei progetti attraverso comunicati stampa e interviste, nonché attraverso una narrazione degli stessi sui nostri social media.
Amplifichiamo la visibilità dei contenuti digitali prodotti, soprattutto di quelli che necessitano di una diffusione in itinere, funzionale alla realizzazione del progetto stesso.
Organizziamo “La settimana delle residenze digitali”, nella seconda metà di novembre, un momento di visibilità pubblica per i 6 progetti vincitori che avrà la struttura di un vero e proprio festival delle residenze digitali, all’interno del quale verranno presentati i 6 progetti, nello stadio in cui sono, non per forza come opere già complete, ma come stadio di avanzamento di un processo.
Promuoviamo il processo produttivo di ciascun progetto vincitore incoraggiando l’intervento di nuovi soggetti interessati a contribuire alla produzione di uno o di tutti e sei i progetti.
Favoriamo la conoscenza di altri progetti finalisti segnalati dalla Giuria, auspicando che altri soggetti del sistema delle residenze scelgano di aderire a questa rete, entrando a supportare gli altri progetti segnalati.
Residenze Digitali è un progetto ideato e coordinato dal Centro di Residenza della Toscana (Armunia, CapoTrave/Kilowatt) in collaborazione con AMAT, Anghiari Dance Hub, ATCL per Spazio Rossellini, Centro di Residenza Emilia-Romagna (L’Arboreto – Teatro Dimora di Mondaino, La Corte Ospitale), Teatro della Tosse, ZONA K.
Qual è il metodo migliore per scrivere la sceneggiatura di un film?
Come dare vita ai personaggi?
Dalla creazione dell’idea di base alla costruzione della struttura e allo sviluppo del paradigma della narrazione, il corso propone un viaggio teorico e pratico sul cinema contemporaneo, attraverso nozioni tecniche sulla scrittura di una sceneggiatura e sulla fotografia.
FADE IN prevede un breve excursus sui manuali di sceneggiatura di Syd Field e di Linda Seger, sulle suggestioni critiche sul cinema di André Bazin, padre della Nouvelle Vague ed elementi di teoria dei film di Thomas Elsaesser e Malte Hagener integrati con le idee innovative di Marco Bertozzi sul documentario come riuso, performance, autobiografia.
I temi affrontati durante gli incontri:
1. come scrivere una grande sceneggiatura
2. la crescita del personaggio è il lievito del film
3. il soggetto del film in tre frasi. Il soggetto del film in 4 pagine
4. lo sviluppo dell’idea
5. la struttura della storia: la struttura in tre atti
6. cosa sono i subplot?
7. lo sviluppo del personaggio
Il percorso si attiverà al raggiungimento del numero minimo di partecipanti.
NINA DI MAJO
Regista, sceneggiatrice, attrice, videoartista, produttrice.
Lungometraggi 2020 – Regista sceneggiatrice del documentario collettivo Instant Corona, prodotto da Mir Cinematografica. 2016/17 – Regista , produttrice, autrice e direttore della fotografia del documentario Hans Werner Henze: la musica, l’amicizia, il gioco”, distribuito dall’Istituto Luce. 2010 – Regista e sceneggiatrice del film Matrimoni e altri disastri con Margherita Buy, Fabio Volo, Luciana Littizzetto, Marisa Berenson, Massimo De Francovich, Francesca Inaudi. Distribuito dalla 01. 2002 – Regista, soggettista e sceneggiatrice del film L’Inverno, con Valeria Bruni Tedeschi, Valeria Golino, Fabrizio Gifuni e Yorgo Voyagis. Presentato nella sezione “Panorama” alla Berlinale. Candidatura italiana all’European Howard all’Hollywood film festival. Vincitore del Globo d’oro per il miglior attore protagonista Fabrizio Gifuni e vincitore del Premio Internazionale della Fotografia. In competizione al Chicago Film Festival nella categoria New Directors. 1998 – Regista, attrice protagonista, autrice del soggetto e della sceneggiatura del film “Autunno”(1998). Con Elisabetta Piccolomini , Marco Mario De Notaris e Moni Ovadia, presentato al Festival di Venezia nella sezione Cinema del presente. Selezionato ufficialmente al Festival Venezia-Hollywood (LA), al Nice Film Festival (NY, San Francisco, Marocco, Mosca), al Festival di Amburgo. 1997 – Regista e autrice del soggetto e della sceneggiatura del cortometraggio ”Spalle al muro” (1997). Vincitore del Sacher d’oro e d’argento. Vincitore del David di Donatello come miglior cortometraggio Italiano .
Mediometraggi-Documentari /Performance video 2006 – Regista del documentario Marsyas, installazione di Anish Kapoor per la Turbine Hall, Tate Modern, London. 2005 – Regista del documentario U92 sull’installazione di Peter Greenaway “Children of Uranium” 2004 – Regista e direttore della fotografia della performance audiovisiva AFO 4, presentata al Roma Europa Festival. 2002 – Regista del documentario Merci, opere di Natalie Silva, presentato al Festival Artecinema, teatro Mercadante, Napoli.
Libri L’inverno. L’Ancora del Mediterraneo. Saggi e dialoghi sul cinema. Meltemi Edizioni. Beniamino o le cose dell’altro mondo. Aracne Edizioni.
A modern fairy tale in an urban itinerary to discover the places and history of Milan’s Lodi/Libia and XXII March districts
SEIx4_Xmas is a creative audio guide, its special route is a journey between present, past and future: the neighbourhoods of Municipio 4 will be the ideal location for a Christmas story, with a look at the arrival of the new year and a new beginning.
By scrolling through the virtual map, participants will be led through the Lodi/Libia and XXII March neighbourhoods by means of an audio narration: a true artistic experience that conveys historical information and content by linking notions and emotions.
At the end of each stage, you will be able to discover the next one: between one street and the next, you may come across an Xmas gift… what will be the surprise inside?
A project by ZONA K with the artistic collaboration of Minima Theatralia; texts Federica Di Rosa; narration voices, music, audio editing and song by Duperdu_Marta M.Marangoni and Fabio Wolf; video shooting and editing Davide Stecconi; graphics Stefano Orfeo Montagnana; artistic coordination, organisation and communication by ZONA K
The SEIx4_Xmas project was created in response to the public notice for the realisation of cultural initiatives in collaboration with Municipality 4 in December 2020.
60+ LABIRINTI Corsi e percorsi per non perdere il filo Tre percorsi indipendenti dedicati agli Over60 tra scrittura, video, teatro e movimento.
Percorso di teatro e movimento PER FILO E PER SEGNO data da definirsi tutti i lunedì dalle 14.15 alle 15.30
Costruiamo una performance teatrale fatti di segni, una drammaturgia di movimenti e parole che possa trasformare il nostro labirinto in un’azione teatrale collettiva. Ci incontreremo finalmente dal vivo nella bellissima, e sicura, sala di ZONA K per lavorare sulle azioni fisiche, la voce, il movimento ritmico e i gesti simbolici.
10 incontri in presenza di 75 minuti cad.
_____________________ Costo € 140,00
Compila subito il modulo d’iscrizione cliccando QUI Agevolazioni: sconto del 10% se hai frequentato almeno uno dei percorsi precedenti
Il percorso si attiverà al raggiungimento del numero minimo di partecipanti. “Per filo e per segno” può essere considerato come il modulo nr.3 di un percorso in 3 tappe ma può essere anche frequentato autonomamente.
Percorso online di scrittura ad alta voce IL FILO DEL DISCORSO 28 dicembre 2020 – 1 febbraio 2021 tutti i lunedì dalle 14.15 alle 15.30
Vuoi imparare a scrivere una storia che possa vivere non solo sulla carta ma soprattutto attraverso azione e interpretazione? Partendo dal mito del labirinto, costruiamo un percorso di parole, dialoghi, immagini per inventare storie straordinarie da raccontare ad alta voce.
6 incontri online di 75 minuti cad. su piattaforma Zoom, facile da installare su computer
Per informazioni e iscrizioni: segreteria aperta lu-ven ore 15.00 – 19.00 firstname.lastname@example.org 02.97378443 – 393.8767162
oppure compila direttamente il modulo d’iscrizione cliccando QUI ___________________
Il percorso si attiverà al raggiungimento del numero minimo di partecipanti. “Il filo del discorso” può essere considerato come il modulo nr.1 di un percorso in 3 tappe ma può essere anche frequentato autonomamente.
Il percorso è tenuto da Federica Di Rosa, diplomata in Drammaturgia alla Scuola d’Arte Drammatica “Paolo Grassi” di Milano, lavora con diverse realtà teatrali alla scrittura di testi per spettacoli ed eventi. Ha coordinato e realizzato progetti di formazione con: Teatro della Tosse, Teatro Coccia, Eniscuola, Formattart, Alice in Città, Teatro Franco Parenti. E’ autrice e regista di spettacoli di teatro ragazzi.
Dal 2015 è responsabile della didattica per ZONA K.
Percorso online per raccontare con il video A DOPPIO FILO posticipato! 15 febbraio – 22 marzo 2021 tutti i lunedì dalle 14.15 alle 15.30
Vuoi creare una video storia utilizzando uno smartphone o un tablet? Impara con noi a scegliere il punto di vista, l’inquadratura, la luce, la musica e le parole.
Sei incontri online teorici e pratici per scoprire come strutturare e produrre un racconto per immagini sul tema del labirinto.
6 incontri online di 75 minuti cad. su piattaforma Zoom, facile da installare su computer
Per informazioni e iscrizioni: segreteria aperta lu-ven ore 15.00 – 19.00 email@example.com 02.97378443 – 393.8767162 Compila subito il modulo d’iscrizione cliccando QUI
Agevolazioni: sconto del 10% se hai frequentato il percorso precedente
Il percorso si attiverà al raggiungimento del numero minimo di partecipanti. “A doppio filo” può essere considerato come il modulo nr.2 di un percorso in 3 tappe ma può essere anche frequentato autonomamente.
Il percorso è tenuto da Davide Stecconi, diplomato alla Civica Scuola d’Arte Drammatica Paolo Grassi 1999 (corso Drammaturgia). Dal 2000, alternandosi come sceneggiatore e regista, ha scritto e diretto cortometraggi e lungometraggi e alcune fiction per la TV fra cui la serie Piloti – Rai2 -.
Più recentemente collabora alla realizzazione di spot per il web e documentari come filmaker.
6 possible audio paths
6 video stories to discover
6 songs to listen to
Seix5 is a creative audio guide to discover the places, monuments and history of Milan’s Cinque Vie, through words, songs, music, anecdotes and videos.
Participants will be virtually led through the “Cinque Vie” district by means of an audio story created by ZONA K and interpreted by the duo Duperdu: a true artistic experience that conveys historical information and content, linking past and present, notions and emotions, enhancing the heritage of memories and meanings of the Cinque Vie district.
By scrolling through the virtual map, it will be possible to venture into the underground Milan of Leonardo’s Crypt and then into the narrow and mysterious Via Bagnera, or to discover the ancient crafts, to lose oneself in history and magic in the five star-shaped streets, or to find traces of the old Mediolanum.
You can decide whether to follow one of the two routes through the main stops (Piazza San Sepolcro, Piazza Mentana, the intersection of the Five Ways, Via Gorani, Via Brisa and Piazza Affari) or choose to follow the themed itineraries (Mystery, Trades, Music and Traces).
The voice of the Duperdu will accompany the journey with stories, songs and anecdotes, and at each stage a video will help immerse you in the atmosphere of the places.
A project by ZONA K in collaboration with Minima Theatralia. Texts and artistic coordination Federica Di Rosa narrating voice, original music, audio editing and songs by Duperdu_Marta M. Marangoni and Fabio Wolf filming and video editingDavide Stecconi graphicsStefano Orfeo Montagnana with the collaboration of Silvia Orlandi and Federica Bruscaglioni for ZONA K,Dianora Zacché and Anna Bellelli for Minima Theatralia Thanks to Michele Figlioli of Pinacoteca Ambrosiana for the images; Barbara Affaticati of SIAM for the filming authorisation; Mr Maurizio, a valuable guide within SIAM; Alberto Mereghetti of Ferramenta Mereghetti and Ludovica Ventura of B Restaurant for the interviews and availability; Lorenzo Bregant for his kindness and the action cam.
The SEIx5 project was born in response to the Municipality 1 of Milan’s tender on the enhancement of the historical, artistic and cultural heritage of the Cinque Vie. Following the Dpcm of 24 October, the project born to bring the public through the streets of the district was remodelled by ZONA K and Minima Theatralia through the creation of the virtual audio guide.
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
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 firstname.lastname@example.org 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
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?
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
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.
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.
15 – 24 September 2020 UNDER COVID
curated by Chiara Oggioni Tiepolo
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
The Theatre has been one of the main victims of the pandemic. Without belittling the very serious damage suffered by the artistic staff and the entire production chain of the performing arts, there is a positive note that, in the midst of so much discouragement, brings a certain relief: the public has felt the absence of the theatre, and is eager to return to it.
This is one of the data that emerges clearly from the questionnaire designed and disseminated by ZONA K and Stratagemmi, with the support of Codici Ricerche, between May and June 2020: a crucial period, immediately following the lockdown.
The questionnaire aimed to find out what people’s feelings and expectations were about the reopening of the theatres, which had to be imagined in a different way from the pre-Covid period; making a virtue of necessity, the creators of the survey used this opportunity for dialogue with the public to sound out questions that only partly have to do with the emergency situation of the last few months. For example: how much artistic proposals accessible via telematics are actually appreciated; what is the relationship of the public with experimental languages and forms; how much the spatial context in which the performance takes place influences the spectators’ appreciation.
The survey produced valuable and at times unpredictable results: just think of the widespread enthusiasm for open-air performances, which certainly does not find an adequate response in the seasonal programmes of our theatres. Or the evident disaffection towards remote, telematic artistic fruition: an experience that spectators are definitely satiated with.
There is also – and this bodes well – a certain confidence in theatres as regards their compliance with health and hygiene requirements in order to prevent the risk of an epidemic resurgence: the interviewees declare more impatience than fear, suggesting that for them the theatre is not only an essential meeting place, but also a safe, reliable place.
In short: the data that emerge are by no means obvious, and can help us to understand where to start again, and in what directions.
Certainly, as shown by the numerous encouragements that the interviewees attached to the questionnaire, the public is there, and is cheering for the theatre.
Questo laboratorio online è stato proposto durante il primo lockdown 2020.
Vorresti partecipare con un gruppo di amici?
Scrivi a email@example.com per capire come organizzare il laboratorio.
Racconta la tua stanza con una canzone. Lasciati ispirare dagli oggetti intorno a te, inventa le parole e canta la canzone della tua stanza. Una volta creata, la potrai ricevere in mp3 per ascoltarla tutte le volte che vuoi!
Questo laboratorio online è stato proposto durante il primo lockdown 2020.
Vorresti partecipare con un gruppo di amici?
Scrivi a firstname.lastname@example.org per capire come organizzare il laboratorio.
In questo laboratorio online ti insegneremo a raccontare una storia per immagini, a farne la regia attraverso il tuo smartphone.
Come scegliere l’inquadratura migliore? Come far parlare i dettagli?
Aggiungi la musica, decidi la sequenza e condividi la tua video storia con gli amici.
Last focus of the season, HUMAN offers performances that address the times of today by placing man and his rights, his strengths, his contradictions and sufferings at the centre. After the short century, which showed the brutality of humanity and also the ability to get involved again, what have we become? Who do we want to be?
Hobsbawn said that the 1900s had ended in a global disorder of an unclear nature and without a clear mechanism to end or control it. Are we facing the new twenties, with the naïve and glitzy consciousness of what is happening around us?
Will the homo sapiens, well defined and described by Harari, be able to make sense of the world he created? And understand global developments and distinguish the mistake from what is correct?
These, the shows of FOCUS VIRTUAL.
October – November RIMINI PROTOKOLL (DE) NIGHT SHIFT
A ZONA K production in collaboration with Casa degli Artisti
At the end of not only 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 comparison on what future prospects they are outlined in the relationship and in the action of the theatre on reality.
An important opportunity to take stock of the current situation in Europe but also to open up new questions and questions. For the occasion, some of the artists hosted over the years and the operators and critics most sensitive to the topic will be invited.
There is a widely diffused image that traces the history of ideas: climbing a mountain, overcoming all difficulties to reach its top and, once there, being able to see the world “as it is”. Reaching the truth and not just shadows and reflections. It is a beautiful image in all respects.
But is it really so? Often looking from above you can see nothing but clouds and fog covering everything or a landscape that changes according to the time of day or the weather. What is the world like then? How is the truth? Is there the truth? Is the truth the top of a mountain to be crowned and that’s all, or rather a cold and inhospitable path that must be continually walked?
In The Mountain, the latest show by the award-winning Catalan company, the first expedition to Everest converges, the outcome of which is still uncertain today, Orson Welles sowing panic with his radio program The War of the Worlds, badminton players who they play baseball, a fake news website, a drone scanning the audience, lots of snow, mobile screens, fragmented images, and Vladimir Putin speaking content with trust and truth.
A white and diaphanous stage. Miniatures to scale on practicables, a radio studio, a reproduction of Everest, portable projection screens and film tripods form a space halfway between a TV set, a museum and a badminton court. A network of ideas, stories, images, actions and concepts is the basis of The Mountain’s dramaturgical framework. With these materials, unfolded in layers that mix, creating unexpected connections, the show presents itself as an unmapped exploration of the myth of truth.
A ZONA K co-production presented in collaboration with Olinda/Da vicino nessuno è normale
c/o Olinda/Da vicino nessuno è normale, Ex O.P. Paolo Pini – via Ippocrate, 45
Info: multimedia show – duration 70 min. – in English with Italian subtitles
For the 2020 Theatre Season REALITY Valeria Raimondi and Enrico Castellani discuss together the Regeni story in the new show Giulio, dedicated to the student tortured and killed in Cairo in February 2016. A resolute investigation on the border between information and propaganda, between power and crime, between reason of state and inviolable rights, which questions the apparatus of the law, violence and the profound meaning of being free citizens in a free state.
Giulio Regeni is not just a news story.
Giulio Regeni makes us asking ourselves what a State means. What does justice mean. What does power mean. What does the police mean? What does trial mean. What does legality mean. What does prison mean. What public opinion means. What journalism and freedom of information mean.
Giulio Regeni makes us asking ourselves the fundamental questions of social and civil life.
He makes us thinking about the concept of responsibility, of humanity, of strength.
The concepts and issues we are dealing with in our lifes, literature and theatre from Greeks to Shakespeare to us. Giulio Regeni is a starting point to reflect on all this.
c/o ZONA K
To participate you must send a request for the annual membership within the day before the show, click HERE to do it NOW
Info: show • duration 60 min. • in Italian
Standard ticket: 15 € – Students/under 26/over 65/groups 10€
Part of the subscription shows
By Valeria Raimondi and Enrico Castellani, cast to be decided, production: Teatro Metastasio di Prato with Babilonia Teatri
Babilonia Teatri is one of the most innovative companies in the contemporary theatre scene, distinguishing itself for a language by many defined as pop, rock, punk. It has become relevant in the Italian scene for its irreverent and divergent gaze on the world of today. Over the years Babilonia Teatri has won numerous awards. In addition to the main Italian cities, the company’s shows have been hosted numerous times also abroad, from France to Germany, from Austria to Hungary, from Bosnia and 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.
In the 2020 Theatre Season REALITYof ZONA K the multi-award winning German collective Rimini Protokoll will bring the truck to Milan that in 2006 was transformed into an audience on wheels capable of transporting 50 spectators through the city: seated on one side, they will look through a large window the urban reality that will become a stage.
During the residency at Casa degli Artisti, which took place between May and September 2019, five selected artists developed a project for the truck around the theme of night work together with Rimini Protokoll.
The truck will transport spectators through the suburbs of the city and will focus the spotlights on what normally moves in the dark and in the invisible. Who works at night? How? Who pays? The submerged economy or the backbone and the backstage of the most brilliant day performances? What places host the jobs that begin when others stop and the jobs that have no beginning or an end?
A ZONA K production in collaboration con Casa degli Artisti
c/o places in the city
Info: spettacolo itinerante per 50 spectators • in Italian
Standard ticket: 20 € – Students/under 26/over 65/gruppi: 15 €
Part of the subscription shows
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. With their work they look for new perspectives on the reality.
Work by work they have expanded the means of the theatre to create a poetic and unique style, that revolutionised contemporary European theatre. Rimini Protokoll often develops their stage-works, scenic 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.
Rimini Protokoll has been awarded with numerous important prizes, such as 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, and the German Audio Play Award and the War Blinded Audio Play Prize.
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
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
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
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
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
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?
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
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.
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”?
The #nuovipoveri show by the young Milanese company Guinea Pigs is a multi-disciplinary research path that investigates the relation between economy and society, self-perception, representation and self-narration of wealth and poverty. Istat speaks of 5 million poor people out of a population that exceeds 42 million inhabitants: the poor exceed 11% of the total population. There are the absolute poor who cannot face a minimum expenditure necessary to purchase basic necessities and services and the relative poor who live with an average monthly expenditure equal to or less than € 667.05. So Istat says that a poor person is someone who can’t meet the minimum consumption standards, who can’t spend money because he doesn’t have enough.
The Treccani dictionary defines a poor person as “the one who has scarce economic means, who lacks the necessary money and all that money can procure”, etymologically “the one who produces little”. #nuovipoveri is a project about money and its contradictions, about the power it has to change the balance and relationship dynamics, about how days are spent, the happiness of families and the construction of the identity of an entire society. Poverty of means and resources, of relationships, of ideas and knowledge, of concrete possibilities in imagining one’s own present and a possible future. Who are the new poor nowadays? How do they describe themselves? To society? And again how do they describe their society? And how much is true in this self-narration?
________________________ Info: show • duration 80 min. • in Italian
by and with: Letizia Bravi and Marco De Francesca, playwriting: Giulia Tollis, video: Julian Soardi sound design: Gianluca Agostini, set design: Stefano Zullo, light design: Martino Minzoni, direction: Riccardo Mallus, production: Ecate, in collaboration with Guinea Pigs, with support of ZONA K and Next – Laboratorio delle idee per la produzione e distribuzione dello Spettacolo dal Vivo Lombardo – Edition 2019/2020 and the support of Teatro delle Moire. Thanks to Il Magazzino of Antonio Mingarelli. A performative action included in “IntercettAzioni” Centro di Residenza Artistica della Lombardia: a project of Circuito CLAPS and Industria Scenica, Milano Musica, Teatro delle Moire, ZONA K, with support of the Regione Lombardia, MIC and Fondazione Cariplo
BIO Guinea Pigs was created in 2014 in Milan. The first artistic project was the show Acts of War (2016). In 2017, in collaboration with the Out Off Theatre in Milan, they produced the show Casca la terra by Fabio Chiriatti, with whom they won the Siae Sillumina 2016 call for proposals. Also in 2017, they start the research path and creation of site specific projects between installation and performance In struggle with reality. The first stage, Sovra/Esposizioni, will be presented during the IT Festival. The second stage, Is the future a trap?, is co-produced by the Castel dei Mondi Festival and sees the collaboration of Guinea Pigs with the Equilibrio Dinamico Dance Company and Anelo1997 lab of architecture and roman sculpture. In 2019, in collaboration with Museocity, they carried out theatrical and performative activities within various museums in Milan as part of the AMUSE project of the Cariplo Foundation.
VALTERS SĪLIS (LV)
The show is canceled, according to the regional ordinance of 23/02/20 and will be rescheduled.
In the 2020 Theatre Season REALITY comes the new creation of the Latvian director Valter Sīlis, Being a nationalist. It was written by the dramaturg Matīss Gricmanis. It is inspired by Gricmanis’ personal experience as an assistant to a well-known nationalist member of the Latvian Parliament.
What and who is part of the world of a nationalist today? Do the interests of the state or their own interests win? How do you measure friends and who are the patriots?
In the world of a nationalist, the interests of the state are more important than its own. Friends are like-minded people, and they don’t care about small everyday problems or world affairs. The enemies are many, but they are well known. True values are about to rise once again, despite the fact that in today’s materialistic world they have lost their value. But Sīlis tells us that to live in this world full of challenges, one must first wake up in order to change one’s reality.
________________________ c/o ZONA K To participate you must send a request for the annual membership within the day before the show, click HERE to do it NOW
Info: show • duration 90 min. • in Latvian with subtitles in Italian
Standard tickets: 15 € – Students/under 26/over 65/groups: 10 €
Part of the subscription shows
Written by: Matīss Gricmanis, direction: Valters Sīlis with: Jānis Kronis, Āris Matesovičs, Ance Strazda, scene: Uģis Bērziņs; light: Lauris Johansons, production: Dirty Deal Teatro
Matīss Gricmanis is a writer and a playwright who writes for theatre, cinema and television. From a young age he worked in politics, later conveying his experience in stage writing. In 2018 he won the contest of the new Versmė drama festival of the Lithuanian National Drama Theatre with his show “Narrow Margins of a Normative Lifestyle”, based on the diaries of a homosexual who lived during the Latvian Soviet regime. Valters Sīlis is one of the most important directors of the Baltic scene. In his work he always pays particular attention to the complexity of the human experience, bringing the most marginal and vulnerable individuals in the foreground.
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.
15 February 2020 WIM VANDEKEYBUS/ULTIMA VEZ (BE) GO FIGURE OUT YOURSELF
presented in collaboration with and c/o Casa degli Artisti
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 email@example.com 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.
Studio Azzurro (IT)
Projection of the film L’uomo che cammina (The walking man), an artistic project realised by DOM- in its Milanese edition.
A video work realised by Studio Azzurro, a historical group of artistic research that explores video language and media environments, combining the application of technologies with the idea of an art with a social vocation.
During the course of the evening speakers will include: Antonio Moresco, Leonardo Delogu, Valerio Sirna, Studio Azzurro and Repubblica Nomade.
c/o Cinema Beltrade Via Nino Oxilia 10 – M1 Pasteur
video project by Studio Azzurro curated by Alberto Danelli, Laura Marcolini, Martina Rosa, based on the live-perfomance of the same name by DOM-, concept, dramaturgy and direction by Leonardo Delogu, Valerio Sirna with Antonio Moresco and with Francesca Agabiti, Isabella Macchi, Paola Galassi, with the participation of the students of ITAS Giulio Natta, with the contribution of Teatro Stabile dell’Umbria collaboration Museo Del Novecento, Milano Sport, Abbazia di Chiaravalle, Hotel Corvetto
Claudio Tolcachir (AR)
For the first time in Italy, Próximo, the latest creation by Claudio Tolcachir, founder of the Timbre4 Company of Buenos Aires, considered the most interesting director and playwright in contemporary theatre.
Próximo tells the story of a long-distance love affair experienced by two young people who in reality never meet, but only talk to each other and see each other through PCs and smartphones. One is Spanish, from Madrid; the other Argentinean, from Australia. The audience becomes witnesses of the birth and construction of this love, made of words, silences and emotions filtered through a technological device. The show therefore recounts the experience of being far from everything but, at the same time, that of living the most intense emotions of a life without a physical presence, births, deaths, love, sex. And it investigates all the possibilities and limits of a relationship built on skype connection in times of hyper-communication where talking about love seems to be an act of resistance.
On Friday 22nd November, after the performance, Claudio Tolcachir and the company meet the audience in a chat moderated by Sara Chiappori (La Repubblica).
A ZONA K and Teatro Franco Parenti project
Theatrical performance in Spanish with Italian subtitles
c/o Franco Parenti Theatre, via Pierlombardo 14 Milan
text and direction Claudio Tolcachir with Santi Marín, Lautaro Perotti lights Ricardo Sica scenes Sofia Vicini costumes Cinthia Guerra organisation Teatro TIMBRe 4 production Jonathan Zak, Maxime Seuge
“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
The momentary now school of performance is the theoretical-practical course that Marcella Vanzo proposes at ZONA K to explore performance at 360 degrees. A course that was missing, made of action and reflection on performance, between visual arts, cinema, poetry and theatre, but also anthropology, psychology or sociology.
Vanzo invites students to investigate different languages that plumb the depths of gesture, the body as a medium, the voice, the relationship with the other, with space, with objects, with the market. Students will work on transmission both individually and in groups, with a focus on doing, then practical exercises, physical work, readings and analysis of works. On seeing: exhibitions, theatre, performances, videos, together with meetings with artists, curators and experts.
At the end of the year each of them will present a personal project to a selected group of curators: Matteo Bergamini (Exibart), Paola Clerico (Case Chiuse) and the art critic and curator Gabi Scardi, who will follow the course.
The course is six-monthly and has a limited number of participants. It foresees 20 weekly meetings, from January to May 2022, on Wednesdays from 7.30 p.m. to 9.45 p.m. in Italian and English, with a 15-minute break.
It costs € 400.00 for under-30s and students; € 500.00 for all others. A scholarship is available. Discounts are available on the shows of the ZONA K multidisciplinary season.
Send your application by filling inTHIS FORM ________________________
Born in 1973 in Milan, Italy, where she lives and works. Trained as an anthropologist and artist, Vanzo works with video, installation, performance poetry and participatory art. She investigates all dimensions of the human being, from the social to the mythical, from the emotional to the political. In his work, reality and fiction form a united unit that questions the representation of the everyday world. Since 2019, a relevant part of her practice is dedicated to changing society through education, teacher training and participatory art projects. Her work has been shown in solo and group exhibitions, including: Biennolo 2021, #squola pubblica, PirelliHangar Bicocca 2020-21; Jakarta Biennale, 2017; Manifesta11, Zuerich, 2016; Perspectif Cinema, Centre Pompidou, 2015; Prague Biennale 2011; Performa 09; Fondazione Sandretto Re Rebaudengo, Walker Art Center, Museo Reina Sofia, Galleria Continua and numerous video festivals, including Kino der Kunst. Awards include the New York Art Residency at Columbia University, New York and the Acacia-Emerging Artist Award, Milan.
The theoretical lectures of the 3 guests will take place on an online platform.
In case of suspension of the lectures, the module will be completed with online meetings of the same duration. If the suspension due to the health emergency continues, no further lessons will be held online. Cancelled lessons will be made up in the classroom and – if this is not possible for reasons related to the Association – refunded. No refunds will be given for absences or non-participation in the online lessons.
The course is organised in such a way as to make the experience pleasant and enjoyable for the participants, guaranteeing the required physical distance of 2m between participants or, where necessary, the use of a mask will be required in order to comply with national regulations in relation to the current health emergency (Prime Ministerial Decree of 17/05/2020 and 11/06/2020 and Lombardy Region Ordinances n. 547 of 17/05/2020 and n. 566 of 12/06/2020 and subsequent).
We would like to inform our users that from 6 August 2021 it will be necessary to be in possession of a valid COVID-19 Green Certificate or Green Pass in order to access our activities (courses and shows both indoors and outdoors) in accordance with D.L.23 July 2021 n.105. The Green Pass will be checked by our staff via a dedicated app. Covid19 Green Certification is not required for children excluded by age from the vaccination campaign (under 12 years old) and those exempt on the basis of appropriate medical certification.
A partire dall’anno 2018, ZONA K rientra nel nuovo Centro di residenza artistica IntercettAzioni nato in Regione Lombardia a seguito del nuovo bando indetto per il triennio 2018-20, ai sensi dell’art. 43 del D.M. 27 luglio 2017 n. 332.
Regione Lombardia ha selezionato il Circuito CLAPScome Centro di Residenza del nostro territorio, grazie al progetto multidisciplinare “IntercettAzioni”, presentato dall’aggregazione di alcuni enti. Il capofila, Circuito CLAPS, nello sviluppo delle diverse “azioni” è affiancato dalle due Associazioni Culturali milanesi Teatro delle Moire e ZONA K, da Milano Musica – Associazione per la Musica Contemporanea e dalla Cooperativa Sociale Circolo Industria Scenica Onlus di Vimodrone.
L’attività del centro di residenza è realizzata con il contributo di Regione Lombardia, Ministero dei Beni e delle Attività Culturali – Direzione Spettacolo dal Vivo e Fondazione Cariplo.
Il Centro di Residenza IntercettAzioni punta la sua attenzione sulle arti che più caratterizzano la natura dei componenti del raggruppamento: la danza, il circo contemporaneo, il teatro fisico e partecipato e la musica. L’attenzione nei confronti dei giovani artisti in residenza si declina seguendo con cura l’intero percorso residenziale e offrendo costanti occasioni di confronto.
In questo contesto ZONA K si inserisce quale luogo dedicato in particolare a compagnie italiane e internazionali che vogliano sviluppare progetti urbani e partecipati.
2018 Il primo artista ad inaugurare il Centro di Residenza è il giovane Filippo Ceredi che, accanto all’attività di videomaker, sviluppa una formazione da performer seguendo i laboratori del Teatro delle Moire e lavorando come assistente di progetti teatrali (Remote Milano dei Rimini Protokoll, 2014-2015; Sante di scena di Teatro delle Moire e Cinzia Delorenzi, 2015).
Attenzione particolare alla relazione tra corpo e paesaggio è il focus del lavoro di DOM-, un progetto nato nel 2013 dalla collaborazione tra gli artisti Leonardo Delogu, Valerio Sirna ed Hélène Gautier. DOM- indaga il linguaggio delle performing arts, con eventi performativi, seminari, camminate, scritti, giardini, installazioni, video, reportage fotografici.
Residenze Focus MEDIA Cosa c’è in gioco quando mettiamo in circolo una nostra immagine? Con cosa è profondamente connesso questo gesto? Circolo Bergman, partendo dalle immagini personali dei suoi performer, si interroga – come il critico d’arte Warburg – sulla presenza degli archetipi nel nostro tempo. Il risultato della residenza, presentato all’interno della stagione, porta il nome di BILDERATLAS.
Chiude il primo anno di residenze il progetto ORIGINSche crea uno scambio artistico e culturale tra un giovane autore, Andrea Ciommiento, e un artista affermato, l’Agrupación Señor Serrano (Leone d’argento alla Biennale di Venezia 2015). L’intento del progetto è portare a confronto le nuove generazioni del passato con quelle del presente, attraverso l’utilizzo di un codice condiviso con un particolare approfondimento sull’uso della multimedialità all’interno dello spettacolo dal vivo.
Christophe Meierhans (Geneva; Brussels) lavora con e attraverso la performance, lo spazio pubblico, l’installazione, il suono, la musica e il video. Il suo lavoro consiste soprattutto nello sviluppare strategie di intervento nella vita quotidiana, attraverso la manipolazione di convenzioni accettate, abitudini sociali o usi semplici. Il suo lavoro solleva questioni sulle norme e le convenzioni, confondendo un contesto casuale con altri diversi, e mettendo a confronto lo spettatore con qualcosa di altro, con la stranezza di essere nel posto “sbagliato”, o la possibilità che il luogo possa diventare qualcosa di diverso.
Residenze Focus ECOLOGY
Due residenze sul tema dell’ecologia e due prime restituzioni del lavoro svolto.
Ti voglio un bene pubblico di Elisabetta Consonni* è la realizzazione di un gioco urbano a partire dalla riflessione sulla funzione sociale di infrastrutture di divisione quali muri, cancelli e recinti; su quanto proteggano ma al contempo limitino l’effettiva publicness di uno spazio pubblico.
R 500 – Safari nel labirinto urbano #studio I. l’Isola che non c’è di Michele Losi e Pleaidi Art Productions è una performance itinerante e partecipativa che conduce il pubblico all’esplorazione della natura, a volte nascosta ai nostri occhi, e della sua complessa relazione con l’architettura urbana e gli abitanti.
*nuova produzione sostenuta dal bando OPEN // CREAZIONE [URBANA] CONTEMPORANEA 2019 – Pergine Festival (Pergine), ZONA K (Milano), In\Visible Cities (Gorizia), Contaminazioni digitali (Cormons), Indisciplinarte/ Ternifestival (Terni).
Residenze Focus TECHNOLOGY
Tre artisti in residenza che si interrogano sull’uso della tecnologia e sull’interazione con l’arte performativa.
Padre d’amore Padre di fango di Cinzia Pietribiasi è una digital performance e un’installazione che racconta la storia di una famiglia per frammenti, vecchie lettere, appunti sparsi, fotografie ingiallite e VHS. Una piccola storia che porta i segni della grande Storia dell’ultimo ventennio del ‘900. Imaginometric Society – gruppo di studenti diplomati in Scenografia presso l’Accademia di Belle Arti di Brera e in Musica Elettronica presso il Conservatorio di Milano – presenta al pubblico milanese l’evoluzione del lavoro portato alla Quadriennale di Praga e trasformato nel rinnovato The Milan Experiment. È possibile identificare e misurare l’immaginazione dei visitatori? Quali sono gli effetti dell’Imaginometro e su quali principi si basa? Kokoschka Revival lavora allo sviluppo dell’ultimoprogetto, You Fight!, una produzione multimediale che indaga bizzarre forme di intrattenimento nell’era di internet e del live streaming e le modalità in cui queste tecnologie trasformano le nozioni abituali di presenza e di realtà.
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.
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.
Systema è un metodo per la salute, un sistema per difendere se stessi e gli altri, uno stile di vita e un percorso di crescita fisico, emotivo, psicologico e spirituale. E’ talmente vasto che non basta una vita per esplorarlo. Si basa sulla conoscenza empirica di come i vari “sistemi” corporei ( respiratorio, nervoso, muscolo-scheletrico, cardio-vascolare etc. ) interagiscono tra di loro, e di come sono connessi con la parte emotiva e mentale.
Attraverso l’utilizzo di semplici tecniche di respirazione abbinate a esercizi fisici di varia natura impariamo a rilasciare le tensioni, e a muoverci in modo naturale sia in situazioni normali che ad alto stress. Osservandoci in varie situazioni di stress crescente, ma controllato ( es. quando un compagno ci attacca ), impariamo a vedere come reagiamo o agiamo difronte alle difficoltà della vita quotidiana e a riconoscere e modificare quei comportamenti automatici inutili o dannosi per noi stessi e per gli altri.
Come dice V. Vasiliev nel suo bellissimo libro Let Every Breath: “Systema si basa su una comunità spirituale di amicizia e incoraggiamento reciproco”, quindi l’armonia, il dialogo, l’umiltà, l’ascolto e il rispetto reciproco sono alla base del lavoro di Systema.
Quello che si sviluppa in questo lavoro sono le capacità di ascolto interiore ed esteriore, la conoscenza e la consapevolezza del corpo delle emozioni e dei processi psicologici, propri e degli altri.
Dal punto di vista della difesa personale è estremamente realistico ed efficace, essendo stato sviluppato in campo militare, ed è strutturato per accrescere il rilassamento, la forza, la velocità la resistenza, superare lo stress e la paura. E’ adatto a qualsiasi età e forma fisica. Non ci sono tecniche specifiche ma l’allenamento è mirato a ripristinare il movimento naturale, e la completa mobilità del corpo eliminando quelle forze che lo limitano ( tensioni, stress, paure ).
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.
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
Barbara Miele (IT)
Saying sixty-eight in the same as saying Chaos and bringing memories of strong winds of renewal that swept through the masses, messenger of the disruption of different social categories; students, women, workers, artists.
But who forms the masses if not individuals?
Forever Young, the dreams of sixty-eight, is a photo exhibition that tells the story of some of the protagonists of those incandescent years. It highlights their uniqueness through their dreams, and finds out that even fifty years later, neither the dreams nor the dreamers have aged.
25 may vernissage | h 20.00
Special guest Massimo Nava.
Un gruppo di giovani con sindrome di Down compie un percorso di conoscenza e di confronto su alcuni temi della politica. Quattro di loro, dopo un costante allenamento, si fanno portavoce delle speranze di tutti, incontrando, negli studi di Radio Radicale, alcuni deputati del Parlamento Italiano di diverso orientamento politico, a cui raccontano le proprie storie e sottopongono richieste precise.
Regia Christian Angeli, prodotto da AIPD Associazione Italiana Persone Down, finanziato dal Ministero del Lavoro e delle Politiche sociali con la L.383/2000, lett. f, anno finanziario 2014.
Ingresso gratuito con tessera 2018 di ZONA K. Prenotazione consigliata: 02.97378443
Durata 30 min.
Laboratorio creativo #2
Una giornata di laboratori creativi dedicata ai DIRITTI DEI BAMBINI
4<6 anni dalle 10.00 alle 11.30 GIOCO DELL’OCA SMEMORATA
Giochiamo con arte, teatro e movimento: ogni casella è una prova legata ai Diritti dei bambini.
Partecipazione € 10,00
7<11 anni dalle 14.30 alle 17.00 RAP AND POLITICS
Con un giovane MC milanese componiamo un rap per la campagna elettorale del partito dei bambini.
Rassegna POWER KIDS: 9 appuntamenti che seguono la stagione POWER di ZONA K.
Iscrizioni fino ad esaurimento posti.
Prenotazioni su firstname.lastname@example.org 02.97378443
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.
2 -3 March h 20.00, 4th March 2018 h 17.00
Filippo M. Ceredi (IT) BETWEEN ME AND P.
9 – 10 March 2018 h 20.00
Yan Duyvendak & Nicolas Cilins & Nataly Sugnaux Hernandez (CH) ACTIONS
c/o Casa della Memoria
Eric Gobetti – Simone Malavolti (IT)
In collaboration with Istituto Ferruccio Parri
This is an historic road-movie.
The 28 of June 1914, in Sarajevo, two gunshots put an end to the Belle Epoque and inaugurate the short century, the century of extremisms, of world wars, of totalitarian regimes, of big ideologies and big tragedies. One hundred years separate us from the gunshots that changed the story of humanity. What is left, today, from that event. And from the memories of its protagonists?
The streets are those walked by Gavrilo Princip and Francesco Ferdinando d’Asburgo, to reach Sarajevo, respectively from Belgrade and Vienna. Two journeys in the Europe of today, through borders, stories, memories. In a constant dialogue between present and past, through chats in bars to interviewing the historians. Along the way we discover identity conflicts, contrasting memories and the difficult relationship between nation, nationalism and supra national politics.
A meeting with the director Gobetti follows, with the partecipation of Barbara Bracco, Contemporary history professor UNIMIB and Francesca Rolandi, historian and journalist.
Documentary film with subtitles in Italian– Duration 43 min.
Direction and screenplay Eric Gobetti – Simone Malavolti editing Liviana Davì, Tomaso Brucato sound Pietro Jona (narrator) Edoardo Pezzuto (post production) music Radetzky march, performed by Guido Zorn (bass), Gianni Pantaleo (piano), Matteo Negrin (guitar), Mario Bracco (drums) Danza balcanica, Placido Frisone 2011, Gavrilo Princip, Princip, prod. Ltdfm, 2012 and Sarajevo, Kultur Shock, prod. Koolarrow Records, 2006 production and distribution Sarajevo Rewind, Isabella Guarino.
Simone Malavolti (Florence, 1976) is a historian and is involved in teaching, research, cooperation, travel and cinema. He mainly collaborates with the Associazione Trentino con i Balcani (ATB), the Istituto Storico della Resistenza in Toscana, the Museo Storico del Trentino, Osservatorio Balcani e Caucaso, but is above all proud of the cultural association Passaggi di Storia, of which he is President, and of Balkan Florence Express, a film festival of cinema from the Western Balkans, of which he is co-artistic director. In 2014 he made, with Bianca Pananti and Leonardo Filastò, the documentary film Col nome del delirio about the Florence asylum. She has collaborated on several video projects: the multimedia exhibition L’Europa dei destinini incrociati, ATB’s docu-investigation Personal (hi)stories, and the historical documentary Sjećanja. Životne priče u Prijedoru/Memories. Stories of life in Prijedor, by the Museo Storico del Trentino.
Eric Gobetti (Turin, 1973) is a historian. He gives lectures and conferences on Yugoslav history, from Gavrilo Princip to the present day. He has published several books including: Dictator by chance. Un piccolo duce protetto dall’Italia fascista (2001), on the Croatian Ustascia movement in the 1930s; L’occupazione allegra. Italians in Yugoslavia 1941-1943 (2007); Allies of the Enemy. The Italian Occupation in Yugoslavia (2013), Sarajevo Rewind. One Hundred Years of Europe (2017). In the meantime he explores the Balkans and organises historical tourism trips to the countries of the former Yugoslavia. He recounts many of his adventures in his diary-report Nema problema! Yugoslavia, 10 years of travel (2011). He has recently turned to cinema, collaborating with RaiStoria and producing several video products including Bruce Lee Tvoj Mostar and Around Mostar, The Bridge and Bruce Lee. In 2015 he produced his first historical documentary, Partizani. The Italian Resistance in Montenegro (with music by Massimo Zamboni).
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.
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
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)
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.
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
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.
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.
5 – 7 October 2018 h. 20.00 OHT (IT) PROJECT MERCURY – Performance n°3
14 October 2018 h. 20.00 ELEONORA PIPPO (IT) GIRLS IN MILAN ARE LOSING CONTROL. Society fears them. The end is blue.
20 – 21 and 24 – 28 October 2018 h. 16.00 DOM – (IT) THE MAN WHO WALKS
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
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.
“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.
17 October h. 21.o0, 18 – 20 October 2018 h. 19.30 and h. 21.o0 Berlin (BE)
PERHAPS ALL THE DRAGONS
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]
1 – 2 December 2018 h. 20.00 Milo Rau/IIPM (CH) HATE RADIO
In collaboration with Olinda / TeatroLaCucina
“In our lives there are princesses who wait for nothing more but to see us act, just once, with beauty and courage…”
30 fascinating stories, told by children from 21 different countries and in 15 languages. A diverse group that meets the audience sitting at a large table.
Also in Remember the dragons … BERLIN they plunge us into a sea of stories that seem too absurd to be true. A girl from Morocco who is never hungry, feels no pain and hardly feels the need to sleep. A Danish boy who already on his fourth birthday would have liked to become a girl. A South African boy of the same age who made dozens of crop circles with his grandfather. One night, in secret.
True or false? And where did this little spaceman suddenly come from? Remember the dragons… is a performance suitable for children aged 11 and over. A big table with 30 screens and 30 seats for the audience. Each little spectator will bring an adult with whom they can share the adventures. Remember the dragons… shows the same stories to both children and adults from different perspectives, making them experience shared memories and giving them a beautiful glittering moonstone as a gift.
The languages to be heard are: Dutch, Ukrainian, German, Spanish, English, Russian, Arabic, Gujarati, French, Croatian, Chinese, Danish, Italian, Hebrew, Romanian.
c/o Triennale Teatro dell’Arte – viale Alemagna, 6 Perfomance from 11 years old – Running time: 55 min.
conception and creation: BERLIN (Bart Baele, Yves Degryse, Tom Struyf) a production by BERLIN, HETPALEIS, Kopergietery research Frien Leysen music Eric Thielemans video Geert De Vleesschauwer set design BERLIN, Manu Siebens room Geert De Vleesschauwer production Celeste Driesen, Jelte Van Roy set construction Manu Siebens, Robrecht Ghesquière, Bregt Janssens, Koen Ghesquière construction filmset HETPALEIS in co-production with Rotondes, Tweetakt festival with the support of Flemish Government
Founders of BERLIN in 2003, filmmakers Bart Baele and Yves Degryse decided not to choose a particular genre, but to venture into the realm of documentary and let the places of their forays guide their inspiration. This philosophy gave rise to two project cycles: Holocene (the current geological era) where the starting point is always a city or other place on the planet, and Horror Vacui (fear of the void) in which true and touching stories are delicately unravelled around a table. The Holocene cycle includes Jerusalem, Iqaluit, Bonanza, Moscow and Zvizdal. The first three episodes of Horror Vacui are Tagfish, Land’s end and Perhaps all the dragons. BERLIN are still working on both cycles. Holocene will end in the city of Berlin (hence the group’s name) with the creation of a docu-fiction project involving the inhabitants of the cities featured in the previous episodes. The company has worked in 27 different countries in recent years, within various circuits: from theatres to exhibition spaces, from festivals to special locations.
“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.
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