Jens Hillje, Alessandro Renda (DE/IT)

Sorry, this entry is only available in Italian.

Un progetto di ZONA K

Una chiamata pubblica, decine di lavoratrici e lavoratori che rispondono. È l’inizio del progetto che si è concretizzato nell’ultimo anno con incontri, laboratori teatrali, ricerca, video documentari, canzoni di protesta, cortei, un pretesto (America di Kafka), tre attori, un regista e un dramaturg.

Il “lavoro” come fil rouge. Il lavoro come aspirazione, come scelta obbligata, come fonte di sostentamento, ma soprattutto come motore che delinea le traiettorie, definisce autostima e convinzioni personali, rischia di plasmare i nostri valori e determina dove e con chi trascorriamo la maggior parte del tempo.

Ma il lavoro definisce veramente chi siamo? Quanto risponde alle nostre aspettative? Quanto peso ha nella nostra vita e nelle scelte che facciamo? Può oggi rappresentare un punto di osservazione sullo stato di salute della società, soprattutto dopo la fase acuta dell’emergenza sanitaria?

Non siamo niente, saremo tutto è la traduzione letterale di un verso de L’internazionale scritto dal poeta e rivoluzionario Eugène Pottier 150 anni fa. Non siamo niente, saremo tutto è anche il progetto teatrale prodotto da ZONA K, in cui Jens Hillje e Alessandro Renda hanno coinvolto lavoratrici e lavoratori di diversi settori, per esplorare storie individuali e affrontare il tema da differenti prospettive: possiamo specchiarci nelle storie lavorative altrui per sentirci più interconnessi? Quanto condiziona le nostre esistenze il rispetto di una volontà o di una vocazione? Comprendere felicità o insoddisfazioni individuali ci aiuta a valutare il benessere collettivo? Il concatenamento di storie diventa uno strumento di indagine per trasformare l’esperienza collettiva in una narrazione condivisa, un coro pensato come opera d’arte totale e scultura sociale per riabbracciare un desiderio di comunità e, attraverso il teatro, trovare nuove forme di rappresentazione della realtà.


info spettacolo e biglietti: Biglietteria Teatro degli Impavidi +393464026006 (anche su WhatsApp)
teatroimpavidi@associazionescarti.it

c/o e in collaborazione con  Teatro degli Impavidi di Sarzana (SP)


regia: Alessandro Renda; dramaturg: Jens Hillje; con: Roberto Corradino, Milena Costanzo, Matteo Gatta, i cittadini e le cittadine della chiamata pubblica di La Spezia e Milano e con i cori Four Steps Choir, Coro F.de André, Batebalengo, diretti da Gloria Clemente e Pietro Sinigaglia; scenografia: Denise Carnini e Francesca Pedrocchi; disegno luci: Mario Loprevite; editing e visual effect video: Francesco Tedde (Antropotopia); foto: Luca Del Pia; produzione ZONA K (MI); co-produzione: Pergine Festival (TN), Associazione 47|04 (GO); produzione esecutiva Valentina Picariello e Renata Viola; organizzazione Federica Bruscaglioni; con il sostegno e la collaborazione di Fuori Luogo La Spezia/Gli Scarti; in collaborazione con Olinda onlus, Project For People, Stratagemmi Prospettive Teatrali

Il progetto è realizzato con il sostegno della Fondazione Compagnia di San Paolo nell’ambito di Art Waves Produzioni di cultura contemporanea e con il sostegno di Fondazione Cariplo e del Comune di Milano

Alessandro Renda è attore, regista e filmmaker nel Teatro delle Albe di Ravenna. Si avvicina alla compagnia fin da adolescente partecipando ai laboratori della non-scuola, pratica teatral-pedagogica antiaccademica creata da Marco Martinelli. Nel 1998 viene scelto per interpretare uno dei dodici “palotini” dello spettacolo I Polacchi, testo e regia di Martinelli e da allora è attore e regista della compagnia. Dal 2001 è guida nei laboratori non-scuola. Dal 2003 si occupa di video, realizzando proiezioni per la scena o “traduzioni” in video di molti spettacoli del Teatro delle Albe e documentari su esperienze teatrali in giro per il mondo della compagnia.

Jens Hillje (Germania, 1968) dal 1989 al 1995 studia Arti applicate all’Università di Perugia, studi che prosegue a Hildesheim e a Berlino. Dal 1990 lavora nella scena del teatro indipendente tedesco come attore, autore e regista. Nel 1996 ha fondato insieme a Thomas Ostermeier lo spazio ‘Barracke’ al Deutsches Theater. Dal 1999 fino al 2009 è Chief-dramaturg e membro della direzione artistica della Schaubühne di Berlino con Thomas Ostermeier e la coreografa Sasha Waltz: con loro crea un ensemble permanente di danza e prosa di rilievo internazionale. In qualità di dramaturg lavora con i maggiori esponenti del teatro europeo: oltre a Ostermeier, Yael Ronen, Falk Richter, Luk Perceval, Sebastian Nübling, Nurkan Erpulat. Durante il suo periodo alla Schaubühne, Jens Hillje ha creato il F.I.N.D Festival nel 2000. Il festival per la drammaturgia internazionale e contemporanea ha presentato autori emergenti della scena teatrale e oggi è uno dei più rinomati festival in Germania. Dalla stagione 2013/14, Jens Hillje è co-direttore artistico e Chief-dramaturg del Gorki, insieme a Shermin Langhoff. Dal 2021 è free dramaturg. Nell’estate 2019 è stato insignito del Leone d’Oro alla carriera alla Biennale di Venezia.

COME IN UN VIDEOGIOCO
Campus multidisciplinare in lingua tedesca per bambini dai 6 agli 11 anni

Sorry, this entry is only available in Italian.

Andiamo alla ricerca della nostra isola!

Inventiamo insieme un gioco interattivo: guardiamo il mondo da un punto di vista diverso e creiamo l’isola dei nostri desideri!

Costruisci le ambientazioni con materiali e immagini, trasformati nel tuo avatar e scegli i tuoi superpoteri!
Il protagonista di questo gioco sei tu!
Libera l’immaginazione e decidi tu che strada percorrere: puoi utilizzare il video, l’arte, l’interpretazione, trovare ispirazione per realizzare le tue idee in teatro o al parco. Per raggiungere l’isola che desideri, sperimenta tutte le attività: costruzione, scrittura, regia, video, recitazione… ma attenzione: funziona solo se parli in tedesco!

In questo campus multidisciplinare puoi muoverti come in un videogioco ed esercitare il tedesco divertendoti! Ti aspettiamo!

Questo il programma della giornata tipo:

ore 9.00 Accoglienza
ore 9.30 – 10.30 Giochiamo con il Video o l’Arte
ore 10.30 Merenda all’aperto
ore 11.00 – 12.30 Giochiamo con l’Arte o il Video
ore 12.30 – 14.00 Pranzo al sacco all’aperto e giochi
ore 14.00 – 16.00 Giochiamo con il Teatro
ore 16.30 Uscita
Il campus:
– è a numero chiuso, si attiva al raggiungimento del numero minimo di iscritti richiesto
– le iscrizioni si chiudono il giorno 23 giugno o al raggiungimento del numero massimo di iscritti previsto
– è organizzato in modo da rendere felice e piacevole l’esperienza a tutte le bambine e tutti i bambini e da rispondere alle normative nazionali in relazione all’attuale emergenza sanitaria
____________________________________

Costo: € 190,00
Sconto del 10% a partire dal/la secondo/a iscritto/a

N.B. Merenda e pranzo sono al sacco

Il campus è a numero chiuso, si attiva al raggiungimento nel numero minimo di iscritti richiesto.
Le iscrizioni si chiudono il giorno 23 giugno o al raggiungimento del numero massimo di iscritti previsto.

CLICCA QUI E COMPILA SUBITO  IL MODULO D’ISCRIZIONE
IMPORTANTE: IL MODULO VA COMPILATO PER OGNI ISCRITTO/A E CORREDATO DI PRESA IN CARICO DEL BONIFICO

Per informazioni più generali, contattaci all’indirizzo organizzazione@zonak.it


 

Videogame oder Realität? Auf der Suche nach unserer Insel 
Zusammen entwickeln wir ein interaktives Spiel: wir betrachten die Welt aus einem neuen Blickwinkel und entwerfen unsere Wunschinsel!

Baue die Räumlichkeiten aus verschiedenen Materialien und Bildern, verwandle dich in deinen Avatar und wähle deine Superkräfte. Du allein bist der Protagonist dieses Spiels!
Nutze deine Fantasie und entscheide dich für einen Weg: ob Video, Kunst oder Interpretation, sammle Inspirationen in unserem Theater oder draussen im Park.

Teste alle Aktivitäten bevor du auf deine Insel gelangst: Konstruktion, Schrift, Regie, Video, Theater… aber Achtung! Es funktioniert nur auf Deutsch!

Du kannst diese Ferienfreizeit wie ein Videospiel erleben und nebenbei spielend die deutsche Sprache trainieren. Wir erwarten dich!

____________________________________
– Kosten: 190,00 €
– 10% Rabatt für Geschwister
NB: Snack und Mittagessen werden von zuhause mitgebracht
Die Teilnehmerzahl
– ist begrenzt, die Ferienfreizeit findet statt, wenn die erforderliche Mindestanzahl erreicht ist
– anmeldeschluss ist der 23. Juni oder bei Erreichen der maximalen Teilnehmerzahl.
– die Freizeit ist so organisiert, dass sie zum spannenden Erlebnis für Mädchen und Jungen wird, zudem entspricht sie den nationalen Vorschriften in Bezug auf den aktuellen Gesundheitsnotfall
KLICKEN SIE HIER UND FÜLLEN SIE DAS REGISTRIERUNGSFORMULAR DIREKT AUS.
WICHTIG: DAS FORMULAR MUSS FÜR JEDE ANMELDUNG AUSGEFÜLLT UND MIT DER BESTÄTIGUNG DER BANKÜBERTRAGUNG VERSAND WERDEN
Für allgemeinere Informationen kontaktieren Sie uns jederzeit unter organizzazione@zonak.it

 

 

Foto di Francesco Ungaro da Pexels

Meetings by Sara Chiappori & Renata Viola

The relationship with reality presses the performing arts, interrogates them and inhabits them, both object and habitat of an investigation that mixes grammar and semantics of the languages of the scene, re-discussing the concept of author and interpreter, reformulating the criteria of fruition and appropriation of space, definitively clearing the new technologies, opening explicit connections with sociology, urban planning, statistics, political discourse, economics.

ZONA K has given account of all this in the last few seasons, pointing out the critical points of reflection, ethics before aesthetics, around and within the contemporary. Hence, the need to open a theoretical window to try a further investigation that leaves room for doubts rather than certainties.

Designed for a diverse audience, spectators, operators, university students, curious and restless citizens, REALITY? has the ambition to make the languages of the scene react like in a chemical experiment with the alphabets of other disciplines, comparing artists who have worked with ZONA K and theorists who have deepened the same themes, but from the point of view of their skills.

The meetings will be published simultaneously on   e   di  ZONA K

  • Monday 23 November, 6.00 p.m.
    PROLOGUE: POLITIK DER BLICKE/THE POLITICS OF LOOKS
    meeting with JENS HILLJE (artistic co-director and chief dramturg at the Maxim Gorki Theater in Berlin, Golden Lion for Lifetime Achievement Biennale Teatro 2019)

 

Then, four keywords for four dialogues

  • Tuesday 24th November, 6.00 p.m.
    LANDSCAPE: dialogue between VITTORIO LINGIARDI and DOM- (IT): because it feeds new dramaturgies of the space that cross the places, putting in crisis the very notion of look. Because our relationship with the landscape involves the whole body and is always a question of relationships, with others, with the world, with rules, with time, with borders.

 

  • Wednesday 25th November, 6.00 p.m.
    CRISIS dialogue between SALVATORE NATOLI and AGRUPACION SEÑOR SERRANO (ES): because “the crisis” in which we live has become a permanent and structural condition. Today, more than ever, we live in a state of emergency that forces us to reformulate new future scenarios. We are called to radically rethink everything we gave for certain and for acquired. Can all this really be considered an opportunity like the media storytelling suggests or are we on the threshold of a sort of “human revolution”?

 

  • Thursday 26 November, 6.00 p.m.
    POLITICS dialogue between JUSEPPE GENNA and VALTERS SĪLIS (LV): because we have all decreed its death, or at least embarrassment and impoverishment, but we cannot do without it. So let’s go and find it where it manifests itself in its worst forms, the fascist sovereignist populist drifts, the last temptation of a West orphaned of an alternative thought to 20th century ideologies.

 

  • Friday 27 November, 6.00 p.m.
    GAME/PARTICIPATION dialogue between STEFANO BARTEZZAGHI and ROGER BERNAT (ES):
    because the playful approach can be the key, but also the trap. If contemporary performance has accustomed us to enjoy the theatrical fact as a game, are we willing to give up in terms of attention, concentration, intellectual effort? The game, however, is not only a deresponsible escape, it can also be a very serious business.

DIE UNTERWASSERWELT – IL MONDO SOTTOMARINO

Sorry, this entry is only available in Italian.

Un progetto di ZONA K, in collaborazione con BAM Biblioteca degli Alberi di Milano, inserito nel programma Milano Summer School – Comune di Milano

Cosa c’è nel mondo sottomarino?
Andiamo a scoprirlo!
Pesci colorati e piante stranissime, sirene e tesori abbandonati dai pirati… e tanto altro ancora!

Giochiamo col corpo e con la musica, costruiamo oggetti e immagini, creiamo insieme il nostro mondo acquatico!

Tutte le attività proposte sono volte a stimolare bambine e bambini a utilizzare la lingua tedesca in modo giocoso e creativo.

Le attività saranno condotte sia all’interno di ZONA K sia all’aperto, nella bellissima BAM Biblioteca degli Alberi di Milano,  in uno spazio riservato tutto per noi.

Il campus si svolgerà per mezza giornata con i seguenti orari:
I GRUPPO 8.30 – 12.00
II GRUPPO 14.00 – 17.30
Ogni gruppo sarà composto da un massimo di 5 bambini, così come indicato dalle linee guida del Comune di Milano.

Questo il programma della giornata tipo:

 

ore 8.30

Accoglienza Gruppo 1

ore 9.00 – 10.30

 Movimento Gruppo 1

ore 10.30 – 11.00

Merenda all’aperto Gruppo 1
ore 11.00 – 12.00

Arte Gruppo 1

ore 12.00

Uscita Gruppo 1

ore 14.00

Accoglienza Gruppo 2

ore 14.30 – 16.00

Movimento Gruppo 2
ore 16.00 – 16.30

Merenda all’aperto Gruppo 2

ore 16.30 – 17.30

Arte Gruppo 2

ore 17.30

Uscita Gruppo 2

Il campus è organizzato in modo da rendere felice e piacevole l’esperienza a tutte le bambine e tutti i bambini e di rispondere alle normative nazionali in relazione all’attuale emergenza sanitaria (DPCM del 17/05/2020 e del 11/06/2020 e Ordinanze della Regione Lombardia n. 547 del 17/05/2020 e n. 566 del 12/06/2020)
____________________________________

Costo: € 150,00
Sconto del 10% a partire dal/la secondo/a iscritto/a e per  n.1 BAM FRIENDS*.
I due sconti non sono cumulabili.
*Al primo incontro verrà chiesta visione della tessera relativa.

Il campus è a numero chiuso, si attiva al raggiungimento nel numero minimo di iscritti richiesto.
Le iscrizioni si chiudono il giorno 21 agosto o al raggiungimento del numero massimo di iscritti previsto.

CLICCA QUI E COMPILA SUBITO  IL MODULO D’ISCRIZIONE PER IL GRUPPO MATTINA

CLICCA QUI E COMPILA SUBITO  IL MODULO D’ISCRIZIONE PER IL GRUPPO POMERIGGIO

IMPORTANTE: IL MODULO VA COMPILATO PER OGNI ISCRITTO/A E CORREDATO DI PRESA IN CARICO DEL BONIFICO

Per informazioni più generali, contattaci all’indirizzo organizzazione@zonak.it

 

 

Die Unterwasserwelt – Il mondo sottomarino
Ein kreativer Campus mit Bewegung in deutscher Sprache für Kindergartenkinder
Vom 31. August bis zum 4. September 2020.

Was gibt es alles unter Wasser? Finden wir es gemeinsam heraus !
Bunte Fische, die seltsamsten Pflanzen, Meerjungfrauen, vergessene Piratenschätze….

Wir spielen mit “Leib und Seele”, mit viel Musik, konstruieren Objekte und Bilder und erschaffen unsere eigene Unterwasserwelt.

Unsere vorgeschlagenen Aktivitäten sind darauf abgestimmt, alle Kinder auf spielerische und kreative Weise anzuregen, die deutsche Sprache zu benutzen.

Der Campus wird halbtags angeboten und alle Aktivitäten werden sowohl in unseren Räumlichkeiten von ZONA K als auch in einem für uns reservierten Gelände im Freien ( auf dem BAM: Biblioteca degli Alberi di Milano) stattfinden.

Unsere Aktivitäten werden zu folgenden Uhrzeiten stattfinden:
Gruppe  1 : 8.30 – 12.00
Gruppe 2 : 14.00 – 17.30

Jede Gruppe besteht aus höchstens 5 Kindern, so wie es die Richtlinien der Stadt Mailand vorsehen.

CIAK & RAP!

Sorry, this entry is only available in Italian.

Un progetto di ZONA K, in collaborazione con BAM Biblioteca degli Alberi di Milano, inserito nel programma Milano Summer School – Comune di Milano

Inventiamo una canzone rap e giriamo insieme il videoclip musicale: azione, parole, musica e divertimento! Ciak… si rappa!

Guidati da un rapper scriveremo e canteremo insieme una canzone a tempo di beat!
Con un videomaker, realizzeremo il videoclip musicale, partecipando alle riprese e al montaggio!

 

Il campus si svolgerà lungo l’arco della giornata e le attività saranno condotte sia all’interno di ZONA K sia all’aperto, nella bellissima BAM Biblioteca degli Alberi di Milano,  in uno spazio riservato tutto per noi.

Si prevede la possibilità di organizzare un massimo di due gruppi di 7 bambini ciascuno, così come indicato dalle linee guida del Comune di Milano.

Questo il programma della giornata tipo:

ore 9.00

accoglienza Gruppo 1

ore 9.15

accoglienza Gruppo 2
ore 9.30 – 10.30

Gruppo 1: RAP scriviamo la canzone
Gruppo 2: VIDEO inventiamo il videoclip

ore 10.30

Merenda all’aperto
ore 11.00 – 12.30

Gruppo 1: SING cantiamo la canzone
Gruppo 2: ACTING recitiamo nel videoclip

ore 12.30 – 14.00

Pranzo al sacco all’aperto e giochi

ore 14.00 – 15.00

Gruppo 1: VIDEO inventiamo il videoclip
Gruppo 2: RAP scriviamo la canzone
ore 15.00 – 16.00

Gruppo 1: ACTING recitiamo nel videoclip
Gruppo 2: SING cantiamo la canzone

ore 16.00

Uscita Gruppo 1

ore 16.15

Uscita Gruppo 2

Il campus è organizzato in modo da rendere felice e piacevole l’esperienza a tutte le bambine e tutti i bambini e di rispondere alle normative nazionali in relazione all’attuale emergenza sanitaria (DPCM del 17/05/2020 e del 11/06/2020 e Ordinanze della Regione Lombardia n. 547 del 17/05/2020 e n. 566 del 12/06/2020)
____________________________________

Costo: € 180,00
Sconto del 10% a partire dal/la secondo/a iscritto/a e per n. 1 BAM FRIENDS*.
I due sconti non sono cumulabili.
*Al primo incontro verrà chiesta visione della tessera relativa.

N.B. E’ richiesto il pranzo al sacco

Il campus è a numero chiuso, si attiva al raggiungimento nel numero minimo di iscritti richiesto.
Le iscrizioni si chiudono il giorno 28 agosto o al raggiungimento del numero massimo di iscritti previsto.

CLICCA QUI E COMPILA SUBITO  IL MODULO D’ISCRIZIONE
IMPORTANTE: IL MODULO VA COMPILATO PER OGNI ISCRITTO/A E CORREDATO DI PRESA IN CARICO DEL BONIFICO

Per informazioni più generali, contattaci all’indirizzo organizzazione@zonak.it

OPEN CREAZIONE CONTEMPORANEA

OPEN is a project supporting contemporary artistic creation for public space.

Since 2012 OPEN has supported over 40 national and international artists, who have contributed to the rethinking of urban space and the public sphere through artistic projects and interventions. The projects have managed to reinvent/imagine/explore the space, temporarily transforming the places and the relational trajectories that run through it. For OPEN, public space is conceived not only as a place, but as a form of time and research area, as a horizon or landscape where the spectator can reconnect with the urban, historical and relational fabric of the place.

OPEN promotes the networking of skills and economic support to sustain contemporary creation in the field of performing arts, architecture and new technologies for public space.

OPEN is led by Pergine Festival (Trentino) and brings together 5 partners located throughout Italy: Il Giardino delle Esperidi Festival (Lombardia), In\Visible Cities/digital contaminations (Friuli Venezia Giulia), Indisciplinarte (Umbria), Periferico (Emilia Romagna) and Zona K (Lombardia).

THEATRE GIGANTE-TEATRO DELLE ALBE/RAVENNA TEATRO (USA-IT)

FOCUS: HUMAN

M. Anderson, I. Kralj THEATRE GIGANTE – A. Renda TEATRO DELLE ALBE /RAVENNA TEATRO (U.S.A/IT)

 

In Edgar Allan Poe’s story The man of the crowd, a chaotic and unpredictable world is described in which fascination and horror coexist. We are all witnesses and actors in a show where roles and origins are mixed in incessant movement. The crowd appears as a mysterious and disturbing entity that overpowers and annihilates the individual. Starting from the ideas of Poe’s story, the show explores the darkness that has characterised these last decades. Unhappiness, insecurity, suffering and uncertainty trigger fear and violence, a regression compared to the level of “civilization”, laboriously conquered and by now considered consolidated in Europe like in the United States, in India like in Australia and elsewhere. We live in a world that is more connected but less integrated. Resentment has become a global epidemic. We are stuck in the belly of a beast. Who is this beast? Are we this beast? Are they? Who are they? Think with your gut, when you have forgotten about your heart.

 

Conceived, written and performed by Isabelle Kralj, Mark Anderson and Alessandro Renda, the show is a gathering of three different countries, three cultures, different stories and languages, but with the same fears, the same questions, the same desires, the same insecurities. In the Belly of the Beast builds a multi-layered structure of stories, using different stylistic approaches and languages, alternating reality and dream, alienation and solidarity, irony and poetry. Between past and present. On the stage of the Theatre Season 2020 REALITY, a diverse and frantic humanity, figures of today and shadows from the past who present themselves through monologues and dialogues, music, video and movement.

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c/o ZONA K

Info: show • duration 80 min. • in English, Slovenian and Italian with surtitles

Standard ticket: 15 € – Students/under 26/over 65/groups 10€

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By and with Mark Anderson, Isabelle Kralj, Alessandro Renda, production Theatre Gigante (USA), Teatro delle Albe / Ravenna Teatro (IT)

 

 

In 2014, the show of the Teatro delle Albe Noise in the waters (by Marco Martinelli, with Alessandro Renda on stage) was on tour in the United States, guest at the La Mama Theater in New York, then in New Jersey and in Chicago. In Chicago, thanks to the invitation of Thomas Simpson (associate professor at Northwestern University of Chicago and translator in English of many important Italian authors, including Marco Martinelli), Isabelle Kralj and Mark Anderson, co-directors of Gigante Theater, attended the show and decided to host it in their city, Milwaukee (Wisconsin). That is how a fertile collaboration began that brought Alessandro Renda back to the United States the year after. The artistic bond between Isabelle Kralj, Mark Anderson and Alessandro Renda has been renewed in Italy, in Ravenna. The In the Belly of the Beast project is a new collaboration between the two companies in search of harmony, resonances and differences between poetry. It is the first co-production of the Teatro delle Albe with an American company and for the Giant Theatre it is the first co-production with a European company.

WIM VANDEKEYBUS
ULTIMA VEZ (BE)

The space of the Casa Degli Artisti, which is recently returned to the city, has been chosen for the opening of the Theatre season 2020 REALITY of ZONA K.

In Go Figure Out Yourself, an encounter with the audience in an unprepared space, five characters take you far beyond the protective walls of the theatre and they show you a place where you can give shape to your own thoughts, simply by looking and listening to others. At the rhythm of a soundtrack that mixes words, music and dance, you are invited to participate in an unpredictable and exciting trail.

Go Figure Out Yourself explores the boundaries between audience and performers.

Simply moving freely in the space, you will become part of a group happening, which will leave you in the end with many questions and few answers. The slowness of everything contrasts with the speed of the individual. The whole is greater than the sum of its parts. Everything is what it is.

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presented in collaboration with and c/o Casa degli Artisti, Corso Garibaldi, 89/A – via Tommaso da Cazzaniga -M2 Moscova-

Info: dance performance • duration 75 min. • in English
Nb: audience and performers share the same stage space. There are no chairs.

Standard tickets: 15,00 € – Students/under 26/over 65/groups: 10,00€
You can pick up tickets at Casa degli Artisti, Corso Garibaldi, 89/A – via Tommaso da Cazzaniga -M2 Moscova-

Part of the subscription shows
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direction, choreography, scenography Wim Vandekeybus, created and interpreted by Sadé Alleyne, Maria Kolegova, Hugh Stanier, Kit King, Tim Bogaerts, dramaturgy Aïda Gabriëls, lighting design Davy Deschepper, Wim Vandekeybus, costume design Isabelle Lhoas assisted by Isabelle De Cannière, technical coordination Davy Deschepper, sound engineer Bram Moriau, stage manager Tom de With, producer Ultima Vez, co-producer Les Brigittines (Bruxelles), with the support of the Tax Shelter measure of the Belgian Federal Government, Casa Kafka Pictures Tax Shelter empowered by Belfius, Ultima Vez is supported by the Flemish Authorisations and the Flemish community commission of the Brussels-Capital region.

 

Physicality, passion and intuition are the main elements of Wim Vandekeybus’ work, one of the greatest exponents of the international performance scene. A multifaceted artist, choreographer, director, performer who attended the University of Leuven where he studied psychology. Fascinated by the relationship between mind and body, this interest influenced all his choreographic work.
In 1987 he founded the Ultima Vez company with which he made almost 30 productions as well as numerous films and videos. The use of different media and languages ​​translates into a constantly evolving cast that includes dancers, circus performers, actors, musicians and collaborations with artists from different disciplines.

Industry 4.0, the fast revolution

Technology, work, education, future: there is no mystery or prophecy, because research is now proceeding apace, but a big question as to what the vision will be. Technology has plans and innovations that are constantly being updated.How will it change our lives? Technology has given us speed, but without saving us time. On the contrary, it often saturates it in a new contemporaneity that will face a quantum leap in the next few years that we may never have seen before.
When the industry revolution is complete, how will our lives be redesigned?

With the participation of Matteo Scanni (journalist, director, playwright and professor of Human Innovation Culture at H-Farm)

Moderator: Angelo Miotto

Live streaming on Facebook pages @zonakmilano and @qcodemagazine

 

Image: freepik.com

EVE #1

Sorry, this entry is only available in Italian.

 

Torna a Danae Filippo Michelangelo Ceredi con la sua seconda creazione.
EVE #1 esplora il nostro rapporto con la memoria degli avvenimenti del nuovo millennio attraverso le immagini. Dal 2001 ad oggi la comunicazione visuale ha assunto un ruolo predominante e la nostra capacità di ricevere le informazioni è stata fortemente modificata. Il ricordo dei fatti di rilevanza globale verte sempre più spesso su immagini di grandi traumi o di disastri, disegnando un panorama tragico del mondo. La sovrabbondanza di stimoli visivi ha mortificato l’immaginazione e ha generato assuefazione all’orrore. EVE #1 è una rievocazione delle immagini che costruiscono l’immaginario contemporaneo e un tentativo di riprendere uno sguardo più lucido sul presente.

PRIMA ASSOLUTA
di e con Filippo Michelangelo Ceredi assistenti al progetto Clara Federica Crescini, Sara Gambini Rossano
disegno luci Adriana Renna accompagnamento alla realizzazione Alessandra De Santis e Attilio Nicoli Cristiani – Teatro delle Moire una produzione di Filippo Michelangelo Ceredi, Teatro delle Moire/Danae Festival, Lenz Fondazione/Natura Dèi Teatri Festival con il sostegno di IntercettAzioni – Centro di Residenza Artistica della Lombardia (un progetto di Circuito CLAPS e Teatro delle Moire, Industria Scenica, Milano Musica, ZONA K)

durata 50′

 

INFO E PRENOTAZIONI
+39 02 39820636 | +39 338 8139995 | info@teatrodellemoire.it
Prenotazione consigliata

 

 

Filippo Michelangelo Ceredi, dopo la laurea in filosofia a Milano, lavora come assistente alla regia di Marco Bechis nel film Il sorriso del capo (2011), in collaborazione con Istituto Luce, e nella serie web Il rumore della memoria (2014). Assiste Iacopo Patierno nella realizzazione della serie web per il progetto italo-mozambicano Il teatro fa bene (2016) e dirige lavori da videomaker. Dal 2012 inizia una formazione teatrale seguendo i laboratori del Teatro delle Moire e lavorando come tecnico per progetti teatrali. Nel 2016 debutta a Danae Festival con Between Me and P., presentato successivamente a Santarcangelo Festival 2017.

CONCERTO

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Francesco Michele Laterza, regista e performer, ritorna a Danae, dopo aver presentato nel 2017 la performance dissacrante tutta al maschile Acquafuocofuochissimo. Questa volta si cimenta in un duetto insieme alla poliedrica artista Floor Robert, performer, disegnatrice e autrice, premiata nel 2008 con la menzione speciale del Premio HystrioConcerto è un concerto dell’immaginazione. Uno spettacolo teatrale che sogna di essere una performance musicale. Il lavoro muove da una raccolta di sogni trascritti e trasformati in canzoni originali o materiali performativi con l’idea di costruire un coro di forze, voci e immagini al limite del paradosso che dialogano all’ interno di un assurdo concerto in perpetuo mutamento.

PRIMA ASSOLUTA
di Francesco Michele Laterza con Francesco Michele Laterza e Floor Robert foto di Fabio Artese coproduzione Teatro delle Moire/Danae Festival con il sostegno di IntercettAzioni – Centro di Residenza Artistica della Lombardia (un progetto di Circuito CLAPS e Teatro delle Moire, Industria Scenica, Milano Musica, ZONA K)

durata 50′

 

INFO E PRENOTAZIONI
+39 02 39820636 | +39 338 8139995 | info@teatrodellemoire.it
Prenotazione consigliata

 

 

 

Francesco Michele Laterza, performer, regista e coreografo, dopo aver lavorato come interprete per diverse compagnie italiane (DOM-,Teatro Valdoca, Strasse, Famiglia Fuché, Inquanto teatro), intraprende un percorso autoriale mettendo al centro della sua ricerca la relazione tra corpo e processi di costruzione dell’identità attraverso la sperimentazione di diverse modalità performative. Nel 2015 con il progetto Acquafuocofuochissimo è coreografo residente presso Anghiari Dance Hub e vincitore del bando Assemblaggi Provvisori indetto dalla Tenuta dello Scompiglio di Vorno (Lucca). Dal 2017 è artista associato del progetto Officina Lachesi Lab curato dal Teatro delle Moire, Danae Festival di Milano. Nel 2018 è tra gli artisti selezionati nel workshop È il corpo che decide a cura di Marcello Maloberti con la performance Esercizi sullo spazio, al Museo del Novecento di Milano. È ideatore e conduttore di progetti di formazione e ricerca teatrale e di laboratori incentrati sullo studio del gesto.

EUROPA! EUROPA!

EUROPA! EUROPA! is the common thread running through the season. We must talk about Europe today. We feel it is more essential than ever to devote an entire year to a theme that affects us all closely and is redefining new political, economic, social and cultural geographies. We, who were born in Europe, who grew up with the idea, with the ideal of Europe, think it is right to talk about it again, and again, despite or precisely because it is at a fragile and complex moment. And we want to talk about that Europe which was born from the war, which grew up with the ideals of democracy, which is immobilized in the face of new scenarios that are difficult to predict, in the language that belongs to us.

We want to follow the flow of celebrations, anniversaries and commemorations – the so-called English re-enactments – that mark our time and our memory, but also imagine and invent possible scenarios. Because from Europe we have internalized the open borders, the cultural routes, the possible networks, and we can no longer do without them.

WAR, DEMOCRACY, URBAN and NOW will be the focuses that will decline our idea of Europe, today that Brexit is a reality, that populism is at the gates and with it thousands of people. The challenge is open, with all the risks that this entails.

With the 2017 edition, ZONA K’s theatre and multidisciplinary season reaches its 5th year of activity. An important anniversary for an activity that has grown fast, so fast that every now and then it overwhelms and surprises even us. An anniversary that we are happy to celebrate also thanks to the Sandra Angelini Prize awarded by Retecritica for the Best Organizational Project 2016.And thanks to the collaborations with old and new friends that this year allow us to realize a truly extraordinary season: C.L.A.P.Spettacolodalvivo, Danae Festival, la Casa della Memoria, Olinda, Stanze and Triennale Teatro dell’Arte.

 

 

 

 

REPORTER ANCH’IO!

Sorry, this entry is only available in Italian.

Il laboratorio è annullato : ( e non è uno scherzo di carnevale.

Diventa video-giornalista per un giorno:  andiamo insieme a caccia di storie e di… oggetti di valore!

 

ore 10.30 – 12.00 dai 4 ai 6 anni
Porta con te il tuo giocattolo preferito: racconteremo una storia in stop motion… e i protagonisti sarete voi!

 

ore 14.30 – 17.00 dai 7 agli 11 anni
Porta un oggetto a cui sei affezionato: racconteremo la sua storia con il teatro e il video… e poi via!
In giro per il quartiere a scovare tante altre storie!

Ingresso laboratori: 10 euro (materna) – 12 euro (elementari)
Prenotazioni: biglietti@zonak.it fino al raggiungimento del numero massimo di partecipanti

Money makes you happy

Overturning the old adage, which denies this power of money, means going to see how a new, ethical finance has grown and spread, and what tools are suitable and necessary to educate and educate us in the economic and financial field.

Among the tools that have been experimented on a global scale with particular success, from the farmers of poor lands to the supporters of some Western political forces, there is microcredit.

An evening of dialogue on these themes.

Speakers: Ugo Biggeri, president of Banca Etica and Matteo Zagaria, director of CreSud, an Italian company that has been financing microcredit in the southern hemisphere for 20 years.

The evening will be moderated by Angelo Miotto.
Edited by Q Code Mag.

 

pic. by Freepick

FOCUS MONEY

The cost of money, rating, interest taxes, inflation, deflation, investments, stock market trading, bitcoin …

Financial inclusion passes also from literacy. In Nepal – where approximately 18% of the population is completely excluded from the banking system – Prakash Koirala provides financial education services to inform, involve, motivate and promote responsibility among consumers towards financial independence and discipline.

Would it be necessary to do this elsewhere too?

Today the most recent statistics state that 62% of the wealthiest individuals in the world possess the same wealth as the poorest half of the planet and the global economy gurus imagine a “globalization” 4.0 in favor of a more human-centric growth, more sustainable, more inclusive.

With what means and instruments?

A focus MONEY and four shows that discuss money are our answer. Four different ways to tackle a complex theme from different perspectives.

 

22 – 23 February 2019
KALEIDER (UK)
The Money
[performance]

5 March 2019
Money makes happiness
curated by Q Code Mag
[meeting]

15 – 16 March 2019
MAURO PESCIO (IT)
Mio cugino (limited edition)
[show]

22 – 23 March 2019
ONTROEREND GOED (BE)
£¥€$ (Lies)
[performance]

31 March 2019
CHRISTOPHE MEIERHANS (CH/BE)
Trials of Money (preliminary hearing)
[performance]

 

 

 

Christophe Meierhans (CH/BE)

Can the money we use on a daily basis be held responsible for the bleak state of the world today? What would it mean to hold it accountable for its actions? Trials of Money challenges the idea that money is just a tool or a means, and treats it as a complex being, a “semi-human” entity that has acquired an autonomous operation and escapes the control of the men who use it.

This new version of the performance is based on the collected testimonies of nine witnesses: an ex-banker, a Suisse National Bank employee, a homeless man, a wealthy philanthropist, a Native American, an economics professor, a kibbutz resident, and a criminologist. It invites the public to take part in the actions of a fictitious court, conducted as a collective exercise where all present freely assume the position of prosecution or defense, based on their beliefs and influenced by the proceedings.

Can money actually be tried before a human tribunal? And if the defendant is ultimately found guilty, what should be the appropriate sentence?

WORLD PREMIERE
Conference Show – in Italian

A project ZONA K and Stanze
“Show realized within the project Teen Time.”

 

Concept and direction: Christophe Meierhans Performer: Christophe Meierhans, Luca Mattei Dramaturgy: Bart Capelle With the participation of: Shila Anaraki, Jochen Dehn, Adva Zakai Set design: Decoratelier Jozef Wouters Decor: Giammarco Falcone Light saber microphones: Alexis Pawlak, Gaia Carabillo Costumes: Sofie Durnez, Valerie Le Roy Lighting design: Luc Schaltin Monetary consultant: Olivier Auber Production: HIROS, Elisa Demarré Co-production: AUAwirleben (Bern), BIT Teatergarasjen (Bergen), BUDA (Kortrijk), FAR° (Nyon), Kaaitheater (Brussels), Nouveau Théâtre de Montreuil (Paris), Teatro Maria Matos (Lisbon), Vooruit (Gent), ZONA K (Milan) With the support of: Vlaamse Gemeenschap, ProHelvetia

 

Christophe Meierhans (Geneva; Brussels) works with and through performance, public space, installation, sound, music and video. His work consists mainly in developing strategies of intervention in everyday life, through the manipulation of accepted conventions, social habits or simple customs. Fragments of reality become the frame for artistic operations that can redirect banality in order to make it reappear under unexpected angles. His work raises questions about norms and conventions, confusing a random context with different ones, and confronting the viewer with something else, with the strangeness of being in the “wrong” place, or the possibility that the place may become something else.

FOCUS SOCIETY

Already in the 1930s, Keyens sustained that the true challenge that needs to be overcome is the reconnection of economy and society in an intelligent and non regressive manner.

After a century and another devastating economic crisis, it is understandable to wonder if a mediation between the modernizing push of progress and the needs of society is still possible.

The populist movements of today – whether guided from above or born spontaneously from the bottom – embody a diffused indisposition that contests blocked social hierarchies, as well as stationary social elevators, concentration of richness that is increasingly evident and that no longer allows for the possibility of the acquisition of well being and security in the same way it was assured in the past.

Nonetheless in a panorama so desolating and confused, the voices of those reclaiming the humanistic side of the economy, a social science that needs to occupy itself with the wellbeing of man in the “interest of stability and social justice”, are not missing.

The focus crosses various visions – ironic, disillusioned, worried – of today’s society, that is founded on economy and in which you’ll drown.

 

5 May 2019
KTO THEATRE (PL)
Peregrinus
[itinerant performance]

21 – 22 May 2019
BABILONIA TEATRI (IT)
Calcinculo
[show]

24 – 25 May2019
ANNIE DORSEN (USA)
Spokaoke
[performance]

28 – 29 May 2019
LA BALLATA DEI LENNA (IT)
Human animal. Liberamente tratto da “il re e pallido” di D.F. Wallace
[show]

 

 

 

KTO Theatre (PL)

A wandering theatre show without words

A theatre production inspired by poetic works of T.S. Eliot.

The show depicts a single day in the life of an individual of the 21st century. The contemporary “Everyman”, whose life is “suspended” between Home and Work for a corporation, identifies his or her “pathway through life” as a “pathway to work”.
The peregrination in search of the meaning of life comes into view through everyday toil, deprived of spirituality, love and beauty.
The world of the “Pererginus” is a “digital” civilization – sad, terrifying and grotesque, where consumerism turns into a dominant religion. A shop window is the home of the Peregrinus of the 21st century.
A mobile character of the show exposes the adventures of the protagonist in various contexts of urban space. Homo Peregrinus is a formatted human being stripped of emotionality, predictable and bereft of individual characteristics.

This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper

T.S. Eliot

The show has been presented in many cities in Poland as well as in Canada, China, Croatia, England, France, Georgia, Germany, Iran, Italy, Korea, Lithuania, Romania (Tony Bulandra Award for the best street performance in Targoviste), Russia, Spain and USA.

 

 

Itinerant Performance  – no words
A ZONA K project in collaboration with Fattoria Vittadini and FESTIVAL DEL SILENZIO

 

Script, music selection and stage direction: Jerzy Zon Mask concept: Spitfire Company Masks design: Joanna Jaśko-Sroka Stage movement and choreography:  Eryk Makohon Performers: Karolina Bondaronek, Paulina Lasyk, Grażyna Srebrny-Rosa, Justyna Wójcik, Marta Zoń, Sławek Bendykowski, Bartek Cieniawa, Paweł Monsiel/Krzysztof Tyszko, Michał Orzyłowski

 

The KTO is a theatre that creates shows for the street. Its performances have been attended by over 1.5 million people. Since 1 January 2005 the KTO has the status of a municipal theatre of Krakow. The director of the KTO Theatre is Jerzy Zon. The KTO Theatre has staged numerous open-air performances of the most important historical events in Polish and European history: “De la Revolution” on the occasion of the 200th anniversary of the French Revolution, “The Refugees”, an installation about the fall of the Berlin Wall, “The Polish Chronicle” on the occasion of Poland’s entry into Europe, to name a few. In addition, KTO Theatre has organised 31 editions of the International Street Theatre Festival in Krakow as well as other cultural projects.

Babilonia Teatri (IT)

A point of excellence in the Italian scene of theatrical research, Babilonia Teatri arrive in Milan with a new creation, a sort of concert through which they manage to pass dense content and full of rebellion. The repeated word that tells the disenchantment for an (im)perfect world, unmistakable feature of the company, is shaped mainly in songs, specially written on the notes of Lorenzo Scuda (Oblivion), building a show where music and theater contaminate and dialogue in an uninterrupted and whirling.

Calcinculo is a show where words take the shape of music. Where music takes the shape of words. We live in an obsessive time that words and images are no longer able to tell by themselves, music comes to the rescue like a medicine or an explosive fuse.

Calcinculo is a show that wants to photograph our today. His perversions and his escapes from himself. His inability to imagine a future, to dream it, to strive towards an ideal, to believe. With this show the Babilonia tell the world around us with their sharp, painful and ironic look.

 

Show –  in Italian

 

By and with: Enrico Castellani and Valeria Raimondi Music: Lorenzo Scuda Stage direction: Luca Scotton Sound engineer: Luca Scapellato Production: Babilonia Teatri, La Piccionaia centro di produzione teatrale Co-production: Operaestate Festival Veneto Scenes Babilonia Teatri Production 2018. Thanks to Ana Valli Grandi Choir and Cuore Husky rescue

 

Babilonia Teatri is one of the most innovative companies in the contemporary theater scene, distinguishing itself for a language that is variously defined as pop, rock, punk. It has imposed itself on the Italian scene for its irreverent and divergent look at today’s world. Babilonia Teatri has won numerous awards over the years In addition to the main Italian cities, the company’s shows have been hosted numerous times abroad, from France to Germany, from Austria to Hungary, from Bosnia-Herzegovina to Croatia, from Colombia to Russia. Enrico Castellani and Valeria Raimondi, founders of the company in 2006, are the Artistic Directors of Babilonia Teatri. Playwrights, authors, directors and actors, Castellani and Raimondi are based in Verona. Lorenzo Scuda from 1999 to 2003 studies Musical at the BSMT of Bologna and from there he participates first as musician/orchestral and then as actor and singer in several productions, the most important is Jesus Christ Superstar with the Compagnia della Rancia in the role of Pilate. In 2002 he founded Oblivion. He is author and co-author of the lyrics, arranger and composer of all their productions. They debuted in November 2018 with their first original musical: La Bibbia riveduta e scorretta, directed by Giorgio Gallione. Since 2009 he has been working mainly for Oblivion, also dedicating himself to the activity of teacher for musical courses and seminars for theatrical improvisers throughout Italy.

Annie Dorsen (USA)

A microphone, a screen, the text running in overlay, two minutes to perform in front of the audience. Singers? No, in their place are other great artists who have gone down in history for their passion, their eloquence, their words.

Spokaoke is a participatory event that invites the audience to declaim speeches just as they would sing songs in a karaoke bar. Fifty speech-videos loaded into a karaoke device and available in a catalog that viewers can browse through: political speeches, public speeches, theatrical monologues, eulogies, trial testimony, etc. Some are familiar to the point of being considered icons (“I have a dream,” “Mr. Gorbachev, tear down this wall”); others are less well known; some are part of our history, others part of the collective imagination.

Reciting these old speeches means recognizing them for what they are: fragments of history and folk art. Here is an opportunity to pay homage to some of the greatest hit makers of all time and thus resurrect triumphs and traumas from our distant and near past.

If karaoke offers us the opportunity to recognize a shared ownership of pop music heritage, Spokaoke allows us to play with a legacy of spoken artifacts by constructing a Top10 of collective discourse.

 

 

Participatory performance – in Italian
A project by ZONA K with Stanze

 

Conception: Annie Dorsen Sound design: Vladimir Kudryatsev and Uli Ertl Assistance: Lola Harney Management: Natasha Katerinopoulos Co-production steirischer herbst (Graz) Black Box Teater (Oslo)

 

Annie Dorsen is a New York-based filmmaker and writer whose works explore the intersection of algorithms and live performance. Her most recent project, The Slow Room, premiered at Performance Space in New York City in Fall 2018. Previous projects, including The great outdoors (2017), Yesterday Tomorrow (2015), A piece of work (2013), and Hello hi there (2010), have been widely performed in the United States and other countries. She contributes to and writes for The Drama Review, Theatre Magazine, Etcetera, Frakcija, and Performing Arts Journal (PAJ).

La ballata dei Lenna (IT)

The show comes to life from the reading of The Pale King, the last novel published posthumously by the American David Foster Wallace, dedicated to the heroic everyday life of a group of officials of the Internal Revenue Service of a provincial town in the USA, with the intention of investigating boredom, and the ability / inability of the human being to survive the bureaucracy. Of The Pale King, a novel left unfinished, following DFW’s suicide, only shreds of unfinished stories remain in which we can glimpse the fragmented existences of the protagonists, and breathe DFW’s torment in trying at all costs to find a meaning to human existence.

Starting from here, La Ballata dei Lenna through a path of identification with the author, has conducted over several months, a search within several offices of the Internal Revenue Service in our country, with the intent to investigate a world that in the common imagination of heroic has very little. The material has produced an original dramaturgy that plays with the fragmentary nature of the novel to give life to a docuteatro that gives, together with the viewers’ eyes, a new sense to the work.

 

 

Performance – in Italian

 

By Paola Di Mitri Directed by Nicola Di Chio, Paola Di Mitri, Miriam Fieno With Nicola Di Chio, Paola Di Mitri, Miriam Fieno Narrator Alex Cendron Lights and visual concept Gennaro Maria Cedrangolo and Eleonora Diana Video and filming Vieri Brini and Irene Dionisio Costumes Valentina Menegatti Production La Ballata dei Lenna Executive production ACTI Teatri Indipendenti Production support Hangar Creatività, ZONA K Milano, Factory Compagnia Transadriatica, Principio Attivo Teatro In collaboration with Scuola Holden

 

La Ballata dei Lenna is a theatrical research collective founded by Nicola Di Chio, Paola Di Mitri and Miriam Fieno that was founded in 2012 at the Civica Accademia d’Arte Drammatica “Nico Pepe” in Udine, where the three actors trained and graduated. The company’s work focuses on the study of the relationships between the community and its daily life, in an attempt to highlight the points of friction of the contemporary imagination. The idea of theater as a collective representation leads the company to research and use a variety of languages, ranging from the centrality of the actor to its decomposition, from the word to the movement, from sound to image. The three artists ground their work in a perspective that encompasses the art of authorship, the craft of performance, and the role of stage manager.

FOCUS ECOLOGY

Climate change, green economy, ecological economics…

The UN defines the green economy as a real perspective. A perspective for which a growth of income and employment are driven by investments whose goal is to reduce pollution, increase renewable energy, make resources more efficient and avoid the loss of biodiversity.

Climate change is a fact: the temperatures are increasing, the precipitation pattern is changing, the ice and snow are melting and the average sea level is rising globally.

Nonetheless the differences towards that science that Darwin referred to as “economy of nature” and that in 1866 was given the name of ecology, are still too many.

Although scientists tell us that we have entered in a so called time of “Anthropocene”, in which the terrestrial environment is strongly conditioned from the effects of human actions, we assist to a global schizophrenia. On one side political, social and economic forecasts are predicting devastating news about the planet’s future, supported by protectionist initiatives, nationalistic closures, and the discussion of the 2015 Paris agreements. On the other hand the birth of transnational movements are in favor of the environment, and new generations are aware of the risks and especially the development of economic investments in energetic camp that let us hope that the green economy will not only remain a dream.

 

SPECIAL RESIDENCES:

11 – 14, 16 and 18 – 20 
DOM- LEONARDO DELOGU, VALERIO SIRNA (IT)
L’UOMO CHE CAMMINA
A ZONA K and DANAE FESTIVAL project
[itinerat]

16 October 2019
ANDY FIELD (GB)
Masterclass

19 – 20 October 2019
ANDY FIELD (GB)
LOOKOUT “a one on one meeting with a city view”
[performance]

23 October 2019
ČERNOBYL’: A CATASTROPHE, A POINT OF DEPARTURE AND AWARENESS.
[meeting] by Q Code Magazine

26 – 27 October 2019
BERLIN (BE)
ZVIZDAL [CHERNOBYL, SO FAR – SO CLOSE]
[performance] c/o TeatroLaCucina

 

 

 

Deflorian/Tagliarini (IT)

Scavi is a collateral project to Quasi niente, a performance freely inspired by the film Deserto rosso by Michelangelo Antonioni, a work around the figure of the film’s protagonist, Giuliana, a “wild woman dressed elegantly” who takes on the marginality that has always attracted the two artists.

Scavi is a collateral project to Quasi niente, a performance freely inspired by the film Deserto rosso by Michelangelo Antonioni, a work around the figure of the film’s protagonist, Giuliana, a “wild woman dressed elegantly” who takes on the marginality that has always attracted the two artists.

Scavi is a performance that wants to be the public restitution of the “discoveries” in the investigation phase of the work on the new creation.

Digging patiently, as archaeologists do, to find a note in the margin, an unexpressed thought, a barely sketched idea, the photograph of an unedited scene. It is the encounter with the creative process, a vast, dense, raw material, of which the work is only the tip of the iceberg. This is how Daria Deflorian and Antonio Tagliarini, together with Francesco Alberici, approached Michelangelo Antonioni’s first color film, Il deserto rosso. At ZONA K they will return the discoveries of their excavations.

 

A project ZONA K and Triennale Teatro dell’Arte
Included in the program of FOG Triennale Milano Performing Arts.

Show –  in Italian

 

A project by Daria Deflorian and Antonio Tagliarini Written and performed by Francesco Alberici, Daria Deflorian and Antonio Tagliarini Literary advice Morena Campani Accompaniment and international distribution Francesca Corona Organization Anna Damiani Photos Elizabeth Carecchio Coproduction A.D. and Festival di Santarcangelo In collaboration with Istituto Italiano di Cultura di Parigi Production residence Carrozzerie | n.o.t Roma

 

Daria Deflorian and Antonio Tagliarini are authors, directors and performers. Their first work dates back to 2008, Rewind, homage to Cafè Müller by Pina Bausch. In 2009 they staged From A to D and Back Again. Between 2010 and 2011 they worked on the “Reality Project” which, starting from the diaries of a Cracow housewife, gave life to two works: the installation/performance czeczy/cose (2011) and the show Reality (2012), a work for which Daria Deflorian won the 2012 Ubu Award as best leading actress. Ce ne andiamo per non darvi altre preoccupazioni debuted in 2013 (2014 Ubu Award as best Italian new play while in 2016 it received the Critics’ Award as best foreign play in Quebec, Canada). They created two site specific: Il posto (2014) created and presented in Milan at Casa Museo Boschi/Di Stefano for the project “Stanze” and Quando non so cosa fare cosa faccio (2015). The sky is not a backdrop premiered in 2016 in Lausanne. The show Almost Nothing premiered in October 2018.

Francesco Alberici (1988), completed his classical studies and graduated in Economics and Business at Bocconi University in Milan. He graduates as an actor at the school Quelli di Grock and works in several shows of the same company. With the collective FRIGOPRODUZIONI, of which he is founder together with Claudia Marsicano and Daniele Turconi, he realizes Socialmente and Tropicana, works thanks to which the group obtains several awards. In 2015 he participates in the theatrical specialization course “Il corpo nelle parole” of the Centro Teatrale Santa Cristina. In 2016 he begins a collaboration with Daria Deflorian and Antonio Tagliarini, which leads him to take part in the projects Il cielo non è un fondale, Quasi niente and Scavi.

Elisabetta Consonni (IT)

Winner Project OPEN call /// CONTEMPORARY [URBAN] CREATION 2019 – new production

“The first man who, having fenced a piece of land, thought to say ‘this is mine’ and found people stupid enough to believe him, was the true founder of civil society. How many crimes, how many wars, how many murders, how many miseries and errors he would have spared mankind” (J.J. Russeau, Origin of Inequality, 1754).

Ti voglio un bene pubblico is an urban game that reflects on dividing infrastructures such as gates, walls, fences. So much of what surrounds us is made of walls and fences; understanding their meaning, from time to time, is a necessary civic practice. It is significant to note that the article of the civil code that regulates the construction of fences to secure private property is called ‘ius escludendi alios’: to determine one’s own by excluding the other.
When does a wall stop protecting and start dividing, segregating and excluding? And when a public space is fenced off and access to it is restricted, how much of that public space remains? When a wall is put up, how much of what is behind it can we not know?

 

Itinerant urban game – in Italian

 

A project by Elisabetta Consonni In collaboration with Cristina Pancini, Sara Catellani and Barbara Stimoli With the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia (a project of Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire) With the consultancy of Adriano Cancelleri A production: Pergine Festival Co-production ZONA K, In\Visible Cities/Contaminazioni digitali, Terni Festival

 

Elisabetta Consonni has been active in the reflection and practice of how art can be a detonator of social change since 2014 with Ergonomica, a research container for the relationship of the body with urban space. As part of this research, she accompanies the theoretical study to the realization of actions such as: “We want to become architecture” and “Go with the flow” (Poland, 2014), the choreographed construction of “Pompenpurg Park” (Rotterdam, Architecture Biennale 2014), “Zeno’s second Paradox” (Milan, 2016), “Enough Space for the Tenderest of Attentions” (project for the Dance Biennale 2016). He curated the symposium Spazio Ergonomico at the Biennale Danza 2016.

DOM- with Antonio Moresco (IT)

Art is about making everything false and seeming true.
Art is to make everything true and seem false.
“Realism is the impossible” – W. Siti

After the great success of the last season, the extraordinary operation of DOM- returns, which, starting from the graphic novel by Jiro Taniguchi, builds a dramaturgy of spaces in which to let explode the border between centre and suburbs, between urban and third landscape, between human and non-human.

A man, the writer and playwright Antonio Moresco, walks through the city. Through his journey, the landscape opens up and hides from the eyes of the public, who follow him at a distance, as if to spy on him, poised between identification and detachment.

The spaces follow one another as in an uninterrupted sequence – a square, a station, a cathedral, an uncultivated field, a swamp, a public swimming pool, a motel. The living experience of walking becomes the pretext for a hand-to-hand encounter with reality.

 

A ZONA K and Danae Festival project
Urban, itinerant performance for 15 spectators only.

 

Conceived, dramaturgy and direction by DOM- / Leonardo Delogu, Valerio Sirna Production Teatro Stabile dell’Umbria, ZONA K, Danae Festival, Terzo paesaggio With Antonio Moresco and with Paola Galassi and Isabella Macchi With the participation of the students of ITAS Giulio Natta of Milan Organisation and guidance Francesca Agabiti Freely inspired by the comic strip by Jiro Taniguchi – L’uomo che cammina Unpublished texts by Antonio Moresco Video project Studio Azzurro Edited by Alberto Danelli, Laura Marcolini, Martina Rosa Original music Fabio Zuffanti Sound processing Lorenzo Danesin Collaboration Museo Del Novecento, Milano Sport, Abbazia di Chiaravalle, Hotel Corvetto With the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia (a project of Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire)

 

 

DOM- is a project born in 2013 from the collaboration between the artists Leonardo Delogu, Valerio Sirna and Hélène Gautier. It investigates the language of the performing arts, with particular attention to the relationship between body and landscape, and is committed to the transmission of peculiar practices of dwelling, linked to the space and time of artistic creation. DOM- builds performance events, seminars, walks, writings, gardens, installations, videos, photographic reportages.

Antonio Moresco, Italian writer [Mantua, born 1947]. After completing a difficult apprenticeship, which he recounts in Letters to No One (1997), critically documenting the difficulty of emerging from the condition of being a writer.
After completing a difficult apprenticeship, which he describes in Lettere a nessuno (1997), critically documenting the difficulty of emerging from the condition of being an underground writer rejected by the Italian publishing world, in 1993 he published the collection of short stories Clandestinità (Clandestinity), in which the themes that underpin his work are already present, rendered in a dry and hyper-realistic style that increases its dramatic impact: loneliness, first and foremost, crossed by a dimension of dreaming as estrangement from the self, which is accompanied by the recurring motif of a frantic search for meaning that unravels through oblique and unstable paths. The fulcrum of Moresco’s work revolves around the vast work Giochi dell’eternità (Games of Eternity), written over a period of 35 years, consisting of Gli esordi (1998), Canti del caos (published in two volumes in 2001 and 2003) and Gli increati (2015). His other works include: La cipolla (1995), Lo sbrego (2005), Scritti di viaggio, di combattimento e di sogno (2005), Merda e luce (2007), La lucina (2013), Fiaba d’amore (2014), I randagi (2014), Piccola fiaba un po’ da ridere e un po’ da piangere (2015), L’addio (2016), Fiabe da Antonio Moresco (2017) and, both in 2018, L’adorazione e la lotta and Il grido.
Founder in 2003 of the blog Nazione indiana, in 2005 he created the online and print magazine Il primo amore.

Andy Field (GB)

“A one-to-one meeting with a view of the city”.

Created in collaboration with a local school, Lookout is a one-to-one meeting between an adult, from the audience, and a child. An exchange between two people, who might not normally meet, that takes place on top of a building in Milan where together they look down on the city and imagine the future.
The conversation they share is a quiet journey through the past, present and future guided by the streets and landmarks laid out in front of them.
Through dreams of utopian architecture and possible catastrophes, hopes and fears, fashions of the future, proposed demolitions and real and imagined advances, they explore two very different versions of the city they both live in.

Lookout is an attempt to consider the big questions in a small way, to rediscover with a different gaze our Milan that we normally call home.
This version was developed through a workshop with the pupils of the third grade class of the I.C. Vittorio Locchi in Milan, who take part in the performance.

So far Lookout has been presented in: England, New Zealand, Egypt, Lithuania, Estonia, China, Shanghai, Vancouver. This version has been developed through a workshop with the fourth grade students of I.C. Vittorio Locchi in Milan who take part in the performance.

 

A project ZONA K and STANZE

c/o covered terrace Best Western Hotel Blaise & Francis, Via Enrico Annibale Butti, 9 (Dergano district).

 

Concept Andy Field Production Beckie Darlington Music and sound Tom Parkinson Dramaturgy Sybille Peters With the extraordinary participation of Class IVB I.C. Vittorio Locchi via Passerini: FRANCESCO, YAMAL, CRISTIAN, OLIVIA, DAVIDE C., DAVIDE D., ARAME, ADAM, RAHUL, KSENIA, MATTEO, ALESSANDRA, ANNA, LEONARDO, SABRINA, FEDERICO, BRIANA, VICTOR

 

Andy Field is an artist, writer and art curator based in London. He creates projects that aim to consider our relationships both with the spaces we inhabit and the people around us. He works primarily with children and young people. He has created interactive projects for families at the Natural History Museum in London, the Southbank Centre and the Arnolfini Gallery in Bristol. He is co-director of the Forest Fringe and writes for The Guardian and The Stage and Contemporary Theatre Review.

 

Go to MASTERCLASS

Berlin (BE)

Ukraine. About a thousand inhabitants have returned to the contaminated territories of the Exclusion Zone within a 30 km radius of Chernobyl. They are called samosiols: those who have returned.

Pétro and Nadia never left.

When journalist and writer Cathy Blisson met them in 2009, Pétro and Nadia (both in their eighties) were the only two inhabitants of a ghost village just 4km long. Following the nuclear disaster that exploded on the night of 26-27 April 1986, Zvizdal was declared unfit for human habitation. A dramatic event that affected the lives of hundreds of thousands of Ukrainians, Russians and Belarusians. Status: officially designated for evacuation.

25 years after ‘Chernobyl’, Pétro and Nadia still live there, alone, surrounded by a forest that is slowly growing old with them. In the company of a guard dog, a skinny cow, a llama and a few chickens, they spend their days invoking Stalin and all the saints, waiting for the village to repopulate sooner or later.

A long-term project (from 2011 to 2015), Zvizdal unfolds through the passing of the seasons in a world where danger, invisible, is everywhere. A reflection on isolation, the question of survival, solitude and waiting for death.

 

Multimedia performance – in Italian
In collaboration with and c/o
Olinda/TeatroLaCucina, Ex O.P. Paolo Pini – via Ippocrate, 45

 

 

Concept: Bart Baele, Yves Degryse, Cathy Blisson With Nadia Pylypivna Lubenoce and Pétro Opanassovitch-Lubenoc Scenes Manu Siebens, Ina Peeters, Berlin Interviews Yves Degryse, Cathy Blisson Camera and editing Bart Baele, Geert De Vleesschauwer Sound recording Toon Meuris, Bas de Caluwé, Manu Siebens, Karel Verstreken Translation Olga Mitronina Music composition Peter Van Laerhoven Co-production Het Zuidelijk Toneel (Tilbourg); PACT Zollverein (Essen); Dublin Theatre Festival; Kunstenfestivaldesarts (Brussels); BIT Teatergarasjen (Bergen); Künstlerhaus Mousonturm (Francfort-sur-le-Main); Theaterfestival Boulevard (Den Bosch); Brighton Festival; Onassis Cultural Centre [Athène, GR]; Le CENTQUATRE-PARIS Co-production Le CENTQUATRE-PARIS; Festival d’Automne à Paris In collaboration with deSingel (Anvers) With the support of Gouvernement Flamand.

The show premiered on 12 May 2016 at Kunstenfestivaldesarts (Brussels)

 

Founders of BERLIN in 2003, directors 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.

Kokoschka Revival (IT)

In Italian language there are the three S’s that many fight for: Soldi (Money), Sesso (Sex), Successo (Success). Online entertainment workers are a growing phenomenon.

Kokoschka Revival is working on the development of its latest production, a multimedia show that investigates the bizarre forms of live streaming entertainment and the phenomenon of monetising one’s image on online platforms.

It is a work that tells the story of two girls who work and live their daily lives in virtual space: two fighters who never look each other in the eye, even though they absurdly share the same space in the real world. In the era of branding the self, of dominant individualism, of the intimate and inseparable smartphone… YouFight! What are you fighting for?

YouFight! is a platform, where each user fights for a living and earns money, which he receives in the form of credit/Like from his audience (we call this currency Energy Coin). Everyone can propose the fighting game they want, and our two protagonists compete in Chess Boxing: a sport in which a round of Boxing and a round of Chess alternate. On the same platform as YouFight! you can spend your free time on other immersive entertainment services, to be enjoyed in solitude but always under the eyes of an audience.

 

Multimedia show –  In Italian
Followed by an informal participatory session of about 60 min, where the public can try out the interactive technologies.

 

 

with Ondina Quadri, Alice Raffaelli conception and direction Ana Shametaj composition music and design sound interactions Andrea Giomi graphics and design video interactions Fabio Brusadin mentor design of interactive systems Stefano Roveda dramaturg and lighting design Riccardo Calabrò scenes and costumes Marialuisa Bafunno, Giulio Olivero development of m0k1 smartphone application. pw production Kokoschka Revival with the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia (a project of Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire) 

 

Kokoschka Revival is an interdisciplinary artistic collective founded in Milan in 2013, whose research moves transversally in a dialogue between theatre, cinema and experimental music. To date, the productions consist of theatre shows, performances, experimental films and parties/happenings. The collective’s shows have been produced in national and international residencies, mainly in France and Denmark. From 2015 to 2017, the collective organized numerous parties and performance events in Macao (Milan), proposing its own idea of artistic programming.

 

SPECIAL RESIDENCIES TECHNOLOGY

 

Cinzia Pietribiasi (IT)

During her residency at ZONA K, Cinzia Pietribiasi worked on a project she had been imagining for some time: a performance that could tell the story of a relationship. That of a daughter with her father. No representation, no characters: a story that is not told but rather traversed. The narration proceeds in fragments, images from memory, historical events and covers a period of time from 1979 to 1992. But Father of Love Father of Mud is present life. The spectators are summoned to be witnesses of an act of love that takes place in the creative process and ultimately in the performance itself. If there is a meaning, the only salvation lies in a collective hymn to life.

 

FIRST STUDY.
Digital performance and intermediate installation

 

by Cinzia Pietribiasi production Company Pietribiasi/Tedeschi co-production DAF Teatro dell’Esatta Fantasia With the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia (a project of Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire) performer Cinzia Pietribiasi sounds Giorgia Pietribiasi images Ayanta Noviello, Cinzia Pietribiasi scenes Giulia Drogo odours Marco Ceravolo light design Davide Cavandoli assistant performer Lidia Zanelli dramaturgical consultancy Pierluigi Tedeschi audio editing Alfredo De Vincentiis stage photos Pietro Baroni Thanks to Stefan Kaegi for tutoring, for advice and suggestions Lola Arias, Alina Marazzi, Franco Ripa di Meana, Filippo Ceredi, Lorenzo Belardinelli We would also like to thank Spazio Quarantanove and Via Roma Zero in Reggio Emilia, Unzalab in Milan, Alfonso Burzacchiello

 

Cinzia Pietribiasi, multidisciplinary and multimedia performance artist, was born in Vicenza in 1979. Today she lives in Emilia. She uses multimedia, especially video language and techniques, both as an artist and in her workshops with primary and secondary school students and psychiatric users. She obtained a master’s degree in Conservation of Cultural Heritage, a university master’s degree in Clown Therapy and a university master’s degree in theatre techniques as a tool for educational activities. She is currently enrolled in the two-year specialist course in New Technologies of Art at the Brera Academy of Fine Arts in Milan. In 2012, her solo “Io sono qui” was among the semi-finalists of Premio Gd’A Emilia Romagna. In the same year he founded the Pietribiasi/Tedeschi Company, an independent and self-produced company whose productions range from multimedia theatre to civil theatre.

 

SPECIAL RESIDENCIES TECHNOLOGY

“Intercettazioni” – Centro di Residenza Artistica della Lombardia: a project by Circuito CLAPS and Industria Scenica, Milano Musica, Teatro delle Moire, ZONA K, with the contribution of Regione Lombardia, MiBAC and Fondazione Cariplo.

FOCUS TECHNOLOGY

On the date of December 31, 1982, Isaac Asimov wrote in the Toronto Star newspaper. He narrated about how the world would have been in 2019. The focus being on if humanity will have survived a nuclear war, or how technology and IT innovation would have radically changed our way of living and working. The people of 2019 would have just been working on developing and studying implications of Artificial Intelligence and its applications.

Surely, for so many aspects he was right. Nowadays, AI is already part of our reality: domotic or home automation, siri, autonomous vehicles, robots. Are all of these simply tools that can guarantee people more free time and freedom or could they become dangerous antagonists of humankind in a near future? Is it possible that a machine develops wishes and could be looking for its own power or to substitute its own creator?

Scientists and experts are divided, some see such dangers as very probable, while others as not possible. We are not taking a position on this, but we are focusing on how smart technologies are already significantly affecting our life and how we interface with the world.

Is it all just about economic benefits, simplifications, working opportunities not possible before? Or should we also account for the fact that, under the surface of the friendly AI, there are hidden algorithms that already control the vast majority of the global financial transactions……social networks, news credibility, our world vision, as well as the mood – positive or negative – of billions of human beings, that can forecast human behavior and, based on such data, send out personalized promotional ads, manipulate minds, suggest actions to humans unaware of it all” (Luca De Biase)?

 

8 – 10 November 2019
ZONA K, CODICEFIONDA + AGRUPACIÓN SEÑOR SERRANO
PLAY ME (ORIGINS PROJECT)
[performance]

22 – 24 November 2019
CLAUDIO TOLCACHIR (AR)
PRÓXIMO

A ZONA K and Teatro Franco Parenti project
[show] c/o Teatro Franco Parenti

SPECIAL RESIDENCES TECH

  • 21 – 22 November 2019
    CINZIA PIETRIBIASI (IT)
    PADRE D’AMORE PADRE DI FANGO
    [show]
  • 29 – 30 November 2019
    KOKOSCHKA REVIVAL (IT)
    YOU FIGHT!
    [show]
  • 6 – 10 December 2019
    IMAGINOMETRIC SOCIETY(IT)
    THE MILAN EXPERIMENT
    [performance] c/o Sala delle adunanze dell’Istituto Lombardo, via Brera 28 

 

HATE RADIO
Teatro, Storia e Media

Sorry, this entry is only available in Italian.

Mai prima d’ora ho sentito la storia arrivare così vicino … Se hai mai avuto la possibilità di partecipare a uno degli spettacoli di Milo Rau, ti consiglio caldamente di farlo.” [De Correspondent]

Nel 2006 Milo Rau iniziò a occuparsi di quanto accaduto in Rwanda, per sei mesi fece ricerche approfondite e scrisse dozzine di inizi, ma alla fine si arrese nell’incapacità di tradurre in performance un avvenimento così violento e incomprensibile. Solo nel 2010 – mentre stava terminando il film The Last Days of the Ceausescous – individuò nello studio della Radio-Télévision Libre des Mille Collines (RTML) il luogo dal quale raccontare la verità sul genocidio. Basato su trasmissioni in tempo reale e su racconti autentici, Milo Rau porta la storia molto vicino a noi.

Se ne discute con Milena Kipfmüller e Diogène Ntarindwa, drammaturga e attore di Hate Radio, Roberta Carpani, docente di Storia del Teatro Università Cattolica di Milano, Danilo De Biasio, giornalista e direttore Festival dei Diritti Umani, Lapsus, laboratorio di analisi storica del mondo contemporaneo.
Incontro realizzato con il sostegno dell’Istituto Svizzero.

Ingresso libero c/o ZONA K

60+ Corso di teatro,
scrittura e movimento creativo di ZONA K

Sorry, this entry is only available in Italian.

Il corso di teatro, scrittura e movimento creativo 60+  quest’anno è all’insegna della TRASGRESSIONE: andare oltre, superare i limiti, gli ostacoli, le linee tracciate. Esploriamo il tema della trasgressione attraverso spunti testuali, musicali, artistici e attraverso la nostra esperienza… reale o immaginaria. Il teatro, la scrittura drammaturgica, il movimento ci condurranno in questo viaggio per costruire insieme una performance oltre ogni confine!

Il corso prevede lezioni di teatro, improvvisazioni sceniche, scrittura collettiva e individuale, movimento creativo.

Al termine del corso è prevista una restituzione scenica del lavoro.

 


Le lezioni di 90 minuti si svolgono il lunedì dalle ore 14.00 alle ore 15.30.
Costo € 400,00

Agevolazioni:
Sconto del 10% per iscrizioni entro il 15/09/21
Sconto del 5% per iscrizione unica soluzione e per iscritti anni precedenti
Possibilità di suddividere la quota in due rate durante l’anno

Gli sconti non sono cumulabili.
Il corso si attiverà al raggiungimento del numero minimo dei partecipanti.

Lezione di prova gratuita 3 ottobre solo su prenotazione.
Contatti: organizzazione@zonak.it – 02.97378443

Se invece non hai dubbi, iscriviti subito e compila il modulo online cliccando QUI

Il percorso è strutturato in 20 lezioni di 1h30 ciascuna da ottobre a marzo 2022 e prevede una restituzione pubblica finale.
Sarà condotto da una drammaturga/regista e da un’insegnante di movimento creativo.

 


In caso di sospensione delle lezioni in presenza il modulo sarà completato con incontri online della stessa durata: i corsi sono stati pensati e strutturati prevedendo questa possibilità. Le eventuali lezioni online saranno al massino 3. Se la sospensione dovuta all’emergenza sanitaria dovesse perdurare, non verranno attivate ulteriori lezioni in modalità online. Le lezioni annullate verranno quindi recuperate in presenza e -se questo non fosse possibile per motivi legati all’Associazione- rimborsate. Non è previsto alcun rimborso per assenze o per mancata partecipazione alle lezioni online previste.

CHIAMATA PUBBLICA
WORKSHOP MY DOCUMENTS
di LOLA ARIAS

Sorry, this entry is only available in Italian.

IL LABORATORIO
My Documents ha un formato essenziale: l’artista è sul palco con i suoi documenti.

Il workshop è rivolto a quegli artisti interessati a sviluppare una Lettura-Performance che parte da un archivio personale, da un’esperienza radicale, da una storia che li ossessiona segretamente per dare vita a ricerche che altrimenti resterebbero perse in una cartella senza nome sul computer.

Il workshop esplora, seguendo il genere della Lettura-Performance, il contagio tra arte concettuale, ricerca, teatro e propone uno spazio dove possono coesistere espressioni artistiche nate dalle diverse discipline.

 

I PARTECIPANTI
Il laboratorio è rivolto ad artisti di tutte le discipline (teatro, musica, arti visive, film, letteratura) che vogliono lavorare alla creazione di una Lettura-Performance.

Saranno selezionati 12 artisti che presenteranno un progetto basato su un’indagine personale, il diario di un’esperienza, una storia vera, propria o di qualcun altro, un’idea non realizzata, ecc.

 

COME PARTECIPARE
Per partecipare, spedisci entro e non oltre il 4 novembre 2018 a info@zonak.it una biografia di 200 parole e un testo di massimo 250 parole per descrivere il progetto che vuoi realizzare e allega vari materiali (foto, video, testi).

Biografia e testo devono essere inviati in lingua inglese.

La selezione sarà annunciata via e-mail e sul sito web di ZONA K dal 9 novembre 2018.

 

ORARIO DEL LABORATORIO
Da martedì 20 a sabato 24 novembre, tutti i giorni dalle 10:00 alle 14:00

 

RESTITUZIONE PUBBLICA
Sabato 24 novembre 2018, dalle 20.00 alle 22.00 a ZONA K

 

Importante: il workshop sarà tenuto in inglese.

E’ gradita la conoscenza della lingua; è comunque prevista la traduzione a braccio.

 

 

Lola Arias (1976) è una scrittrice, regista teatrale e performer. Collabora con artisti di diverse discipline in progetti musicali, cinematografici e artistici. Le sue produzioni giocano con le zone di sovrapposizione tra realtà e finzione. Lavora con attori, poliziotti, mendicanti, musicisti, ballerini, prostitute, bambini e animali. In Striptease (2007) il protagonista è un bambino, che striscia sul palco mentre i suoi genitori litigano al telefono. In El amor es un francotirador (2007), gli artisti raccontano storie d’ amore vere e fittizie mentre una rock band suona dal vivo. In Mi vida después (2009), sei artisti ricostruiscono la giovinezza dei loro genitori negli anni’ 70 in Argentina con foto, lettere, cassette e vecchi vestiti. In Cile ha messo in scena L’ anno in cui sono nata (2012), sulla base delle biografie di persone nate durante la dittatura di Pinochet. La sua opera L’ arte di fare soldi (2013) è stata eseguita da mendicanti, prostitute e musicisti di strada dalla città di Brema. I suoi progetti con Stefan Kaegi sono Chácara Paraíso (2007) che coinvolge agenti di polizia brasiliani, e Airport Kids (2008) con nomadi di età compresa tra i 7 e i 13 anni. Tra il 2010 e il 2012, insieme hanno curato un Festival di interventi urbani Ciudades Paralelas a Berlino, Buenos Aires, Varsavia, Zurigo, Singapore e altre città. I suoi testi sono stati tradotti in più di sette lingue e le sue opere teatrali sono state realizzate in diversi festival tra cui Steirischer Herbst, Graz; Festival d’ Avignon; Teatro Spektakel, Zurigo; Wiener Festwochen; Spielart Festival, Monaco di Baviera; Alkantara Festival, Lisbona; Radicals Festival, Barcellona, Under the radar, New York. E in luoghi come: Theatre de la ville Paris, Red Cat LA, Walker Art Centre Minneapolis, Museum of Contemporary Art Chicago. Insieme a Ulises Conti compone e suona musica e ha pubblicato diversi album.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

EUTROPIA + VANITAS

Ultimo appuntamento con la rassegna di danza contemporanea “it’s a little bit messy”.

PROGRAMMA DELLA SERATA:

EUTROPIA
di MariaGiulia Serantoni
+
VANITAS
di Francesca Penzo.
+
Incontro “Fattoria Vittadini a confronto. Il tema dell’identità contemporanea e le sfide del futuro di questa realtà della Danza Milanese”.
Interviene Alessandro Pontremoli
+
Aperitivo per festeggiare tutti insieme i 10 anni del gruppo Fattoria Vittadini!

Prenotazioni: biglietti@zonak.it

TORTE IN FACCIA

Facciamo un film comico insieme!
Dopo il successo del campus estivo “Bucce di banana” (guarda il video), facciamo un film anche d’inverno!
Anzi, due!


Dal 27 al 29 gennaio campus video natalizio iscrizioni chiuse
Dal 2 al 5 gennaio campus video di Capodanno

Costruiremo insieme una storia: sceglieremo le inquadrature, inventeremo gag divertenti, scriveremo titoli e battute e infine comporremo le musiche.

Ciak, si gira!

I protagonisti di questo video sarete proprio voi!

Prendendo spunto dalle comiche dei film muti, impareremo ad esprimerci attraverso il corpo e il viso.
Tra scivoloni, risate e torte in faccia, gireremo un breve film che verrà proiettato a ZONA K in primavera.

Costo campus natalizio: € 140,00
Costo campus di Capodanno: € 160,00

Iscrivendosi ad entrambi i campus si ha diritto ad uno sconto del 10%
Per info sul campus video di Capodanno scrivi a organizzazione@zonak.it e prenota il tuo posto!

Rimini Protokoll (DE/CH)

Rimini Protokoll [Haug/Kaegi/Wetzel] production.

What is Europe really? A geographical border, a cultural identity, a coalition of states? It is often said that Europe is too theoretical an idea for individuals to talk about from their own experience. Rimini Protokoll contrasts this abstract idea of Europe with the individuality and intimacy of a private flat. 15 people take part in a living room performance, a sort of guided role play, which interweaves personal stories and political mechanisms of Europe in an attempt to answer the question: how much Europe is in all of us?

 

 

Each show takes place in a different house, travelling through hundreds of flats all over Europe, building a network that extends from door to door across the continent rather than starting from a centre.

The elements and images collected during the visits will be shared, anonymously, online at www.homevisiteurope.org, thus implementing a constantly developing European archive.

 

In collaboration with STANZE

c/o private houses in the city of Milan
The exact address will be communicated by sms the day before the beginning of the show.

30 September h. 20.00 + 1 October 2017 h. 17.00
then every Wednesday and Thursday from 4 to 26 October 2017 h. 20.00

30 settembre: ZONA ISOLA esaurita
1 ottobre: ZONA CENTRALE
4 ottobre: ZONA BOVISA esaurita
5 ottobre: ZONA NAVIGLI esaurita
11 ottobre: ZONA DERGANO esaurita
12 ottobre: ZONA P.TA ROMANA esaurita
18 ottobre: ZONA GARIBALDI esaurita
19 ottobre: ZONA CENTRALE esaurita
25 ottobre: ZONA GARIBALDI esaurita
26 ottobre: in via di definizione esaurita

 

 

Conception, text, direction: Helgard Haug, Stefan Kaegi, Daniel Wetzel Dramaturgy: Katja Hagedorn Interaction Design: Claes Schwennen, Mirko Dietrich, Hans Leser, Grit Schuster Assistant Interaction Design: Philipp Arnold Set Design: Lena Mody, Belle Santos Assistant Set Design: Ran Chai Bar-zvi Production: Juliane Männel, Anna Florin Technical Direction: Sven Nichterlein Web Design: Tawan Arun + Ralph Gowers (Programming) Artistic Collaboration Tour Milano: Anton Rose, Claes Schwennen Web Editing: Anton Rose Photo credits: © Rimini Protokoll / Illustration: María José Aquila, © Pigi Psimenou, © Expanderfilms, © Pigi Psimenou, © Expander films
For Milan: readaptation text Valentina Kastlunger, masters of ceremony Andrea Panigatti and Enrico Pittaluga (Generazione Disagio), technical support Alice Marinoni, Silvia Orlandi

Home Visit Europe is a production of Rimini Apparat. In coproduction with Archa Theatre Prague (CZ). BIT Teatergarasjen/Bergen International Festival (NO). Frascati Teater Amsterdam (NL). HAU Hebbel am Ufer Berlin (D). Kaaitheater Brussels (BE). LIFT London (GB). Malta Festival Poznan (PL). Mungo Park (DK). Sort/Hvid (DK). Teater Nordkraft (DK). Théâtre de la Commune Aubervilliers (FR). Théâtre Garonne (FR). Teatro Maria Matos (PT). A House on Fire commission / co-production with the support of the Cultural Program of the European Union. The project is supported by Capital Culture Fund Berlin.

 

 

Rimini Protokoll is today perhaps the most awarded artistic collective in Europe and a fundamental point of reference for all avant-garde theatre. Its members, Helgard Haug, Stefan Kaegi and Daniel Wetzel, came together in 2000 to form a collective of writer-directors. Since 2002, all their works – plays, radio plays, films and installations – have been signed Rimini-Protokoll. The focus of their research is the development of the expressive means of theatre to provoke new looks at reality. Each work draws on real life and uses elements and people from concrete situations and specific places. Thus Haug, Kaegi and Wetzel proclaim a general assembly of Daimler-Benz a play and, in doing so, transform it into one; they realise the 100% City project by bringing 100 real citizens onto the stage as a statistical sample to represent, among others, cities such as Berlin, Zurich, London, Melbourne, Copenhagen or San Diego. Or they go on tour with a group of Nigerian-European businessmen for the Lagos Business Angels project and with the paraplegic MC Hallwachs for the play Qualitätskontrolle (Haug / Wetzel) or create soundtracks for the most diverse cities in the world with the REMOTE X project (Kaegi). In April 2008 they won the European Theatre Prize in Thessaloniki in the category “New Realities”, and in 2011 the entire work of Rimini-Protokoll was awarded the Silver Lion at the 41. Venice Theatre Biennale.

Corso di Teatro
TAM TAM

Sorry, this entry is only available in Italian.

TAM TAM è il corso dove il teatro incontra la musica, l’arte e il movimento per giocare insieme e scoprire tante possibilità espressive.

Corpo e voce, movimento e ritmo, immagini e parole, rap ed effetti sonori quest’anno ci aiuteranno a creare e raccontare le storie degli oggetti che stanno intorno a noi, per realizzare un gioco performativo multidisciplinare: CLANG! PUF! SBAM! COSA DICONO LE COSE.

Il percorso teatrale – con l’interazione di diverse discipline artistiche – mira a stimolare la fantasia a partire dall’osservazione del quotidiano, a conoscere codici e significati, a sperimentare attraverso l’improvvisazione guidata e a formalizzare il lavoro per una restituzione davanti a un pubblico di genitori e amici, strutturando le attività e le proposte in base all’età dei bambini.

 


PROVA GRATUITA SU PRENOTAZIONE OBBLIGATORIA
6 – 7 anni: lunedì 19 o 26 settembre
8 – 10 anni: mercoledì 21 o 28 settembre
organizzazione@zonak.it – 02.97378443


Le lezioni si svolgono sempre il lunedì per la fascia d’età 6 – 7 anni, e il mercoledì per la fascia 8 – 10 anni; in entrambi i giorni l’orario è dalle 17.15 alle 18.15.
Il corso è annuale e prevede 28 appuntamenti totali compresa la lezione di prova e si attiva al raggiungimento del numero minimo dei partecipanti.

Per effettuare l’iscrizione, compila il modulo online QUI

Costo € 450,00.

Agevolazioni:
Sconto 20% per iscrizione entro il 15 settembre con pagamento in unica rata;
Sconto 15% per iscrizione con pagamento unica rata;
Sconto 10% per iscrizione secondogeniti e iscritti anno precedente con pagamento in unica rata;
Sconto 5% per iscrizione entro il 15 settembre, secondogeniti e iscritti anno precedente con pagamento in due rate.
Gli sconti non sono cumulabili.

E’ possibile utilizzare un voucher Eden Red.

 

Corso di Teatro
TAM TAM

Sorry, this entry is only available in Italian.

Che suono ha un quadro? Come si muove un’immagine? Sai ballare come un colore?

A Sottosopra niente è come sembra: qui ci sono opere d’arte da guardare e… da ascoltare! Trasformati anche tu in un’opera d’arte, trova il ritmo e le parole…scoprirai una storia ogni volta diversa.

Attraverso suggestioni visive, i bambini saranno stimolati a esplorare lo spazio, il ritmo, il suono, sperimenteranno la propria voce e l’espressività del gesto e lavoreranno su coppie di opposti: lento e veloce, piano e forte, sotto e sopra, lontano e vicino.

Un percorso di avvicinamento al TEATRO, giocando con l’ARTE e il MOVIMENTO CREATIVO.

Al termine del percorso annuale è prevista una restituzione aperta a un pubblico di genitori e amici per far conoscere anche a loro il mondo di Sottosopra.

 


PROVA GRATUITA SU PRENOTAZIONE OBBLIGATORIA
lunedì 19 o 26 settembre
organizzazione@zonak.it – 02.97378443


 

Le lezioni hanno una durata di 45 minuti e si svolgono il lunedì dalle ore 16.15 alle ore 17.00.
Il corso è annuale e prevede 28 appuntamenti totali compresa la lezione di prova e si attiva al raggiungimento del numero minimo dei partecipanti.

Per effettuare l’iscrizione, compila il modulo online QUI

Costo € 400,00.

Agevolazioni:
Sconto 20% per iscrizione entro il 15 settembre con pagamento in unica rata;
Sconto 15% per iscrizione con pagamento unica rata;
Sconto 10% per iscrizione secondogeniti e iscritti anno precedente con pagamento in unica rata;
Sconto 5% per iscrizione entro il 15 settembre, secondogeniti e iscritti anno precedente con pagamento in due rate.
Gli sconti non sono cumulabili.

E’ possibile utilizzare un voucher Eden Red.

 

 

Corso di teatro e video
TEEN IN ACTION!

Sorry, this entry is only available in Italian.

Parole, azioni, idee, immagini: si va in scena con il corso di teatro e video TEEN IN ACTION!

Il percorso artistico è organizzato in due moduli. Il filo conduttore di entrambi è il tema dell’identità, un gioco di ruolo attraverso il linguaggio della scena e il video, per scoprire le diverse possibilità di espressione che questi strumenti possono offrire.

 


U PERFORM! Modulo #1 di 14 incontri per esplorare il linguaggio teatrale
In quanti modi puoi raccontarti e raccontare? Con quali personaggi, oggetti, immagini, azioni, parole?

U PERFORM! ti permetterà di esplorare i linguaggi della scena. Dalla scrittura al corpo, dalla parola alla voce, dalla luce alle immagini. Lavoreremo sul tema dell’identità e costruiremo insieme una performance dal vivo utilizzando tutti gli strumenti che abbiamo a disposizione, tra realtà e immaginazione.

Il modulo prevede: improvvisazioni teatrali, improvvisazioni di scrittura, elementi di messa in scena, utilizzo di strumenti audio e video, costruzione e rappresentazione di una performance dal vivo come restituzione finale.


 U SHOOT! Modulo #2 di 15 incontri per esplorare il linguaggio video
Chi sono? In che cosa mi identifico? Che cosa ho in comune con gli altri e in che cosa mi sento diverso? Cosa mi piace, cosa non sopporto?
Scrittura, interpretazione, regia, montaggio, questo è U SHOOT!: ognuno di questi linguaggi è un modo diverso per raccontare e raccontarsi. Tra realtà e finzione sarete sia attori sia autori: pronti a realizzare il vostro cortometraggio?

Il modulo prevede: elementi di sceneggiatura, esercizi di scrittura cinematografica, recitazione, esercizi di montaggio video, realizzazione di un cortometraggio.

 


Le lezioni di 90 minuti si svolgono il martedì dalle ore 18.30 alle ore 20.00.
settembre 2021 – gennaio 2022 MODULO 1  = 13 lezioni + prova
febbraio – maggio 2022 MODULO 2 = 14 lezioni + prova
Costo MODULO € 250,00 cad.

Agevolazioni:
Sconto del 15% per iscrizioni entro il 15/09/21 e per secondogeniti
Sconto del 10% per iscrizioni in unica soluzione ad entrambi i moduli
Gli sconti non sono cumulabili

  • Ogni modulo si attiva al raggiungimento del numero minimo dei partecipanti.
  • Gli iscritti al MODULO 1 dovranno confermare la partecipazione al MODULO 2 entro Natale 2021. Qualora rimanessero posti disponibili sarà possibile inserire nuovi partecipanti anche per permettere al laboratorio di proseguire.

Lezione di prova gratuita 28 settembre o 5 ottobre solo su prenotazione obbligatoria:
organizzazione@zonak.it – 02.97378443

Per effettuare l’iscrizione, compila il modulo online QUI


Verrà data priorità a chi seguirà entrambi i percorsi e in seguito – se dovessero esserci ancora posti disponibili- il secondo modulo potrà accogliere nuovi iscritti.
E’ possibile comunque partecipare soltanto al modulo 2 qualora ci siano ancora posti disponibili e in caso di rinuncia da parte di qualcuno del partecipanti al modulo 1. E’ prevista una lezione di prova per entrambi i moduli.
In caso di sospensione delle lezioni in presenza il modulo sarà completato con incontri online della stessa durata: i corsi sono stati pensati e strutturati prevedendo questa possibilità. Le eventuali lezioni online saranno al massino 3 per ogni modulo, quindi 6 in totale. Se la sospensione dovuta all’emergenza sanitaria dovesse perdurare, non verranno attivate ulteriori lezioni in modalità online. Le lezioni annullate verranno quindi recuperate in presenza e-se questo non fosse possibile per motivi legati all’Associazione- rimborsate. Non è previsto alcun rimborso per assenze o per mancata partecipazione alle lezioni online previste.
Il laboratorio è organizzato in modo da rendere felice e piacevole l’esperienza a tutte le bambine e tutti i bambini, garantendo la distanza fisica richiesta di 2mt tra i partecipanti o, laddove fosse necessaria, verrà richiesto l’uso della mascherina nel rispondere alle normative nazionali in relazione all’attuale emergenza sanitaria (DPCM del 17/05/2020 e del 11/06/2020 e Ordinanze della Regione Lombardia n. 547 del 17/05/2020 e n. 566 del 12/06/2020 e successive)
Informiamo i nostri utenti che dal 6 agosto 2021 sarà necessario essere in possesso di Cerficazione verde COVID-19 o Green Pass in corso di validità per accedere alle nostre attività (corsi e spettacoli sia al chiuso sia all’aperto) ai sensi del D.L.23 luglio 2021 n.105. Il Green Pass verrà controllato dal nostro staff tramite app dedicata. La Certificazione verde Covid19 non è richiesta ai bambini esclusi per età dalla campagna vaccinale (minori di 12 anni) e ai soggetti esenti sulla base di idonea certificazione medica.

Corso di teatro e video
TEEN IN ACTION!

Sorry, this entry is only available in Italian.

Azione, parola, scrittura, video e audio: il corso Teen in action! esplora i linguaggi della scena per costruire una performance multidisciplinare che nascerà da un lavoro collettivo.

Labyrinth è il tema su cui lavoreremo quest’anno con esercizi di scrittura per la scena, improvvisazione, recitazione e utilizzando anche strumenti come l’audio e il video per raccontare un viaggio in un luogo in cui perdersi, percorrere strade diverse, scoprire storie, immagini e suoni, ritrovarsi, decidere dove andare e poi magari cambiare idea, cercare una direzione, giocare sulla percezione che abbiamo di noi stessi e degli altri.

Il corso annuale prevede una restituzione a metà percorso che sarà l’anteprima del lavoro finale. La performance Labyrinth prevede l’ideazione di un gioco teatrale interattivo e partecipato costruito insieme ai ragazzi, che ne saranno anche i protagonisti.

 


PROVA GRATUITA SU PRENOTAZIONE OBBLIGATORIA
20 o 27 settembre
organizzazione@zonak.it – 02.97378443


Le lezioni della durata di un’ora e mezza ciascuna si svolgono sempre il martedì con orario dalle 17.00 alle 18.30.
Il corso è annuale e prevede 28 appuntamenti totali compresa la lezione di prova e si attiva al raggiungimento del numero minimo dei partecipanti.

Per effettuare l’iscrizione, compila il modulo online QUI

Costo € 500,00.

Agevolazioni:
Sconto 20% per iscrizione entro il 15 settembre con pagamento in unica rata;
Sconto 15% per iscrizione con pagamento unica rata;
Sconto 10% per iscrizione secondogeniti e iscritti anno precedente con pagamento in unica rata;
Sconto 5% per iscrizione entro il 15 settembre, secondogeniti e iscritti anno precedente con pagamento in due rate.
Gli sconti non sono cumulabili.

E’ possibile utilizzare un voucher Eden Red.

Campus Estivi
in Lingua Tedesca

Nei campus estivi di ZONA K gli strumenti dell’arte, del cinema, del suono e del movimento sono presentati in forma di gioco. Ogni settimana i bambini andranno alla scoperta del quartiere circostante per studiarlo con sguardo autentico e interpretarlo a misura di bambino attraverso il video, il suono, il gioco. Un insieme di giochi ed esperimenti all’insegna della creatività per aprire la testa a forme e idee sempre nuove. Iscriviti subito!

Informazioni e Iscrizioni:
Richiedi subito QUI il modulo d’iscrizione completo della proposta economica.

Dal 26 giugno al 30 giugno “Campus Video
Giochiamo con il corpo e la parola per inventare una storia, creare i personaggi, sperimentare i diversi ruoli all’interno di un set cinematografico, scegliere movimenti interessanti, le inquadrature, montare le immagini, le musiche, costruire suoni, rumori, canzoni e poi… ciack, si gira! Attraverso attività di ideazione, scrittura, movimento, costruzione di scene e costumi, uscite in quartiere a caccia di location e personaggi interessanti, in questo campus estivo i bambini di diverse fasce d’età lavoreranno insieme alla creazione di un video… tutto in tedesco!

Dal 3 al 7 luglio Campus Radio
In questa settimana di campus estivo inventiamo una radio: dalle redazioni alle interviste in quartiere, dalle musiche alle canzoni, dalle pubblicità alle notizie… tutto quello che occorre per far nascere una vera e propria trasmissione radio in tedesco! Le attività proposte sono volte a stimolare i bambini a utilizzare la lingua per creare un prodotto collettivo. Durante le gite in quartiere si andrà a caccia di storie e personaggi interessanti, alternando l’ideazione e la scrittura, all’uso della voce e al montaggio audio. E alla fine della settimana di campus estivo… Radio Isola FM sarà finalmente in onda!

Dal 10 al 14 luglio “Campus Gioco
Inventiamo le nostre Olimpiadi: durante questa settimana di campus estivo costruiremo e sperimenteremo insieme giochi, gare sportive e quiz, prove da superare e sfide da affrontare. Tutto per prepararci alle prime Olimpiadi dove le regole del gioco saranno interamente inventate dai bambini! Si alterneranno giochi linguistici e sportivi con l’obiettivo di utilizzare la lingua tedesca divertendosi. E l’ultimo giorno di campus… i giochi avranno inizio!

Orario:
a) dalle 8.00 alle 12.30 (senza pranzo)
b) fino alle 16.30 (con pranzo)

La giornata tipo:
08.00 – 09.00 accoglienza e gioco libero
09.00 – 12.30 uscita didattica o attività strutturata
12.30 – 13.30 pranzo
13.30 – 14.30 attività strutturata o uscita ai giardini
14.30 – 16.30 attività strutturata o gioco libero e gelato

NB: Le iscrizioni verranno registrate in base all’ordine di arrivo delle ricevute di pagamento. Il numero dei posti è limitato, le iscrizioni sono aperte fino al raggiungimento del numero max di iscritti.

Designed by Freepik

El Conde De Torrefiel (ES)

A project by ZONA K, Danae Festival and Triennale Teatro dell’Arte

A conference, a Thai-Chi class and an electronic music session: these are the three scenes that make up the play. There is no obvious conflict on stage, the battle has moved inside the mind. And in the depths of these inner spaces, where freedom is confined, there is a war of thoughts that wakes up every morning and falls asleep every night without ever being resolved.

Guerrilla observes the tensions experienced by Europe: incendiary thoughts of a space of comfort. If everything advances in an apparent state of peace in which there is a feeling of security, why do we involuntarily in our heads invoke war?

The play is written by combining fiction and documentary text, based on a series of interviews with a small group of people who share the same present and the same space, in this case the city of Milan.

 

 

conception El Conde De Torrefiel direction and dramaturgy Tanya Beyeler and Pablo Gisbert text Pablo Gisbert in collaboration with the volunteers of Milan assistant Nicolas Chevallier lighting design Ana Rovira scenography Blanca Añón sound Adolfo García assistance with choreography Amaranta Velarde music Pink Elephant on Parade, Salacot performers Amaranta Velarde and volunteers from Milan co-production Kunstenfestivaldesarts Brussels, Steirischer Herbst Festival Gratz, Noorderzon Festival Groningen with the support of the European project NXSTP and the support of Graner, Centre de creació Barcelona, ICEC – Generalitat de Catalunya, INAEM, Ministerio de Cultura de España, Institut Ramón Llull

 

El Conde De Torrefiel is a company founded in Barcelona in 2010 by Tanya Beyeler and Pablo Gisbert.
Their work is articulated through a textual and visual aesthetic where theatre, choreography, literature and plastic arts coexist. The starting point of the project lies in an analysis of the present and an immediate questioning of the possibilities of our time. The company’s latest works have been presented at major European festivals including Kunstenfestivaldesarts in Brussels, Festival d’Automne in Paris, Steirischer Herbst in Graz or Dublin Theater Festival.

 

With the support of

logo ramon llull  cultura_h2 INAEM 02 GRISES

Floor Robert/InQuanto teatro (IT)

“We are not free. We are locked inside our bodies. We are bound to our history. We are inevitably part of the past. We carry within us things that are no longer there. We accept this. But there remains the possibility of coming and going between what is real and what is fantasy. How much can we be influenced by this?”

Influenza is a show to look at like a picture book, letting the images transport you into an alternative world.

Memories, desires, fears, presences from the past, a mysterious yet familiar universe.
Floor Robert moves among these suggestions, retracing with his body events and situations, real or imaginary, hinting at and unravelling stories.

 

Accompanied, at times, by figures that seem to have come out of those stories. It is a journey inside a room, but you can suddenly find yourself in a meadow, in a forest, or in space. To see everything that does not exist but that, for this very reason, ultimately influences us.

 

 

a performance by inQuanto teatro | conceived and choreographed by Floor Robert | with Floor Robert, Giacomo Bogani, Francesco Michele Laterza | music by Manuele Atzeni | technique by Monica Bosso | costumes by Eva Sgrò | organisation and communication by Julia Lomuto | winner of the competition Sillumina – Copia privata per i giovani, per la cultura | finalist of the show DNA Appunti Coreografici | with the support of Fondazione Fabbrica Europa, CSC Centro per la Scena Contemporanea – Operaestate Festival Veneto, Romaeuropa Festival, Le Murate. Progetti Arte Contemporanea, spazioK_kinkaleri, Sosta Palmizi, Samotracia/Associazione Punto A Capo, Teatri Sospesi, CS376.

 

Floor Robert was born in Haarlem, Holland, and now lives in Florence. She has worked as a performer with Kinkaleri, Compagnia Tardito-Rendina, Marco D’Agostin and Angela Antonini and with the Dutch companies NNT and Paradox. In 2010 she was awarded a special mention in the Premio Hystrio. She is co-author of the shows of inQuanto teatro and famigliafuchè, companies she helped to create. Since 2014 she has started her own independent creation process. inQuanto teatro is an artistic collective founded in Florence in 2010, which deals with performance, education and art in the public sphere. Its works are characterised by a multidisciplinary and dramaturgical approach that mixes media culture and literary tradition.

Rimini Protokoll (DE/CH)

Quanta Europa c’è nei nostri ragazzi? Che idea di Europa abbiamo trasmesso? Pensano solo a confini geografi ci o immaginano palazzi di vetro pieni di politici?

Una grande mappa europea su un tavolo, un dispositivo elettronico e 15 partecipanti sono gli ingredienti per iniziare a giocare. Attraverso domande, giochi di ruolo, decisioni da prendere arriveremo a definire quanto ci sentiamo europei. Una performance/gioco che si svolge sempre in una casa diversa.

Gli elementi e le immagini raccolti durante le visite saranno condivisi, in forma anonima, on line sul sito www.homevisiteurope.org, andando così a implementare un archivio europeo in costante sviluppo.

c/o Case private della città di Milano (entro la circonvallazione esterna).
Questa data si svolgerà in ZONA BRENTA.


L’indirizzo esatto sarà comunicato via sms il giorno precedente l’inizio dello spettacolo.
Devi comunicare a ZONA K il tuo numero di cellulare su biglietti@zonak.it

 

Francesca Badalini

Riusciranno tanti strumenti diversi a mettersi d’accordo per suonare insieme inventando ritmi, suoni, note, rumori? E quale sarà la musica giusta per accompagnare le immagini di un cartone animato?

I bambini scopriranno il linguaggio della musica e dei suoni attraverso giochi ritmici di danza creativa.

Con strumenti veri e altri giocattolo, i bambini -guidati da una musicista e compositrice- formeranno una vera e propria band, che dovrà realizzare la colonna sonora di un breve film d’animazione.

I genitori sono tutti invitati al loro primo cine-concerto!

Laboratorio per bambin* da 4 a 7 anni
Ingresso: € 10,00 c/o ZONA K
prenotazioni: biglietti@zonak.it

 

Wolfgang Tillmans (DE)

“Dear friends, […] we have reached a critical moment that could prove to be a turning point for Europe as we know it.
turning point for Europe as we know it. […] Brexit could mean the end of the EU. It is an imperfect institution, but on the whole it stands for a democratic worldview, for human rights and fosters cooperation.”

With these words, German artist and photographer Wolgang Tillmans, winner of the Turner Prize, decided to take the field in May 2016 with an anti-Brexit advertising campaign.

Hundreds of posters, with slogans capable of attracting the attention of young people in particular, invaded the streets of the UK in an attempt to stem the rejection of Europe. Today, in the light of the facts, Tillmans is not backing down and is continuing the project in a Pro-EU version.

Is politics real?

A fake populist party, which appeared within a few weeks in 2010 in Estonia, received thousands of members and was given 20% in the pre-election polls. How was this possible? What role did the media play and what is our perception of politics? How much does political language now use the tools of fiction?

NO75 Unified Estonia touched on the fears and hopes and embodied the manipulations and delusions that underlie politics. Could it happen elsewhere today?

We talk about it with Daniel Vaarik (one of the creators of Unified Estonia) and Marcello Maneri (professor of Sociology of Cultural and Communicative Processes at Bicocca University). The meeting will be moderated by Danilo De Biasio.

 

Free entrance

Opera retablO (CH)

Köszeg, loosely based on Ágota Kristóf’s The Big Notebook, tells of identity, separation, of a humanity condemned to the limit, to the edge, and of its great capacity for resilience.

The protagonists of Köszeg are two brothers, indivisible and interchangeable as if they had only one soul. Two small adults with prodigious intelligence who, thanks to the logic of survival, develop a crystal-clear and brutal ethic of life. Around them move characters drawn with a few bare strokes in a context of hunger and death.

A hard performance where everything is made fierce and essential by a clear and direct acting. In the succession of images, always poised between adulthood and childhood, Köszeg proposes, through a strong resonance with current events and migratory flows, a raw, touching story that leaves no room for digressions and where love, war, violence, fragility, clandestinity, emigration, identity and loss of identity are the protagonists.

 

A creation: Opera retablO Director: Ledwina Costantini by and with: Ledwina Costantini and Daniele Bernardi costumes: Caterina Foletti scenography: Opera retablO and Michele Tognetti Production: Opera retablO in co-production with Teatro Sociale Bellinzona with the support of: Swisslos/ Pro Helvetia / Tognetti- auto/ Carthesio SA

 

Opera retablO was founded in 2008 in Sessa (Canton Ticino) and is a space that hosts and promotes artistic and cultural contaminations, born from the need to provide the creations of Ledwina Costantini, an actress-creator from Ticino, with a network of collaborations and an organisational and logistical structure. Opera retablO proposes creations poised between the innovative and the archaic; works that give substance to a modern and destabilising catharsis. The association’s activities take place nationally and internationally.

Bluemotion (IT)

Caffettiera Blu is a borderline disruptive exploration of theatrical language, ironically and painfully delving into family dynamics and the anguish of waiting and lying. The family relationship as deception and psychological torture is in our history as sons, daughters and parents, always and without escape.

The choice of placing a table in the centre as the only meeting place for the stories, and around it – on the four sides – the seated audience, including actresses and actors, is intended to nail us down in the obsessive voyeurism that the family bond continually imposes. The convergence of gazes on that table, the risk of crossing that of one of the actors or one of the spectators, stiffens the trajectory of looking, initially. Instead, we find ourselves abandoned and spying shortly afterwards.

So close up we see elements of realistic verisimilitude and others fantastically absurd alternating and confusing. The emotional laceration is confused with the process of deformation or explosion of the word, of vision, of the system of signs through which we mediate the world.

Caffettiera blu, based on the text of the same name by Caryl Churchill, questions the sovereignty of the text itself and reaffirms that of the actor and actress.

Director Giorgina Pi with Sylvia De Fanti, Gian Marco Di Lecce, Mauro Milone, Aglaia Mora, Laura Pizzirani, Simona Senzacqua voice-over Marco Cavalcoli costumes Gianluca Falaschi lights Giorgina Pi/Marco Guarrera sound dimension Valerio Vigliar sounds Michele Boreggi a BLUEMOTION/ANGELO MAI production with the support of SARDEGNA TEATRO within NON NORMALE, NON RASSICURANTE. CARYL CHURCHILL PROJECT curated by Paola Bono

 

Bluemotion is a group born in Rome within the artistic and political experience of Angelo Mai, winner of the Ubu Franco Quadri Prize 2016. Performers, directors, musicians and visual artists come together to create from their own suggestions, comparing their views on the present and on art. Bluemotion’s works are always collective creations, the result of the exchange and visions of the group’s members. Bluemotion creates, lives and shares in the independent art space Angelo Mai. The artists of Bluemotion are also activists in the field of human rights and the rights of workers in the performing arts.

EXTRA FOCUS

The Extra Focus category brings together those proposals that we have intended to welcome in the season but which due to theme or calendar (for both of these shows this is the case) cannot be included in the thematic focuses.

 

EXTRA FOCUS events

cancelled for health reasons of an actor
CAFFETTIERA BLU
Bluemotion (IT)

[show]

19 – 21 May 2017 h. 20.30
KÖSZEG
OPERA retablO (CH)
[performance].

25 May 2017 h. 20.30
INFLUENZA
Floor Robert/InQuanto teatro (IT)
[performance]

 

 

 

Milo Rau e CAMPO (CH/BE)

A project by ZONA K and Triennale Teatro dell’Arte

Milo Rau, one of the most popular and controversial directors of contemporary theatre, arrives for the first time in Milan with an ambitious project that starts from a cruel news story – linked to the figure of the paedophile and murderer Marc Dutroux – and comes to reflect on the materialisation of feelings on stage.

Milo Rau and the International Institute of Political Murder (IIPM) have conquered the biggest theatres in Europe in recent years with their uncompromising political theatre. Their work is based on first-hand accounts and reconstructions of real events that mercilessly tackle the great taboos of our time.

In collaboration with the Belgian production centre CAMPO, they have created Five simple scenes to recount a tragic episode in Belgian history. Five simple scenes, interpreted by children between the ages of 9 and 13, to show a disturbing image of contemporary society and reveal the limits of what children know, feel and do.

How can they really understand the meaning of manipulation, empathy, loss, subjugation, disappointment or rebellion? What does it mean to involve children in adult theatre? What happens when we watch them act? What does it reveal about our fears and desires?

In Flemish with Italian subtitles.
Due to the theme, the show is intended for an adult audience.
c/o TRIENNALE TEATRO DELL’ARTE – viale Alemagna, 6

 

 

Concept, text and direction Milo Rau text and performance Aimone De Zordo, Fons Dumont, Arno John Keys, Blanche Ghyssaert, Lucia Redondo, Pepijn Siddiki, Hendrik Van Doorn, Eva Luna Van Hijfte performance film Sara De Bosschere, Pieter-Jan De Wyngaert, Johan Leysen, Peter Seynaeve, Jan Steen, Ans Van den Eede, Hendrik Van Doorn & Annabelle Van Nieuwenhuyse dramaturgy Stefan Bläske assistant director and performance coach Peter Seynaevec childcare and production assistant Ted Oonk research Mirjam Knapp & Dries Douibi scenes and costumes Anton Lukas video and sound design Sam Verhaert production CAMPO & IIPM co-production Kunstenfestivaldesarts Brussels, Münchner Kammerspiele, La Bâtie – Festival de Genève, Kaserne Basel, Gessnerallee Zürich, Singapore International Festival of Arts (SIFA), SICK! Festival UK, Sophiensaele Berlin & Le phénix scène nationale Valenciennes pôle européen de création photo Phile Deprez

ISOLA E SOGNA

A report in the form of a concert on Giusi Nicolini, Mayor of Lampedusa until June 2017, and the exercise of power on the island of landings and turtles, a place that has become an emblem of the border, a showcase for the representation of European policies. Of the hand that heals and the hand that strikes. His defeat at the last elections inspired dozens of articles in the newspapers and thousands of comments on the web. In Isola e Sogna, Ateliersi poetically confronts the prospects of this change, starting with the semantic shifts produced by Nicolini in her five years as mayor.

On the island, local opposing factions coexist, not without difficulty, on a human level, geopolitical contrasts linked to colonialism, events, contemporary imagery and the desire to pursue a life of fishing, tourism and peaceful hospitality.

“Everything suggests that Lampedusa is a lit brazier. / That talking about Giusi Nicolini in Lampedusa is now unseemly.”

Isola e sogna brings to the stage the heated words of the inhabitants of Lampedusa, of Giusi Nicolini*, of those who described her and those who described her island; and makes it a matter of rhythm, timbre and opposing senses.

* Valuable among the sources, the book/interview with Marta Bellingreri Lampedusa. Conversazioni su isole, politica, migranti (Edizioni Gruppo Abele, Turin, 2013).

 

by and with Fiorenza Menni and Andrea Mochi Sismondi and with Giorgia Sangineto and Marco Mochi Sismondi music by Vittoria Burattini (percussion), Mauro Sommavilla (electronics, guitar) and Vincenzo Scorza (electronics) sound by Vincenzo Scorza technical direction Giovanni Brunetto administration and organisation Elisa Marchese planning and communication Tihana Maravic

 

Ateliersi is an artistic production collective working in the field of performing arts and theatre. It deals with artistic creation and the cultural programming of Atelier Sì in Bologna. Ateliersi’s creations are made up of theatrical works and artistic interventions in which the performative gesture enters into an organic dialogue with anthropology, literature, musical production and the visual arts in order to encourage a communication of thought capable of intercepting anxieties and perspectives that coagulate meaning around the subversions manifested in the world.

MONOPOLY

Focus_NOW

PER PROBLEMI TECNICI LA PERFORMANCE E’ STATA RIMANDATA

 

Roger BernatSi laurea nel 1996 e riceve il Premio Extraordinario dell’Institut del Teatre di Barcellona. Lavora con Thierry Salmon e Xavier Albertí. Tra il 1998 e il 2001 fonda e dirige, insieme a Tomás Aragay, la General Elèctrica, centro di produzione per il teatro e la danza. E’ autore e regista dei suoi primi spettacoli, tra i quali 10.000 kg (Premio speciale della Crítica de Catalunya 96/97), Confort Domèstic (Premio della Crítica al Text Dramàtic 97/98), Àlbum, Trilogia 70, Bones Intencions, Bona Gent, LALALALALA, Amnèsia de Fuga, Tot és perfecte o Rimuski. Dal 2008 inizia  a creare dispositivi scenici nei quali il pubblico occupa la scena e si fa protagonista dello spettacolo esso stesso. “Gli spettatori sono inseriti in un meccanismo che li invita a obbedire o cospirare, in ogni caso a mettersi in gioco e con il proprio corpo e prendere posizione.” I suoi spettacoli, tra i quali Domini Públic (2008), Pura coincidència (2009), La consagración de la primavera (2010), Please Continue: Hamlet (2011), Pendiente de voto (2012) Desplazamiento del Palacio de la Moneda (2014) o, Numax Fagor plus (2015), sono stati presentati in una ventina di paesi diversi.

Varvara Guljajeva & Mar Canet lavorano insieme dal 2009. Essi hanno esposto le loro opere d’arte in numerosi festival internazionali. L’anno scorso il duo è stato commissionato da Google e dal Barbican Centre per la creazione di un nuovo pezzo di arte per la mostra Digital Revolution. E quest’anno le loro opere saranno esposte a Sydney.

 

 

FOCUS NOW

Un progetto di

zona_k_logo

Con il sostegno di:

CLAPS COMPLETO SCRITTE LATERALI
02_MIBACT logo

 

Con il patrocinio del
brand milano

In collaborazione con:
Logo_Triennale
olinda_logo168x300

 

Gob Squad (DE/UK)

Featuring Fanny Alexander.

“Be yourself, be honest with yourself, follow your dreams and reach for the stars”. This is the mantra of a generation that prizes individualism as the ultimate expression of freedom. But who is this “self” you think you are? How did you become who you think you are? What makes you, really you? And what happens when we venture outside the concept of ‘uniqueness’?

Gob Squad takes the audience through twenty years of work, made up of collective processes, big ideas, videos and soundtracks, and in doing so leaves the stage, blends in with the audience creating shifts of identities and bodies. As the audience gets involved the collective identity develops through a playful and experimental perspective.

Using a technique Gob Squad calls ‘remote acting’, the show begins with a conventional lecture and ends as a moving meditation on the nature of the self. It is an experience that balances curiosity, courage, risk-taking, and the relationship between childhood freedom and shared responsibility for everything that happens.

The Milan version is performed by Marco Cavalcoli and Andrea Argentieri for Fanny & Alexander

 

Concept Gob Squad Concept Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Bastian Trost, Simon Will Sound Jeff McGrory, Martin Cooper Video Sarah Harrison, Sean Patten Production Management Eva Hartmann UK Producer Ayla Suveren Interns Valeria Germain Production Gob Squad With the support of Senatsverwaltung for Science, Research and Culture Berlin and The Arts Council of England Photos Jean-Philippe Offord/ Cartel Photos

 

Gob Squad (DE/UK)

A ZONA K project in collaboration with Triennale Teatro dell’Arte.

Overwhelming, involving, noisy, Revolution Now! dusts off from the past the revolutionary moments decisive for humanity with which the public, as in history, will have to get involved. Because for one evening it will be “all or nothing”.

“A magnificent, courageous and epic theatrical experience.”
The Guardian

Gob Squad, the most provocative British-German collective of the moment, exponents of a theatre that challenges representation and the public and transfers them directly into the “temples” of urban life, has decided to stage at least one of them and transform the theatre into the bubbling headquarters of a group of revolutionaries, connected live to the channel of a small TV station that broadcasts non-stop proclamations, manifestos and songs of revolt.

 

Is it time for a revolution? Aren’t our lives a little too comfortable? Are we ready to sacrifice them for the cause?
It is certain that the word ‘revolutionary’ has lost its meaning since it became glamour, a label for selling practically anything, from rock stars to sanitary towels.

 

Played in English, with scenic translation in Italian
c/o Triennale Teatro dell’Arte – viale Alemagna, 6

 

conception and interpretation Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Laura Tonke, Bastian Trost, Simon Will live music and arrangements Christopher Uhe, Masha Qrella video Miles Chalcraft, Kathrin Krottenthaler sound Jeff McGrory technical direction Chris Umney costumes Pieter Bax dramaturgy and executive production Christina Runge dramaturgical consultants Aenne Quiñones, Götz Leineweber artistic assistants Milena Kipfmüller, Tina Pfurr interns Hannah Senft, Florian Wessels Gob Squad Management Eva Hartmann tour management Mat Hand production Gob Squad co-produced Donaufestival Niederösterreich, Schauspiel Köln and Volksbühne am Rosa-Luxemburg-Platz with the support of Berliner Kulturverwaltung photos Thomas Aurin
* extraordinary participation of Marco Cavalcoli (Fanny & Alexander) for the Italian version

 

 

Gob Squad is a seven-headed monster, an artistic collective with seven leaders. It has a schizophrenic identity: two nations and two languages. For over 20 years Gob Squad has been searching for a new way to combine media and performance, producing performances, video installations, radio plays, films and urban interventions. Gob Squad was founded in 1994, while its members were still at Nottingham Trent University and Giessen. Berlin has been the creative home of the group since 1999. Its members are: Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Bastian Trost and Simon Will. Other artists are invited to collaborate on particular projects. Their productions have been performed all over the world: Super Night Shot (2003), Gob Squad’s Kitchen (2007, winner of New York’s Drama Desk Award 2012), Saving The World (2008, winner of the Goethe Preis at the Impulse Festival), Before Your Very Eyes (2011), Western Society (2013) and the most recent War And Peace (2016).

Oliver Frljić (BA/HR)

NATIONAL PREMIERE In collaboration with OLINDA

Oliver Frljic, a provocateur and controversial filmmaker, enters reality and the collective consciousness at close quarters. Inspired by Peter Weiss’s “The Aesthetics of Resistance”, Frljic explores Europe’s confrontation with the refugee crisis. A Europe ready to forget its colonialist past and the violence it derived from it in order to erect walls and close borders.

La nostra violenza e la vostra violenza is one of the most controversial European shows of the moment, asking uncomfortable and non-rhetorical questions right up to the end. As spectators moved by imaginary scenes in the semi-obscurity of a theatre, do we still remain indifferent to real people in refugee camps across Europe?

Are we proud to call ourselves Europeans or should we be ashamed of Europe? Do we mourn the victims of terrorist attacks in Europe with the same empathy as those in the Middle East? Are we buying a clear conscience with simple declarations of solidarity? Are we aware that violence only begets more violence?

Due to the subject matter and the presence of full nudity, the show is intended for an adult audience. 

In Croatian, Slovenian, English with Italian subtitles
c/o TeatroLaCucina, former Psychiatric Hospital Paolo Pini,
via Ippocrate 45, 20161 Milan, Italy

 

Direction and music selection: Oliver Frljić; Dramaturgy: Marin Blažević Scenography: Igor Pauška, Costumes: Sandra Dekanić; Lights: Dalibor Fugošić and David Cvelbar; Artistic advice: Aenne Quiñones; Assistant director: Barbara Babačić, Sound design: Silvo Zupančič; Production manager: Hannes Frey. Starring: Barbara Babačić, Daša Doberšek, Uroš Kaurin, Dean Krivačić, Jerko Marčić, Nika Mišković, Draga Potočnjak, Matej Recer, Blaž Šef; Production: HAU Hebbel am Ufer, Berlin; Co-production: Slovensko mladinsko gledališče, Ljubljana, Wiener Festwochen, Zürcher Theaterspektakel, Kunstfest Weimar, Hrvatsko narodno kazalište Ivana pl. Zajca, Rijeka; Regional co-producer: MESS Sarajevo; Funding: German Federal Cultural Foundation. Translation into Italian: Živa Brecelj

 

 

OLIVER FRLJIC (Travnik, 1976) is a leading name on the European new film scene. His previous productions – Turbo Folk, Bacchae, Spring Awakening, Cursed be the traitor of his homeland – have all stood out for the impact they have had on audiences. In 2012, he staged the controversial Zoran Ðind about the assassination of the Serbian prime minister. Also in that year, another of his projects, 25.671, was about the number of people deleted from the residence registers of the Republic of Slovenia. Until last June he was superintendent of the Croatian National Theatre in Rijeka (HR).

Annalisa Piras and Bill Emmott (IT/UK)

Documentary, winner of the prestigious 2016 Civis Media Award, awarded by the President of Germany for Best European Information.

A plane, in the midst of severe turbulence, tries to land in various European capitals but no airport gives permission. The old continent fell into total chaos. On board the plane, an elderly passenger tells an unsuspecting girl about a failed Europe.

Fiction, reality or premonition?

 

The documentary film directed by filmmaker, journalist and director of the Wake Up Foundation Annalisa Piras and produced by Bill Emmott (former editor of the Economist and President of The London Library and the Wake Up Foundation) shows a dystopian future in which the European Union no longer exists. Everything is portrayed in a lucid and straightforward way, from the rise of nationalism to seven years of economic crisis and growing dissatisfaction with democracy.

The stories told by five citizens from five EU countries make the whole thing true.

In English with Italian subtitles 

FOCUS NOW

A fractured Europe, new uncontrolled migrations, business tycoons turned into new Caesars, ignorance without borders, violence inside and outside the home. And vice versa: a conscious economy, multicultural societies, courageous acts by courageous people, millennials projected towards sharing, borders that resist openness.

Today seems to be a time of disorientation and uncertainty. We are anchored to a present we do not like; polls speak of mistrust and discontent; the media show images of attacks, refugees, environmental disasters; politics mainly tells of itself lost in rampant individualism. Yet reality seems to be less worse than it is perceived to be, and statistical data provide other numbers.

But then what era are we living in? Are we allowed to be optimistic about the future, or is the present nothing more than the prelude to a new Middle Ages?

For us, NOW is all that. We want to be optimistic and believe in new possible revolutions, but we look reality in the face with the eyes of artists who live and interpret the present. Whether they are caustic, provocative, irreverent, condemning or astonishing.

 

Events:

14 October 2017 h. 20.00 and 15 October 2017 h. 16.00
FIVE EASY PIECES
Milo Rau (CH)
[performance c/o Triennale Teatro dell’Arte].

16 November 2017 h. 20.30
THE GREAT EUROPEAN DISASTER MOVIE
Piras and Emmot (IT/UK)
[documentary film]

18 November 2017 h. 20.30 and 19 November 2017 h. 17.00
OUR VIOLENCE AND YOUR VIOLENCE
Oliver Frljić (HR)
[performance c/o La Cucina Theatre]
In collaboration with OLINDA

22 – 23 November 2017 h. 20.00
REVOLUTION NOW!
Gob Squad (DE/UK)
[performance c/o Triennale Teatro dell’Arte].
In collaboration with Triennale Teatro dell’Arte

24 – 25 November 2017 h. 20.30
WE ARE GOB SQUAD AND SO ARE YOU
Gob Squad (DE/UK)
[performance]

24 – 25 November 2017 h. 22.00
LIVE LONG AND PROSPER
Gob Squad (DE/GB)
[double-screen film]

01 – 02 December 2017 h. 20.30
ISOLA E SOGNA
Ateliersi (IT)
[documentary concert]

 

 

 

 

snaporaz (IT)

A new maid is hired at Heartbreak Hotel. She only has to look after one room. Room 304. A guest arrives at Heartbreak Hotel. A blind woman who can hardly walk. No, she can’t. A desperate housewife. Actually, no, an aspiring dancer… What are they looking for? Who are they running from? What do they want? And above all, why do they have the same face? Room 304 is not the answer to any of these questions. It is a woman’s search for the missing question, the only question that can help her find her way through the labyrinth of mirrors of her own identity.

A woman in conflict with her own soul is given the chance to re-embrace herself. Here, too, the choice of ending is the guestʼs responsibility. The Heartbreak Hotel provides opportunities, not solutions. Salvation is the responsibility of the individual.

Heartbreak Hotel is a multidisciplinary project. The Hotel is the container for a series of creations. Each creation is a different room of Heartbreak Hotel and can take the form of a show, a performance, an installation, a comic book… The Hotel is the narrative frame in which the episodes are inserted, different in terms of the language experimented, content and narrative elements. For each room, snaporaz chooses to broaden its vision by contaminating itself with new artistic presences. The artists who approach Heartbreak Hotel have maximum freedom of expression, but are subject to a single, simple constraint: to relate to the materials produced by the collective and the previous rooms. This multifaceted architecture is nevertheless supported by a solid common foundation. All the rooms, despite the variety of languages, deal with the same broad theme: the courage to face pain, one’s own fears, anger. Thus, snaporaz aspires to give rise to a non-serial series. An oblique format, crossed by stories that investigate man’s confrontation with crisis. Not as a negative concept but as a necessary stage in an evolutionary path.

Only 5 spectators per performance.
Performance: h. 18.00 – 19.00 – 20.00 – 21.00 
c/o Hotel Garibaldi Area

 

from an idea by Gilda Deianira Ciao script by Noemi Bresciani with Noemi Bresciani and Gilda Deianira Ciao guides Fulvio Vanacore (aka the record producer) Matteo Salimbeni (aka the writer at the other end of the line)

 

snaporaz is a collective in progress, a multi-headed mutant, born from the encounter between Gilda Deianira Ciao, Matteo Salimbeni and Fulvio Vanacore. They work on the transformation of starting materials, contaminating visions, approaches, personalities. snaporaz inaugurated its path in 2015 with the project HeartbreakHotel: a format that feeds on each work phase, relaunching the outcomes of the previous episode and conveying different artists into a temporary collective intelligence.

Fattoria Vittadini (IT)

Grip is a performance in which different approaches to art come together. Dance, video, music, storytelling, shared writing, sculpture… Grip is the adherence of wheels to the road surface, a metaphor for adherence to one’s own life.

Starting from the comparison between two personalities, one voracious, intrusive but focused on his own needs (Riccardo) and the other fluctuating, respectful, but in search of himself (Alex), we asked ourselves, through the metaphor of the car and physics (the grip between two bodies), about the sense of adhering or not adhering to one’s own life, about running it to the extreme, to the limit and maybe even to the point of losing the grip. On the sense of necessity of doing this, on what drives us to desire it. The right to individual self-determination and (consequent) happiness are rights that it is so easy not to consider as fundamental before others of first necessity. But every human being has the right to have rights that allow him or her to adhere to his or her life, to recognize and acknowledge it. To guide it.

c/o private homes, the exact address will be communicated by sms the day before the performance

 

by and with Riccardo Olivier and Alex Mc Cabe collaboration with video artist Alberto Sansone and set/costume designer Maddalena Oriani

 

Fattoria Vittadini was born in Milan in 2009 from the desire of the eleven students of the course of the then Atelier of Teatro-Danza of the Scuola Paolo Grassi to remain united and continue to make their way together in the field of performing arts. An extremely heterogeneous and versatile group, they adapt to the plurality of languages with an ever-increasing professionalism. Over the years they have had the opportunity to collaborate with great artists, including Lucinda Childs, Yasmeen Godder, Ariella Vidach, Virgilio Sieni, Alessandro Certini, Emanuela Tagliavia, Jean Claude Penchenat, Maria Consagra, Matanicola and Maya Carrol, without losing sight of a personal research and poetics that they continue to investigate through the creation of choreographies within the company. Fattoria Vittadini has participated in important national and international events and festivals (among others, Biennale Danza, TorinoDanza, MilanOltre, Roma Europa, Ravenna Festival, Fabbrica Europa, A-Genre Festival, Un Automne a Tisser, Diversia Festival, Fringe Festival…). In 2011 it became an active partner in RIC.CI – Reconstruction Italian Choreography 1980-1990, a project to recover contemporary Italian choreography of the 1980s and 1990s conceived by Marinella Guatterini. Since 2012 the company has been supported by the Municipality of Milan. In 2013 Fattoria Vittadini won the regional competition Teatri del Tempo Presente with the show To This Purpose Only. In July 2014 it was invited by the Festival della Valle D’Itria to be the official company for the 40th edition of the festival, taking part in the works on the bill and signing some of the choreographies. Since 2014 Fattoria Vittadini has been supported by MiBACT – Direzione Spettacolo dal Vivo. Fattoria Vittadini are: Mattia Agatiello, Chiara Ameglio, Cesare Benedetti, Noemi Bresciani, Pieradolfo Ciulli, Maura Di Vietri, Gabriele Marra, Riccardo Olivier, Francesca Penzo, MariaGiulia Serantoni, Vilma Trevisan.

Willi Dorner (AT)

Bodies in urban spaces is an artistic intervention in city spaces for twenty performers, halfway between theatre and installation. Crowded under a bench, wedged between a group of trees, poised over a fountain, perched on top of walls or camouflaged between door jambs, the artists’ bodies take the public on an unusual itinerary through the spaces of their city. They involve passers-by, residents and the public in the discovery of new performance possibilities and offer new suggestions with which to observe already familiar places. Present for many years in the most important European festivals, the Viennese choreographer Willi Dorner creates with this unusual intervention in urban spaces a real site-specific action, working from city to city with groups of local performers.

 

 


The show is itinerant and will be covered on foot.

Departure point: Biblioteca Dergano – Bovisa, Via Filippo Baldinucci, 76
Public transport: bus 82, 92 / tram 2 / Ferrovie Nord Milano and Passante Ferroviario (Bovisa-Politecnico at 850 mt), M3 (Dergano at 950 mt)
Place of arrival: in the middle of Milan


 

 

conception Willi Dorner assistant choreographers Esther Steinkogler, Ian Per Dolan photos Lisa Rastl; performers for Milan Carolina Amoretti, Alice Bassetti, Davide Boi, Alessandra Bonincontro, Andrea Campani, Lorenzo Covello, Simona Drago, Antonella Fittipaldi, Alice Giuliani, Cinzia Galliani, Elisa Ghion, Lucrezia Palandri, Melania Pallini, Simone Paris, Mauro Plebani, Samuel Puggioni, Edoardo Sgambato, Francesca Sproccati, Clara Storti, Daniele Tenze assistant for Milan Luci Mazzi organisation Federica di Rosa logistic support Fattoria Vittadini

 

Viennese choreographer Willi Dorner creates stage performances, site-specific projects, films and installations presented at major international festivals. Bodies in urban spaces (2007) won major international recognition (award for interdisciplinary art at the KOÏNZI-DANCE Festival in Hamburg) and was shown in more than 90 cities worldwide. Finally, Dorner made the short films TREID (1999), mazy (2003), body trail and fleeting (2009), set in motion (2012) and every-one (2015) for cinema.

FOCUS URBAN

European cities are growing by the day. They are incorporating the suburbs and becoming metropolises. They are soaring into the sky with important new architectural experiments. They are the driving forces behind economic, social and cultural development, privileged meeting places, incubators of innovation and conflict. They are magnets for immigrants and anyone in search of change. Fast, dynamic, pulsating, but also inhuman, stressful, complex. Increasingly, they tend to lose their specific traits and become confused and similar. Milan is no different. Increasingly innovative, increasingly European, increasingly metropolitan. And, in our opinion, increasingly beautiful.

Focus Urban is therefore a tribute to our city and, at the same time, a form of research, a questioning of its limits and potential. Together with the artists involved, we will try to rediscover it and retell it, bringing its inhabitants onto the stage, penetrating its intimacy with performances in private homes, inhabiting places of transit such as hotels, and reinterpreting public space with Willi Dorner’s performers.

 

Events:

14 – 15 September 2017 h. 20.00
GUERRILLA
El Conde De Torrefiel (ES)

[performance c/o Triennale Teatro dell’Arte].
A project ZONA K, DANAE FESTIVAL and TRIENNALE TEATRO DELL’ARTE

23 – 24 and 29 – 30 September 2017 h. 17.45
BODIES IN URBAN SPACES
Cie Willi Dorner (AU)

[urban performance c/o locations in the Isola-Garibaldi districts].

30 September h. 20.00 + 1 October 2017 h. 17.00
and every Wednesday and Thursday from 4 to 26 October 2017 h. 20.00
HOME VISIT EUROPE
Rimini Protokoll (Haug/Kaegi/Wetzel) (DE/CH)
[theatrical table game for 15 spectators c/o private homes].
in collaboration with Stanze

6 – 7 October 2017 h. 20.30 + 8 October 2017 h. 17.00
GRIP
Fattoria Vittadini (IT)
[dance c/o private houses]

26 – 29 October 2017 h. 18.00, 19.00, 20.00
HEARTBREAK HOTEL, Room 304
Snaporaz (IT)
[performance c/o Hotel ZONA Garibaldi].

 

 

 

Welcome Project (DE/IT)

Intime Fremde/Intimate strangers is dedicated to a reflection on the border, identity, the concept of nation, country of origin, the encounter/clash of physical and cultural, emotional anatomies.

Europe has accustomed us to travelling cheaply and feeling at home in all the countries of the Union. But the old continent defends its borders with barbed water and C.I.E. Borders exist hidden everywhere: while we go shopping, when we look at each other, skim, avoid, in the covered face of the neighbour, in the smells in the stairwell. And what is behind a door, behind a line has always scared us. If it is true that we are all biologically similar, it is also true that we are all culturally different, and endowed with different rights. Are we made up of what we eat, of our experiences, of the decisions we have made throughout our lives, of what we love, of what we fight for?

What is identity? What does nationality mean? What does citizenship mean?

 

Intime Fremde is a space in which to look at the fears and desires of a humanity divided between the need to belong and the need for freedom. On stage three actresses who live in Germany, but who have three different cultural origins, build barriers and look for spaces of intimacy.

The show had two residencies at Teatro del Lemming and premiered on 20 November 2015 at the Acker Stadt Palast in Berlin.

 

In English, Italian and Arabic.

 

With Aurora Kellermann, Lina Zaraket, Serfiraz Vural directed by Chiara Elisa Rossini lights Alessio Papa by Welcome Project – The foreigner’s Theatre production Teatro del Lemming in collaboration with TATWERK PERFORMATIVE FORSCHUNG_Berlin

 

 

Welcome Project is a female project born in Berlin in 2015 from an idea of Chiara Elisa Rossini. The group is made up of four female artists who live in Germany but have different cultural origins.
Its name comes from their personal experience as emigrants, but also from the concept of theatre as a world governed by other rules, a space where things out of the ordinary can happen.

Rimini Protokoll (DE/CH)

A Rimini Protokoll [Haug/Kaegi/Wetzel] production.

What is Europe really? A geographical border, a cultural identity, a coalition of states? It is often said that Europe is too theoretical an idea for individuals to talk about from their own experience. Rimini Protokoll contrasts this abstract idea of Europe with the individuality and intimacy of a private flat. 15 people take part in a living room performance, a sort of guided role play, which interweaves personal stories and political mechanisms of Europe in an attempt to answer the question: how much Europe is in all of us?

 

 

Each show takes place in a different house, travelling through hundreds of flats all over Europe, building a network that extends from door to door across the continent rather than starting from a centre.

The elements and images collected during the visits will be shared, anonymously, online at www.homevisiteurope.org, thus implementing a constantly developing European archive.

In collaboration with STANZE

c/o private houses in the city of Milan
The exact address will be communicated by sms the day before the beginning of the show.

From 23 March every Thursday until 15 June 2017 at 8.30 p.m.
From 3 May extra performances every Wednesday
Sunday 26 March at 17.00 also open to 11<14 years old.

23/03 ZONA PAGANO (made)
26/03 ZONA BRENTA (done)
30/03 ZONA PAGANO (done)
06/04 NAVIGLI AREA (done)
13/04 CENISIO AREA (done)
20/04 FOPPA-SOLARI AREA (done)
27/04 ZONA CORSO TICINESE (done)
03/05 ISOLA AREA (done)
04/05 NAVIGLI AREA (done)
10/05 LIMA ZONE (done)
11/05 SARPI ZONE (done)
17/05 MOSCOW AREA (done)
18/05 CITTA’ STUDI AREA (done)
24/05 ISOLA AREA (done)
25/05 NAVIGLI AREA (done)
31/05 P.TA ROMANA ZONE (done)
01/06 ZONE P.TA VENEZIA (done)
07/06 GARIBALDI ZONE (done)
08/06 CINQUE GIORNATE ZONE (done)
14/06 ZONA BESANA (done)
15/06 ZONA CITTA’ STUDI (done)

 

Conception, text, direction: Helgard Haug, Stefan Kaegi, Daniel Wetzel Dramaturgy: Katja Hagedorn Interaction Design: Claes Schwennen, Mirko Dietrich, Hans Leser, Grit Schuster Assistant Interaction Design: Philipp Arnold Set Design: Lena Mody, Belle Santos Assistant Set Design: Ran Chai Bar-zvi Production: Juliane Männel, Anna Florin Technical Direction: Sven Nichterlein Web Design: Tawan Arun + Ralph Gowers (Programming) Artistic Collaboration Tour Milano: Anton Rose, Claes Schwennen Web Editing: Anton Rose Photo credits: © Rimini Protokoll / Illustration: María José Aquila, © Pigi Psimenou, © Expanderfilms, © Pigi Psimenou, © Expander films
For Milan: readaptation text Valentina Kastlunger, masters of ceremony Andrea Panigatti and Enrico Pittaluga (Generazione Disagio), technical support Alice Marinoni, Silvia Orlandi

Home Visit Europe is a production of Rimini Apparat. In coproduction with Archa Theatre Prague (CZ). BIT Teatergarasjen/Bergen International Festival (NO). Frascati Teater Amsterdam (NL). HAU Hebbel am Ufer Berlin (D). Kaaitheater Brussels (BE). LIFT London (GB). Malta Festival Poznan (PL). Mungo Park (DK). Sort/Hvid (DK). Teater Nordkraft (DK). Théâtre de la Commune Aubervilliers (FR). Théâtre Garonne (FR). Teatro Maria Matos (PT). A House on Fire commission / co-production with the support of the Cultural Program of the European Union. The project is supported by Capital Culture Fund Berlin.

 

 

Rimini Protokoll is today perhaps the most awarded artistic collective in Europe and a fundamental point of reference for all avant-garde theatre. Its members, Helgard Haug, Stefan Kaegi and Daniel Wetzel, came together in 2000 to form a collective of writer-directors. Since 2002, all their works – plays, radio plays, films and installations – have been signed Rimini-Protokoll. The focus of their research is the development of the expressive means of theatre to provoke new looks at reality. Each work draws on real life and uses elements and people from concrete situations and specific places. Thus Haug, Kaegi and Wetzel proclaim a general assembly of Daimler-Benz a play and, in doing so, transform it into one; they realise the 100% City project by bringing 100 real citizens onto the stage as a statistical sample to represent, among others, cities such as Berlin, Zurich, London, Melbourne, Copenhagen or San Diego. Or they go on tour with a group of Nigerian-European businessmen for the Lagos Business Angels project and with the paraplegic MC Hallwachs for the play Qualitätskontrolle (Haug / Wetzel) or create soundtracks for the most diverse cities in the world with the REMOTE X project (Kaegi). In April 2008 they won the European Theatre Prize in Thessaloniki in the category “New Realities”, and in 2011 the entire work of Rimini-Protokoll was awarded the Silver Lion at the 41. Venice Theatre Biennale.

 

NO99 (EE)

In 2010, the Estonian company Theatre NO99 staged a production that brought the whole of Estonian society onto the stage.

NO75 Unified Estonia is the name of a fictitious political movement created by the company that a large part of the audience accepted as a real political force. In an original way it combined theatre, performing arts, politics, media and civil society.

For 44 days – from the first press conference to the founding convention of the fake party (attended by more than 7000 people) – the project was filmed to become a documentary. NO55 Ash and Money is the first film by Theatre NO99. It is a documentary that tells the story of how NO75 Unified Estonia was conceived, through interviews with those who worked behind the scenes but also with many politicians who collaborated and witnessed the process of creating the biggest performance event seen in recent European history. NO75 Unified Estonia encapsulates the fears and hopes, the manipulations and disappointments that underlie politics in our contemporary democracies.

 

 

A huge simulation of hyperpopulism to reflect how much excessive populism there is in reality. The documentary shows the variety of emotions and dramatic vicissitudes experienced by the creators of NO75 Unified Estonia.

NO55 Ash and Money has received recognition and acclaim at the numerous film festivals where it has been presented around the world.

 

 

In Estonian, subtitled in Italian

 

A film by: Tiit Ojasoo, Ene-Liis Semper Filming: Rein Kotov Sound: Harmo Kallaste Editors: Rein Kotov, Ene-Liis Semper Executive Producers: Piret Tibbo-Hudgins, Rein Kotov Production: Allfilm and NO99

 

 

Theatre NO99 is a company and theatre based in Tallinn, Estonia. Founded in 2005 under the leadership of Ene-Liis Semper and Tiit Ojasoo. Theatre NO99 has immediately enjoyed international success at various European festivals. Over the years it has been a guest at Wiener Festwochen, Festival d’Avignon, HAU Berlin, KVS Brussels, Münchner Kammerspiele, NET Festival and Golden Mask in Moscow. It has produced works of great variety in form including many international co-productions. Since its foundation it has been expressly stated that Theatre NO99 will only do 99 productions and then it will be dissolved.

Christophe Meierhans (CH/BE)

Some use for your broken clay pots is a performance that involves the audience in a collective debate lasting about two hours, around an imaginary democratic system that the performer tries to “sell” to his audience as a better alternative to our current democratic regimes.

The script of the performance is a real constitutional book imagined for a democratic state, made available to the audience during the performance. This constitution and the democratic institutions it prescribes were developed and written in close collaboration with a team of jurists from several Belgian universities.

It is a work of ‘constitutional fantasy’ that includes all the organs, procedures, assemblies, rules and regulations necessary to define a complete democratic system that is, in theory, functional. It was developed with the intention of producing something as different as possible from our current regulations, to discuss what democracy represents using a possible logic of defence from the public, through a method that is as rational and strong as possible.

 

 

Some use for your broken clay pots is thus an exercise in constitutional creativity. Challenging the ability to imagine an alternative to our current (universally understood) political system, artist and spectators together confront the limits of our understanding of democracy, experimenting with an amusing, surreal and highly topical idea of participatory performance.

 

In Italian

 

Conceived, directed and with: Christophe Meierhans Dramaturgy: Bart Capelle in collaboration with: Rudi Laermans Advising team: Anne-Emmanuelle Bourgaux(ULB), Rudi Laermans(KU),Jean-Benoît Pilet(ULB),Dave Sinardet(VUB) Constitutional jurist: Anne-Emmanuelle Bourgaux Scenography: Sofie Durnez Conception & graphic design publication: The Theatre of Operations Illustration: Nuno Pinto Da Cruz Co-production: Kaaitheater(Brussels), Workspace Brussels, Vooruit Arts Centre (Ghent), Teatro Maria Matos (Lisbon), BIT Teatergarasjen (Bergen), Kunstenfestivaldesarts (Brussels) Production: Mokum / Hiros with the support of: de Vlaamse Gemeenschapscommissie & Government of Flanders Production Italian version: ON (Bologna) with the participation of Festival di Santarcangelo (2015)

 

 

Christophe Meierhans (Geneva; Brussels) works with and through performance, public space, installation, sound, music and video. His work mainly consists of developing strategies of intervention in everyday life, through the manipulation of accepted conventions, social habits or simple customs. Fragments of reality become the framework for artistic operations that redirect banality in order to make it reappear from unexpected angles. His work raises questions about norms and conventions, confusing a random context with different ones, and confronting the viewer with something else, with the strangeness of being in the “wrong” place, or the possibility that the place may become something different. In 2015, he presented the project Some use for your broken clay pots at Santarcangelo.

 

FOCUS DEMOCRACY

In 1988, Gorbachev saw in the Great European House, founded on democratic values even before economic values, the idea and the direction to be followed for the construction of a great European continent.

Thirty years later, the great expectations seem to have imploded and the new ‘great sickness’ is increasingly the victim of populist attacks.

How many ‘exits’ await us? Is this then the result of democracy?

There are those who say that voting no longer leads to anything, that power now lies elsewhere, in the upper echelons of the economic powers. There are those who believe, instead, that it is still possible to make a difference. Demographic and sociological analyses show that the categories most at risk (the poor, the unemployed, the elderly) are the most distant from the ballot box, and that the spread of democracy is leading to an ever-widening economic gap in society.

So where does democracy lie? In complex bureaucratic institutions with no direct relationship with the citizens, but who nonetheless adorn themselves with the name of representatives of the people, or in the voice of new nationalist and revanchist barkers with no vision of the future?

“Tocqueville said: “To go forward, one must learn to look far. We want to try to look far ahead, with the disruptive force that only the artistic imagination can have. We want to seek affinities, accept changes, broaden our view by testing alternatives that are more or less possible in view of the future, not only the immediate future, but also the more distant future.

 

 

The events:

17 – 18 March 2017 h. 20.30
SOME USE FOR YOUR BROKEN CLAY POTS
Christophe Meierhans (CH/BE)

[performance]

17 – 30 March 2017 h. 10.00 – 19.00 (Mon – Fri)
Poster(s) from pro-EU/anti-Brexit campaing!
Wolfgang Tillmans
[photo exhibition]

19 March 2017 h. 18.30
LA POLITICA E’ REALE?
[incontro con aperitivo ]

19 March 2017 h. 20.30
NO55 ASH AND MONEY di NO99 (EE)
[film]

from 23 March every Thursday until 15 June 2017 h. 20.30
EUROPA A DOMICILIO/HOME VISIT EUROPE
di Rimini Protokoll (DE/CH)

[theatrical board game for 15 spectators c/o private houses]
In collaboration with STANZE .

29 – 30 March 2017 h. 20.30
INTIME FREMDE di Welcome Project (DE)
[show]

 

 

Eventi KIDS

19 March 2017 h. 11.00
THE MOVIE BAND La democrazia si fa musica
organised by ZONA K with Francesca Badalini and Monica Galassi
[workshop 4 – 7 years]

26 March 2017 at 17.00
EUROPA A DOMICILIO/HOME VISIT EUROPE
by Rimini Protokoll (Haug/Kaegi/Wetzel) (DE/CH)
[theatrical board game for 15 people – 11<14 years + adults c/o private houses]
In collaboration with STANZE 

 

 

IMPRONTA DIGITALE

Vogliamo varcare il confine, e farlo da hacker, perché siamo nell’epoca dei confini liquidi. Vogliamo realizzare una performance digitale, ragionando sull’antico ma instabile concetto di cittadinanza europea.

Vogliamo pensare alla condizione di titolari di diritti e doveri in un sistema sociale oggi e, utilizzando tecnologie a bassissimo costo, coinvolgere la comunità prossima in uno scambio di pensiero.

Vogliamo parlare di cosa significa essere comunità. Del rapporto fra vita privata e dimensione pubblica. Perché questo tema ci vivifica ma ci destabilizza, ci dovrebbe rendere più forti ma ci fa sentire paradossalmente spesso soli.

Lo faremo in una serie di incontri sul tema dell’arte performativa nelle sue più moderne declinazioni, guardando ai progetti di artisti che sono riferimento nell’ibridazione digitale delle arti sceniche e dello spettacolo dal vivo come Rimini Protokoll, Agrupación Señor Serrano, Marcelì Antunez Roca, Kathy Mitchell.

Per la prima volta in Italia, ZONA K propone un Laboratorio di Arte Performativa Digitale con tre esperti del settore: i due formatori che da 3 anni sviluppano attività e formazione sul linguaggio della performance, Renzo Francabandera e Michela Mastroianni, cui si unisce per la prima volta l’esperienza digitale di Michele Cremaschi, digital artist e performer

Numero partecipanti limitato.
Iscrizioni entro il 6  Marzo 2017.
Partecipazione € 120,00
Iscrizioni e Informazioni: organizzazione@zonak.it 02.97378443

Gli incontri si terranno dalle 20.00 alle 22.00:
1. giovedì 9 marzo
2. venerdì 31 marzo
3. giovedì 20 aprile
4. giovedì 27 aprile
5. giovedì 4 maggio
6. giovedì 11 maggio

Gli spettacoli inclusi nel percorso:
Ash and Money di NO99
Some use for your broken clay pots di Christophe Meierhans
Intime Fremde di Welcome Project

 

I FORMATORI

Renzo Francabandera
Giornalista da oltre vent’anni, critico d’arte e teatro. Laurea, Master e Phd in discipline sociali e Master biennale in Arte e Letteratura dell’Era digitale con l’Universidad de Barcelona- IL3 (ESP). Docente a contratto di Estetica del Movimento presso l’Università di Torino.

Scrive per numerose testate giornalistiche, (Hystrio, klpteatro.it e PAC www.paneacquaculture.net tra gli altri). Realizza illustrazioni e copertine per l’editoria e opera come live performer. Ha collaborato per la sezione spettacolo e arti performative alle candidature delle di Cagliari e Siena nella candidatura a Capitale Europea della Cultura 2019.

La Biennale di Venezia, il PAN e il Maschio Angioino di Napoli, il Palazzo dei Priori di Volterra, il Piccolo Teatro e le Officine Ansaldo di Milano sono alcune fra le tante sedi in Italia che hanno ospitato sue personali.

Tiene laboratori e progetti di formazione sui linguaggi della contemporaneità e l’arte performativa in tutta Italia.

Michela Mastroianni
Esperta di linguaggi, teoria dell’apprendimento e sviluppo della testualità multimediale nel contemporaneo, è insegnante di lingue e letterature classiche.

Master in “Ingegneria dei sistemi multimodali per la valorizzazione e la fruizione dei beni culturali” e in “Tecnologie per la Didattica” del Politecnico di Milano, dove collabora a gruppi di lavoro sull’uso degli strumenti del web 2.0 nel settore dell’istruzione, dell’informazione e della cultura nella prospettiva del Lifelong Learning e del Social Learning.

Riveste incarichi di coordinamento delle attività di formazione del personale docente e di gestione della comunicazione istituzionale attraverso il web.

Da anni tiene laboratori, incontri e conferenze sul linguaggio della performance, con particolare attenzione al confronto fra classicità e modernità.

Michele Cremaschi
Laurea in Scienze dell’Informazione presso la Statale di Milano e diploma in teatro presso il corso FSE di Cassina de Pecchi nel 1999, è ideatore e protagonista di spettacoli che lo hanno visto partecipare ad importanti festival anche all’estero: da Santarcangelo 2004 a Harare International Festival of Arts (Zimbawe, 2010), Edinburgh Fringe Festival (2006 e 2008), Big Break Festival (Russia, 2010 e 2011), Macao International Festival of Arts (2012) National Art Festival (Southafrica, 2012) e QuestFest (USA, 2014).

Con il gruppo Slapsus è stato ospite in trasmissioni televisive Italiane (Zelig) e Belghe. Amministra dal 2005 al 2008 la cooperativa Erbamil ed ha fondato, amministrato e presieduto dal 2008 al 2013 l’associazione Retroscena e la Residenza Teatrale InItinere.

Organizza la rassegna “Teatro e Nuovi Media” in collaborazione con il Teatro Donizetti di Bergamo. Ha partecipato allo Sviluppo di Quartz Composer a Milano e al workshop tenuto da Robert Wechsler su Motion Tracking Techniques.

 

AA.VV.

Mehdi Charef, Emir Kusturica, Spike Lee, Kátia Lund, Jordan Scott, Ridley Scott, Stefano Veneruso, John Woo. Sette registi di fama internazionale, sette paesi, sette storie di infanzia negata, invisibile.

Uno scopo: sollevare il problema dei bambini ignorati e renderlo visibile grazie al cinema, come lo stesso Kusturica afferma «Credo che il cinema possa avere ancora una missione culturale e terapeutica, come nei tempi antichi, quando la gente si riuniva per vedere una tragedia e accresceva la conoscenza, imparava a vivere meglio».

film dai 12 anni – durata 108 min – ingresso € 3,00

 

Il 12 febbraio 2002 l’ONU proibisce il reclutamento dei minori di 18 anni nei conflitti, istituendo così la Giornata Internazionale contro l’uso dei bambini soldato. Ciononostante sono ancora più di 250.000 i bambini e gli adolescenti arruolati nel mondo. In un focus che parla di conflitti armati, diventa per noi indispensabile dichiarare il nostro no alla guerra tout court ma soprattutto alla guerra che priva i bambini del loro diritto a un’infanzia non violenta. Questa la proposta per parlarne ai bambini e ai ragazzi.

Guarda anche La Strabomba

Emergency

“Il Re gridò: Butta la strabomba!
Il pilota guardò in giù e vide i bambini che giocavano.
Ma quelli sono bambini che giocano! Se sgancio li ammazzo! Vedo solo bambini e gente che lavora, il nemico non lo vedo, il nemico non c’è!”.

Un corale NO ALLA GUERRA! guidati da un bel racconto di Mario Lodi e dalle storie provenienti dagli ospedali di Emergency.

 

Il 12 febbraio 2002 l’ONU proibisce il reclutamento dei minori di 18 anni nei conflitti, istituendo così la Giornata Internazionale contro l’uso dei bambini soldato. Ciononostante sono ancora più di 250.000 i bambini e gli adolescenti arruolati nel mondo. In un focus che parla di conflitti armati, diventa per noi indispensabile dichiarare il nostro no alla guerra tout court ma soprattutto alla guerra che priva i bambini del loro diritto a un’infanzia non violenta. Questa la proposta per parlarne ai bambini e ai ragazzi.
Guarda anche All the invisible children

The representation of war between history and performance

Imagining an event that should have happened without it happening, enacting a re-enactment, a re-enactment, to make us participate. Imagine how our actions as ‘improvised diplomats’ could have changed the course of history to resist that war which changed the political geography of Europe.

How has our perception of war changed? Now that diplomacy seems to have disappeared and war no longer has clear fronts and borders?

A discussion with Alessandro Colombo Professor of International Relations at the University of Milan, Giovanni Scirocco Professor of Contemporary History at the University of Bergamo and the LIGNA Collective.

 

Free admission

Volksbuhne Berlin (DE)

Due to technical problems, the video version of the show has been cancelled.

 

The video version of a cult show in the history of German theatre, which was part of the permanent repertoire of the Berlin Volksbühne for 14 years.

In 1993, the work by the then little-known Christoph Marthaler – which takes its title from “Indian Song” by the poet Paul Scheerbart (meaning something like “Do away with the European! Do away with him! Do away with him!”) – succeeded in capturing the profound sense of the decline of the GDR: the fatality, the absurdity, the waiting, the bureaucracy, the inscrutability. The description of an existential condition that has not aged with the years and has proved to be pregnant with meaning for the European citizen in general.

“Murx” is a play that contains all the distinctive elements of what later became Christoph Marthaler’s famous theatre. Anna Viebrock’s staging, the waiting room, the large wall clock with the inscription ‘so that time does not stand still’, which is missing some of the dropped letters, the people dressed in thin 1970s tracksuit jackets, the thick glasses, all brought back an imaginary world of the GDR that has never ceased to exist on stage and in people’s minds since.

 

Without words, only sung, duration 120 min

 

Direction: Christoph Marthaler; Set design and costumes: Anna Viebrock; Music: Jürg Kienberger, Christoph Marthaler; Dramaturgie: Matthias Lilienthal; Production: Volksbühne Berlin

 

 

 

Agrupación Señor Serrano (ES)

A project ZONA K and TRIENNALE TEATRO DELL’ARTE
From the leading group of the Catalan scene, Silver Lion at the 2015 Venice Biennale.

New world wars. Some say the third one is already underway. Some say it’s already underway. Some say it’s being told in fiction and TV series. There are those who are doing dress rehearsals. The boundaries between reality and fiction are blurring in our globalized world.

Even on the theatre stage, the levels of narration and representation are multiplying, creating new perspectives, effects and revelations, also thanks to the use of new languages and technologies. The Catalan collective unleashes on the stage of A House in Asia an explosive device that recounts the most important manhunt of the 21st century: the location and capture of Osama Bin Laden.

Three houses, the same. The house where ‘Geronimo’ (nickname given to Bin Laden by the US Army) is hiding in Pakistan. An exact copy of that house in a military base in North Carolina. A third house, always identical, reconstructed on a set in Jordan, where a film is being shot. A sheriff obsessed with a white whale. Cowboys and Indians. Planes and beers. Copies, strategies, reproductions and cheeseburgers.

With its unmistakable artistic mode of scale models, video projections, live direction and performance, Agrupación Señor Serrano presents a “theatrical western” in which reality and its copies are confused, drawing a merciless pop portrait of the post-9/11 decade, a seed for the 21st century.

 

 

 

In English, with Italian subtitles c/o TRIENNALE TEATRO DELL’ARTE

 

Creation Àlex Serrano, Pau Palacios, Ferran Dordal with Àlex Serrano, Ferran Dordal, Alberto Barberá production and assistant director Barbara Bloin, video realization Jordi Soler production GREC 2014 Festival de Barcelona, Hexagone Scène Nationale Arts et Sciences – Meylan, Festival TNT – Terrassa Noves Tendències, Monty Kultuurfaktorij, La Fabrique du Théâtre – Province de Hainaut

 

 

Agrupación Señor Serrano – Silver Lion of the Venice Biennale 2015 – Founded by Àlex Serrano in Barcelona in 2006, Agrupación Señor Serrano is a theatre company that produces its own shows based on material taken from contemporary reality. It uses some of the most innovative technical means and traditional tools to constantly redraw the boundaries of its theatre. It makes use of numerous artistic collaborations and combines in its productions theatre, performance, live video, sound, scale models, to stage stories capable of telling the contradictions of contemporary human experience. Evolution, globalisation and survival are among the main themes dealt with in the latest productions. Today, the core of the group is composed of Àlex Serrano, Pau Palacios and Barbara Bloin.

Valters Sīlis (LV)

The play – a rare and striking example of contemporary political theatre that tackles the turmoil of history by stepping outside the realm of narrative and denunciation – is based on a real event.

In 1945, one hundred and sixty-seven Baltic legionnaires were the subject of a dispute between Sweden and the Soviet Union, when the latter requested their extradition to the Stockholm parliament, in order to judge them (and send them to death) for their relationship, in most cases forced, with the Nazi army.

Leģionāri is constructed as a discussion, in which two young people debate, in different languages, this historical fact, which is also conjugated to the present and given back to the spectators, inviting them to take their own position, and generating a reflection on the hurt feelings, betrayals and offences of which human history is made, finally opening up the eternal dilemma between the freedom of individuals and the freedom of society.

An example of post-dramatic theatre, the show asks what really happened, why, and whether it could happen differently today.

 

 

In English with episodes in Latvian, Swedish, Finnish and German.

Dramaturgy Carl Alm, Ieva Kauliņa, Kārlis Krūmiņš, Valters Sīlis direction Valters Sīlis with Carl Alm, Kārlis Krūmiņš scenography Ieva Kauliņa lights Jānis Sniķers, Māra Jarovoja

 

 

Valters Sīlis (1985) Latvian actor and director, graduated in directing from the Latvian Academy of Culture in 2012 and works both in small independent theatres (Dirty Deal Theatre, Theatre Ģertrūdes ielas teātris) and at the National Theatre in Riga, establishing himself as one of the most promising directors of his generation. Leģionāri is created together with the actors Carl Alm and Kārlis Krūmiņš, who are to all intents and purposes co-authors of the show.

 

Ligna (DE)

The German collective Ligna brings to the stage a vision, a possible European History that never took place.

In August 1914 a congress of the Second Socialist International was planned in Vienna with the aim of reacting to a possible start of the Great War with a general strike, which would hopefully collapse the infrastructure of the countries involved and prevent the start of the conflict. The congress and the strike never took place. The speeches and speeches of the participants in the congress had already been written, the requests for permission formulated and submitted, but the war anticipated and cancelled their implementation.

On the occasion of the centenary of the First World War, The Great Refusal explores the individual and collective possibilities of refusal through the re-enactment of a story that never took place and whose end is unknown.

The audience is invited to take part in a historical fiction: the congress of the Socialist International will take place in Milan, opening up a parallel universe in which war is questioned as an unavoidable destiny. Everyone will be confronted with a series of ‘resistance exercises’, a training of individual and collective poses and gestures of rejection.

Il grande rifiuto is the result of a series of research residencies in Bolzano, Bologna, Genoa and Reggio Emilia that took place in April 2015.

 

 

In Italian

 

Creation Ole Frahm, Michael Hueners and Torsten Michaelsen; artistic coordination and Italian production: Elena Basteri; Emanuele Guidi; Elisa Ricci Co-production partners: ar/ge kunst Bolzano / Bozen; Festival Transart Bolzano / Bozen; Santarcangelo 2015 Festival Internazionale del Teatro in Piazza 45th Edition; On; Fondazione Luzzati – Teatro della Tosse; Terni Festival Internazionale della Creazione Contemporanea / Teatro Stabile dell´Umbria. Supported by: Goethe – Institut Genua; Goethe – Institut Mailand; Nationales Performance Netz (NPN) International Guest Performance Fund for Dance. Support for the residency programme: Goethe – Institut 

 

 

The LIGNA collective has existed since 1997 and is made up of artists Ole Frahm, Michael Hueners and Torsten Michaelsen, who began working at Freies Sender Kombinat (FSK), a non-profit public radio station in Hamburg, in the early 1990s. Since 2002 their work has focused on creating ephemeral situations that involve the audience as an active group, a combination that produces unpredictable and uncontrollable effects that challenge the management of space. One of the examples of LIGNA’s use of media is Radio Ballet (2002), in which radio listeners are offered a choreography of forbidden gestures in places that previously seemed public and are now under control, such as stations or shopping centres. Other projects such as The new Man (2008) or Oedipus (2010) question the space of theatre as an apparatus that shapes subjectivity. The latest works The last Commune or Secret Radio (both 2014) instead invite participants to stage complex interactions in a public space that only gradually reveals itself as such.

 

“Supported by the Nationales Performance Netz (NPN) International Guest Performance Fund for Dance, which is funded by the Federal Government Commissioner for Culture and the Media on the basis of a decision made by the German Bundestag.”

NPN_schwarz

 

 

 

Isola Teatro (IT)

“In an unstable Europe marked by a crisis that has become a permanent existential condition, the tragedy of the individual, whatever his national and linguistic identity, in the face of a ferocious modernity, speaks to us and about us more than ever,” says director Marta Gilmore. “The enemy, the other, the borders, now that people die to enter Europe and end up choking on debt to stay there, are words that deserve new questions, nourished by the awareness of a past that is still painful”.

Friendly Feuer is a show/performance for a collective writing on the relationship between the Europe of today and that of a hundred years ago, at the dawn of the First World War.

The lens through which to look at the events of that time is the condition of those who tried in vain, more or less consciously, to escape that “total war”: deserters, soldiers suffering from war neurosis, soldiers from opposing sides who made informal truces, and so on.

On stage, the many possible declinations of the “friendly fire” that gives the work its title, in a fragmented and choral narration, a European polyphony with an aesthetic sensitivity that uses contemporary languages to dialogue with history, avoiding the rhetoric of celebrations. Thus the individual stories of desertion, war neurosis and suicide are juxtaposed with questions relating to a precarious and in its own way ferocious present.

Concepts such as enemy, foreigner, cowardice, courage and homeland are combined in the past and present, without providing exhaustive answers. Meanwhile, the interpreters switch from one language to another, mixing different dialects, in memory of a generation of often semi-illiterate infantrymen who went to arms in the ‘world of yesterday’.

 

 

Direction and dramaturgy by Marta Gilmore based on a collective writing; with Eva Allenbach, Tony Allotta, Armando Iovino, Marta Gilmore, Vincenzo Nappi; technical director Andrea Gallo; production Isola Teatro; with the support of Centro Didattico Musicale, Rome; Crowdarts, under the High Patronage of Istituto Svizzero, Rome.


Isola Teatro
began its activities in 2005, with the staging of L’Isola, by the South African playwright Athol Fugard, directed and translated by Marta Gilmore. Since then, the company has staged La strada ferrata (finalist for the Premio Scenario 2007), with which the group began to measure itself against a work of collective writing and dramaturgical construction. This path continued with Brucia. In 2010 the group debuted with Senza Lear, a rewriting of the Shakespearean tragedy from the point of view of the king’s three daughters, a project that won the Lia Lapini Prize 2009, and took part in the REACT! project promoted by Santarcangelo dei Teatri. In 2015 the collective took part in the project Caryl Churchill, Non normale non rassicurante, curated by Paola Bono, with Bluemotion, Accademia degli Artefatti and La casa d’argilla teatri, curating the mise en espace of Sette bambine ebree by Caryl Churchill. Her latest production, Friendly Feuer (a European polyphony), premiered at the E45 Fringe Festival in Naples 2015.

FOCUS WAR

To speak of war is to speak of Europe because it was out of war and a century torn apart by conflict that the idea of a united, united, rich Europe finally took shape. A prerequisite for the longest period of peace the continent has ever known.

Today we celebrate the centenary of those wars and relive the events in commemorations, historical essays and films.

But how far back is the past? To what extent is that war, which seems so distant with its trenches and bombardments, really so? Do the contemporary wars that surround us really belong to another world?

From these questions, a reflection on today. On the Europe that does not know about bombing but closes its borders, on the responsibilities that each of us could have, on the choices we would make. On war as the ineluctable destiny of new economic, financial and media Real Politik.

 

Events:

9 – 11 February 2017 h. 20.30
FRIENDLY FEUER (a European polyphony) by Isola Teatro (IT)
[performance]

CANCELLED FOR TECHNICAL REASONS
Murx den Europäer! Murx ihn! Murx ihn! Murx ihn! Murx ihn ab!
[Video version of the performance]

15 February 2017 h. 18.30
THE IMAGE OF WAR BETWEEN HISTORY AND PERFORMANCE
[meeting with aperitif].

16 – 17 February 2017 h. 20.30
IL GRANDE RIFIUTO by Ligna (DE)
[performance]

18 February at 20.30, Sunday 19 February 2017 at 17.00
LEĢIONĀRI. Diskusija ar kaušanos by Valters Sīlis (LT)
[performance]

27 February – 1 March 2017 h. 20.00
A HOUSE IN ASIA by Agrupación Señor Serrano (ES)
[performance c/o CRT Milano Teatro dell’Arte]
A project by ZONA K and Triennale Teatro dell’Arte

 

KIDS Events

12 February 2017 h. 15.30
THE STRABOMBA organised by Emergency
[workshop 6 – 10 years free]

12 February 2017 h. 17.30
ALL THE INVISIBLE CHILDREN
[film from 12 years old]

 

 

 

 

#MEXIT
oltre l’altro

Percorso base di avvicinamento al linguaggio dell’arte contemporanea e della performance.

 

Quale artista muore con me! (Nerone)

Il percorso si rivolge a chiunque abbia curiosità verso le arti dal vivo nelle sue molteplici forme (teatro, danza, arti visive, musica ecc..).

Offre strumenti per comprendere i diversi linguaggi creativi attraverso continui intrecci tra arti visuali, arti performative e scienze del territorio.

Il percorso include:
6 incontri (ore 20.00 – 22.00)
3 spettacoli Domini Public di Roger Bernat, Birdie di Agrupación Señor Serrano, Friendly Feuer di Isola Teatro

 

La proposta del percorso
Uscire da sé stessi, come novelli britannici che decidono di separarsi dal sistema, adottando principi autonomi di autodeterminazione.
Uscire da sé stessi per uscire dal recinto dell’orto dei propri convincimenti, spesso diventati inamovibili ostacoli che chiudono l’orizzonte.

Lasciare libere parti di noi, quasi aliene, da sempre tenute dentro, come il pirandelliano Moscarda. Pensare alla molteplicità dell’uno come Jeckill e Hyde o Frankenstein. Ma qui il tema non è la consapevolezza di essere Uno, Nessuno o Centomila, o di avere in noi parti oscure, quanto piuttosto di ragionare sull’uscita di e da quella certa parte di noi. Una parte. O un tutto. Uscire da se stessi, insomma.

Ma per andare dove? E se poi restassimo soli, privi del nostro insieme?

Il tema dell’uscita da se stessi e del vivere altrove o altrimenti è cruciale in un’epoca come la nostra in cui i paradigmi del sociale diventano sempre più liquidi. Accettare parti di sé, della propria persona, della propria famiglia, del luogo di lavoro, della società. O rifiutarle. Il solo pensare a queste cose ci fa venire in mente di colpo quanto questo tema, da Menenio Agrippa in poi, abbia caratterizzato l’intera storia del consesso civile e umano.
Un modo diverso per affrontare il tema del “come veniamo guardati dagli altri, come noi guardiamo gli altri e come guardiamo noi stessi”.

Siete pronti a votare per ciò da cui volete allontanarvi o anche solo ad accettare che qualcuno o qualcosa voglia fare a meno di voi?

Avete sbagliato gli exit poll e vi trovate desolati davanti ad una birra con la bandiera dello Stato di Euforia ancora annodata al collo e pensate che solo l’arte possa salvarvi?

Non perdete altro tempo, partecipate!

Ci si può iscrivere fino al 21 Novembre 2016.
Numero partecipanti limitato.

Costo d’iscrizione € 85,00.

Iscrizioni e Informazioni: organizzazione@zonak.it 02.97378443

Gli incontri:
1. gio 24 novembre
sab 26 novembre partecipazione allo spettacolo DOMINI PÚBLIC di Roger Bernat
2. mer 30 novembre
gio 1 dicembre partecipazione allo spettacolo BIRDIE di Agrupación Señor Serrano
3. gio 15 dicembre
4. gio 22 dicembre
5. gio 12 gennaio
6. gio 19 gennaio
gio 2 febbraio partecipazione a FRIENDLY FEUER di Isola Teatro 

 

FORMATORI

Renzo Francabandera
Giornalista da oltre vent’anni, critico d’arte e teatro. Laurea, Master e Phd in discipline sociali e Master biennale in Arte e Letteratura dell’Era digitale con l’Universidad de Barcelona- IL3 (ESP).
Scrive per numerose testate giornalistiche (Hystrio, klpteatro.itwww.paneacquaculture.net tra le altre). Realizza illustrazioni e copertine per l’editoria e opera come live performer. Ha collaborato per la sezione spettacolo e arti performative alle candidature delle città di Cagliari e Siena nella candidatura a Capitale Europea della Cultura 2019.
Tiene laboratori e progetti di formazione sui linguaggi della contemporaneità e l’arte performativa in tutta Italia.

Michela Mastroianni
Esperta di linguaggi, teoria dell’apprendimento e sviluppo della testualità multimediale nel contemporaneo, è insegnante di lingue e letterature classiche. E’ Master in “Ingegneria dei sistemi multimodali per la valorizzazione e la fruizione dei beni culturali” e in “Tecnologie per la Didattica” del Politecnico di Milano, dove collabora a gruppi di lavoro sull’uso degli strumenti del web 2.0 nel settore dell’istruzione, dell’informazione e della cultura nella prospettiva del Lifelong Learning e del Social Learning. Riveste incarichi di coordinamento delle attività di formazione del personale docente e di gestione della comunicazione istituzionale attraverso il web.

 

 

 

The Spanish War in the cinema memory 1936-2016

On the occasion of the 80th anniversary of the Spanish Civil War, a brief excursus into the media world of the time.

Radio, newspapers, newsreels and cinema took on an ideological dimension, becoming instruments of propaganda capable of orienting domestic and international public opinion.

A discussion with Aurora Palandrani (Aamod) and historian Alessandro Hobel.

From h. 17.30:
The Spanish Earth directed by Joris Ivens [text and voice of Ernest Hemingway].
National preview [in language with Italian subtitles / Usa, 1937, 53′].

Cinegiornali dell’Istituto Luce (Fascist propaganda newsreels, Italy, 1936, 20′)

España 1936 by Luis Buñuel and Jean Paul Le Chanois [France, 1937,34′].

 

Curated by: Archivio Audiovisivo del Movimento Operaio e Democratico (Aamod), Associazione italiana combattenti volontari antifascisti di Spagna (Aicvas), Istituto Nazionale per la Storia del Movimento di Liberazione in Italia (Insmli). In collaboration with Istituto Luce – Cinecittà

Agrupación Señor Serrano tells its story

Agrupación Señor Serrano – Silver Lion of the Venice Biennale 2015 –

Founded by Àlex Serrano in Barcelona in 2006, Agrupación Señor Serrano is a theatre company that produces its own shows based on material taken from contemporary reality.

It uses the most innovative technical means and traditional tools to constantly redraw the boundaries of its theatre. It makes use of numerous artistic collaborations and combines in its productions theatre, performance, live video, sound, scale models, to stage stories capable of telling the contradictions of contemporary human experience.

Evolution, globalisation and survival are among the main themes dealt with in the latest productions.

Today, the group’s core is composed of Àlex Serrano, Pau Palacios and Barbara Bloin. www.srserrano.com

Speakers: Àlex Serrano, Pau Palacios and Ilaria Mancia, moderator: Oliviero Ponte di Pino

Photo Nacho Gómez

Roger Bernat

A public space, a group of people, a voice in the headset asking questions, instructions, suggestions. Some are ironic, innocent, others more intimate and important. Who are these people? Where do they come from? Are they spectators or actors? What relationship unites them?

Domini Públic is a game about life, almost a life-size box game where the spectators are not mere pawns but become the protagonists of a story that director Bernat skilfully orchestrates. A sociological investigation in three dimensions on themes that are dear to us and in which we are protagonists, without constraints and prefixed roles.

For the first time in Milan, Domini Públic has toured the world and is a true classic of urban performance.

 

 

 


In Italian. Minimum age for headphones: 14.
Will also take place in case of rain.

The performance will be held at Castello Sforzesco,
Cortile della Rocchetta (Piazza Castello – MM1 Cairoli)
Please arrive with your ID 10 minutes before the start of the performance to collect your headphones.


 

Concept, direction and text by Roger Bernat/FFF; coordination by Helena Febrés; a production La Mekánica / Apap (advancing performing arts projects), Teatre Lliure / Centro Párraga / Elèctrica Produccions, with the support of Generalitat de Catalunya / Entitat Autònoma de Difusió Cultural – departament de cultura i mitjans de comunicació / European Union / Culture Programme 2007-2013; with the support of Ministerio de Educación, cultura y deporte_INAEM; www.rogerbernat.info

 

 

 

 

FOCUS URBANO

The season PLAY-K(ei) 2016 – Who are we? resumes after the summer break with the Urban Focus, to give space to the will of ZONA K to talk, reflect and act on reality, especially the urban one that surrounds us.

A focus dedicated to performances created to inhabit non-theatrical spaces, to act in the city space and actively dialogue with the people and elements that compose it.

Established and emerging artists steal fragments of reality and rework them according to their own poetics, mixing scenic creation and everyday elements, blurring the boundary between public and private, to lead us to consider ourselves and what surrounds us with a renewed look and attitude, to imagine and, why not, build new realities.

 

The events

23 – 25 September, 2, 23 October and 12, 27 November 2016
h. 17.00, 18.00, 19.00, 20.00
Scarlattine Teatro- HAMLET PRIVATE
[performance for single spectator]

23 – 25, 30 September and 1 – 2 October 2016
h. 15.00, 16.00, 17.00, 18.00, 19.00
Strasse – SOLO
[urban performance]

23 – 25 September 2016 h. 21.00
Ateliersi – URBAN SPRAY LEXICON
[concert performance]

23 September – 28 October 2016
BoomBangDesign
#POSTCARDSFROMISOLA
[Exhibition]

24 September 2016
h. 10.15 – 16.00 [workshop]
h. 16.00 – 16.30 [performance]
Alessio Calciolari and Filippo M. Ceredi, in collaboration with Cinzia Delorenzi
STARING BACKWARDS – the 1st city meeting of backward walking

 

Danae Festival
DIARIO DI BORDO: GENNAIO 1978 [anteprima]

ZONA K si fa tappa della 18^ edizione del DANAE FESTIVAL

Bosetti torna a Danae con un’opera di ispirazione autobiografica. Il diario è quello di sua madre, che nel 1977 inizia un viaggio a vela da Gibilterra alle Azzorre, che segna anche un periodo di distacco dalla famiglia. Un racconto scritto a mano nel 1978 e diviso in venti giornate, dove si parla di delfini, pesci volanti, burrasche improvvise e turni al timone. Il compositore, che lavora sul filo della parola, ripercorre il diario con la propria voce, scegliendo la forma del monodramma lirico ispirato al teatro orientale e della finzione radiofonica. Crea così un monumentale e toccante lavoro di teatro musicale, di cui Danae presenta un’anteprima di otto giornate e che vedrà il suo compimento tra il 2017 e il 2018, con la produzione del Centro Nazionale di Creazione Musicale di Marsiglia. Il lavoro si avvale dell’accompagnamento di Kenta Nagai allo shamisen, per intrecciare i tre fili della rotta percorsa, della calligrafia che la descrive e della voce che la abita.

Per i biglietti clicca QUI

Composizione, messa in voce e elettronica Alessandro Bosetti; shamisen e chitarra elettrica Kenta Nagai; anteprima di Journal de Bord/Giornale di Bordo festival Les Musiques, GMEM Centre national de création musicale, Marseille maggio 2017 – maggio 2018; grazie a Anne James Chaton.

Durata 1 ora

Alessandro Bosetti è un compositore e un artista sonoro eclettico, che ha declinato la sua passione per la sonorità del linguaggio parlato attraverso molteplici forme e discipline.   Nato in Italia nel 1973 si afferma parallelamente sulla scena della musica sperimentale a Berlino, dove nel decennio 2000 – 2010 è parte attiva di una profonda trasformazione dei linguaggi sonori (Ensemble Phosphor, composizioni for the Kammerensemble Neue Musik, Die Maulwerker, Neuevocalsolisten Stuttgart) e sulla scena della radiofonia sperimentale e di creazione in Germania e in Europa (WDR, Deutschlandradio, Radio France…) di cui diviene autore prolifico e multipremiato (Prix Phonurgia Nova, Palma Ars Acustica, Prix Hörspiel de La muse en Circuit, Hörspiel des Monats etc.).
Nella radio trova un terreno di libertà multidisciplinare dove sviluppare un’estetica personale e iconoclasta che applica ai numerosi progetti dal vivo per voce ed elettronica, ensembles (Trophies, Renard), gruppi vocali e in collaborazione con la danza (più recentemente in duo con il coreaografo Georges Appaix).
Le sue opere mettono in atto un dialogo tra linguaggio, suono e rumore all’interno di complesse costruzioni tonali e formali spesso percorse da un’ironia obliqua, a volte esilarante, a volte minimale e solenne . Nel suo lavoro categorie estetiche e tradizionali posture dell’ascolto  vengono costantemente messe in discussione attraverso la creazione di dispositivi sorprendenti ed una instancable meditazione in atto sulla natura e i modi d’esistenza della musica e sul suo rapporto col linguaggio (African Feedback 2004, The Listeners 2005, The Pool and the Soup/Acqua Sfocata, 2006-2013, 636 2006, Arcoparlante 2008, Gesualdo Translations 2008, Mask MirrorThe Notebooks etc.).
Performance dal vivo di Alessandro Bosetti sono state presentate in luoghi di riferimento tra cui il GRM/Presences Electroniques festival a Parigi,  Roulette e The Stone a New York, Cafe OTO a Londra e Liquid Architecture Festival a Melbourne e Sydney.
Più di dieci CD dedicati alla sua musica sono stati pubblicati da labels come  Errant Bodies Press, Monotype, Rossbin, Sedimental  e Unsounds. Un Cd quadruplo retrospettivo sui più rappresentativi lavori radiofonici è in fase di pubblicazione presso Monotype records e un DVD basato su MaskMirror presso l’editore coreano The Manual.
Alessandro è correntemente artista in residenza presso il GMEM, Centre de Creation Musicale di Marsiglia e professore ospite di radiofonia sperimentale presso la facoltà di media della Bauhaus Universität a Weimar.

www.melgun.net
https://vimeo.com/187196420
https://www.youtube.com/channel/UC0n0Z6Q4Gf1S9rEz3VTegaw
https://vimeo.com/user3159285

Kenta Nagai è un artista sonoro e visuale di stanza a New York. Lavora con il suono acustico ed elettronico, media visuali e live performance.
Dopo aver completato gli studi al Berklee College of Music di Boston (BA, 1996), Nagai si trasferisce a New York. Ha iniziato la sua carriera newyorkese come chitarrista suonando per le strade, nelle stazioni della metropolitana e nei locali. Il suo lavoro compositivo più recente, intitolato Long, Long, Long, è un ensemble di brani per strumenti tradizionali asiatici. E’ stato presentato al Roulette, a New York, nell’ottobre del 2006. Nagai è anche un performer di primo piano nelle due registrazioni della compositrice Laura Andel, Somnambulist (Red Toucan Records, maggio 2003, RT9322) e In::tension (Rossbin Records, October 2005, RS022). Come performer di shamisen, uno strumento a corde tradizionale giapponese, Nagai è apparso in numerosi concerti e venues inclusi lo Sculpture Center di Long Island City e la Carnegie Hall. Dal 1999 fino al 2002 Nagai è stato un compositore in residenza alla The Cave Gallery di Williamsburg, Brooklyn. In aggiunta al suo lavoro di chitarrista, Nagai è anche coinvolto in creazioni multimediali, performance interattive e installazioni e ha collaborato con artisti provenienti da  diversi ambiti. Questi progetti includono un duratura collaborazione con il coreografo Boaz Barkan documentata dalla filmmaker Miana Grafals nel cortometraggio A Moving Portait. Questo film è stato presentato al Dance Theatre Workshop a New York come parte del Dance on Camera Festival 2005.
Recentemente, Nagai ha lavorato con il fotografo Hiroshi Sugimoto sul film muto  The Water Magician (1933, diretto da Kenji Mizoguchi) componendo la colonna sonora e si è esibito alla Japan Society, New York e all’Hershhorn Museum presso lo Smithsonian Institute. Nel 2005 e nel 2006, Nagai si è esibito in  Flight of Mind con la coreografa Jennifer Monson. Ha continuato la sua collaborazione con Monson nel 2007 attraverso un progetto di più stagioni con sede presso l’Highland Park Reservoir a New York.

BoomBangDesign

A work in progress that collects in a series of animated postcards, portraits inspired by the characters we see every day in our neighbourhood, the Isola district in Milan.

Isola is a lively and colourful area where people live like in a small village and know each other.

Over time we have grown fond of the people we meet every day and who, in our imagination, have gradually transformed into the characters that inspired the project.

 

Lorenza Negri and Caterina Pinto, from Milan, founded the communication agency Boombang Design snc in 2006.

Ateliersi

A dramaturgical and performative research on the writings that appear and disappear from city walls.

A collection that composes new dramaturgies of otherwise fleeting expressions and transforms visual messages into performative gestures. An artistic operation where the theatrical language acts in close contact with the sound arts and where the dynamics of the urban landscape become scenic material.

Ateliersi focuses its gaze on the inhabited street, on the engravings of anonymous authors, where the boundary between public and private emerges mobile and indefinite.

Where: Key Gallery, Via Pietro Borsieri 12
The show is also included in the programme of Isola Kult Festival.

 

by and with Fiorenza Menni and Andrea Mochi Sismondi original music performed by Mauro Sommavilla (guitar)

ScarlattineTeatro

Shakespeare’s Hamlet and his inability to act give life to Hamlet Private: a confidential, close Hamlet that abandons the traditional theatrical context and welcomes every single spectator in the intimacy of a coffee shop to give shape to a confidential relationship between spectator and performer.

A private and exclusive experience in which the spectator has the possibility to explore and investigate his own life and doubts through tarot cards.

Hamlet’s questions become our questions, his hesitation our hesitation and the spectator finds himself, at the table of a bar, rediscovering Hamlet, contemporary man and abyss of questions.

 

 

 


When: from 23 to 25 September and 23 October, 13 and 27 November 2016 h. 17.00 , 18.00, 19,00 e 20.00
Where: Type Bistrot, Via Pietro Borsieri 34
Also 2 October 2016 h. 17.00 p.m. – 21.00 starting every hour, at Carpe Diem Café, Corso Garibaldi 26

The show is also included in the programme of Isola Kult and Garbaldi Kult Festival*.


 

script and direction Martina Marti; artistic advice Michele Losi (Pleiadi Art Productions); actors Giulietta Debernardi, Marco Mazza, visual design and photography Erno Raitanen; production and translation manager Angelica Maran; production ScarlattineTeatro/Campsirago Residenza and Gnab Collective; with the support of MIBAC, Regione Lombardia, Fondazione Cariplo, Kone Foundation, Arts Council of Finland, Swedish Cultural Foundation in Finland, Performance Center Eskus, City of Helsinki Cultural Office; © original version 2012 Martina Marti, Marion Maisano & Cécile Orblin

Strasse

“There is nothing more difficult than following someone who knows they are being followed.”
A Private Detective, Rimini, 2015

SOLO is a site-specific project that works on complex urban spaces, such as large train stations, and the people who populate them, a humanity in transit and circulation, with its own peculiar rhythms and travel times.
SOLO is a journey, an individual walk that places the spectator, the viewer, at the centre of a network of possible relationships, of a crowd that moves, like the cog in a larger system.
SOLO attempts to generate an alternative view of a place that is known and accessible to all, without processing what it sees but opening itself up to the construction of parallel, possible and reproducible universes.

 

 


Where: Garibaldi railway station, Piazza Sigmund Freud
The precise starting place will be communicated to the audience the day before the performance.
Last performance at 19.00 with end at 20.00.

NB: the mobile phone is essential to participate in the performance. It is essential to leave your mobile phone number at the ticket office during the booking process; it will be used exclusively for the performance, respecting privacy.


 

The performance is also included in the programme of Isola Kult and Garbaldi Kult Festival*.
During the festivals special promotion only reduced tickets.

 

concept Francesca De Isabella, Sara Leghissa; version created for ZONA K by Lorenza Cervara, Fabiola Dusetta, Teresa Scalare, Floida Skraqi, Antonella Spina, Chiara Tirloni, Flora Vannini and by Francesca De Isabella, Elena Cleonice Fecit, Sara Leghissa; production Strasse 2013-2016; co-production Uovo Performing Arts Festival with the support of MACAO – Nuovo Centro per le Arti, la Cultura e la Ricerca, Vooruit Kunstencentrumand DE. MO./MOVIN’UP Project: Movin’UP Session II, 2013 curated by Ministero dei Beni e delle Attività Culturali e del Turismo – Direzione Generale per il paesaggio, le belle arti, l’architettura e le arti contemporanee; Direzione Generale per lo spettacolo dal vivo and GAI – Associazione per il Circuito dei Giovani Artisti Italiani pics by Luca Chiaudano

L’IDOLO:
Call to action

Il 28 settembre e il 5 ottobre – dalle 20.00 alle 23.00 – sono organizzate due serate di workshop gratuite aperte a tutti con Igor Loddo, Franco Reffo/Compagnia Nut e Antonio Amore, in cui sarà possibile sperimentare le metodologie di lavoro del laboratorio Io Non Parlo Sono Parlato e in cui saranno selezionati previo colloquio i partecipanti alla Working Class 2016/2017, la classe di ricerca di questo anno di formazione.

Il giudizio sulla figura dell’idolo e sulla pratica dell’idolatria è unanime e costante: si tratta, sempre e per tutti, di qualcosa di negativo, di pericoloso, di una realtà con la quale è bene non avere nulla a che fare. La parola d’ordine è dunque sempre la stessa: gli idoli devono essere distrutti. Eppure gli uomini, della nostra come di ogni altra epoca, siano essi credenti o non credenti, ricchi o poveri, colti o ignoranti, non smettono un istante di fabbricarli e adorarli. Come spiegare l’universalità di tale legge? Perché “il bisogno di comunione nell’adorazione è il più grande tormento di ogni uomo singolo, come dell’intera umanità, fin dal principio dei secoli” (F. Dostoevskij)?

Perché “vi sono nel mondo più idoli che realtà” (F. Nietzsche)?

(Silvano Petrosino)

 

Ispirandosi al lavoro di Silvano Petrosino, come lo è stato per “L’impossibile”, il tema dell’idolo sarà il centro del lavoro di ricerca. Un percorso in cui si sperimenteranno nuovi approcci alla recitazione e si costruirà un percorso spettacolare attraverso linguaggi e modalità diverse.

Il percorso prevede un appuntamento settimanale (il mercoledì sera dalle 20.00 alle 23.00) e appuntamenti di approfondimento durante l’anno, workshop intensivi durante il weekend nei quali sono coinvolti diversi artisti italiani e internazionali (Roy Hart Theatre/Ian Magilton; Compagnia Nut e altri in via di definizione).

Conduttore del percorso è Igor Loddo, direttore artistico di Io Non Parlo Sono Parlato, affiancato da Franco Reffo/Compagnia Nut e Teatro Filodrammatici e Antonio Amore, che approfondiranno il lavoro sulla destrutturazione del movimento e sulle tecniche di organicità del movimento.

Nel corso dell’anno sono previsti diversi momenti spettacolari, installazioni, atti performativi, incontri con il pubblico, dove i partecipanti al laboratorio potranno sperimentare direttamente sulla scena il percorso di ricerca intrapreso, con l’obiettivo di costruire un lavoro finale da presentare a fine giugno.

Per diventare allievi del laboratorio è necessario un colloquio, oltre alla partecipazione ai due open day.

Da gennaio è prevista la creazione di una classe di lavoro parallela gratuita, per attori professionisti e su selezione, con la quale portare avanti progetti da distribuire.

Dove/quando
Working Class – ZONA K, Via Spalato 11, Milano, tutti i mercoledì sera dalle 20.00 alle 23.00, dal 28 settembre 2016 al 28 giugno 2017
Seminari di approfondimento – Spazio Lambrate, Viale delle Rimembranze di Lambrate 16, Milano, date da definirsi.

Info su progetto, materiali, insegnanti
www.iononparlosonoparlato.com
iononparlo@gmail.com
francescaaudisio@hotmail.com
349.1708568 / 333.5223569

Io Non Parlo Sono Parlato si dedica alla creazione di nessi tra temi scientifici e teatro, nel tentativo di mettere in scena progetti, spettacoli, installazioni performative che rendano la scienza un momento divulgativo accessibile, in grado di suscitare emozioni e mettere in relazione persone e identità, in un percorso artistico che ha una forte connotazione di contenuto ma trae origine dalla fisicità del teatro e dalle sue molteplici sfumature.

Impossibile 2015/2016: alcuni momenti di messa in scena:
Sogno e son desto
Installazione impossibile
I-PR (IM-POSSIBLE RELATIONSHIPS)


 

STRASSE / SOLO

VUOI PARTECIPARE?

 

CHI STIAMO CERCANDO:
persone che abitano il quartiere ISOLA o che  frequentino/conoscano la zona limitrofa alla stazione Garibaldi.

Non è necessariamente richiesta alcuna conoscenza specifica performativa.

SOLO è aperto a tutti. E’ richiesta una buona dimestichezza nell’uso dei telefoni cellulari.
La partecipazione è gratuita.

 

IL PROGETTO:
SOLO è un progetto site-specific ed è progettato di volta in volta in luoghi differenti, spazi pubblici come ad esempio le Grandi Stazioni, luoghi complessi di transito e circolazione, vissuti da persone legate a ritmiche e tempi di percorrenza precisi.

Il lavoro del partecipante è quello di mettersi in relazione a questa complessità per generare uno sguardo alternativo su un luogo conosciuto e accessibile a tutti, senza imporre così una visione unica delle cose.

Usando i telefoni cellulari per mettersi in comunicazione col pubblico, il lavoro crea ambiguità tra realtà e finzione. Gli stessi partecipanti/performer sono nella posizione di non sapere inizialmente chi sia lo spettatore, ma seguono un codice di azioni che permetterà loro di intuirlo mano a mano, e di guidare così il suo sguardo e le sue direzioni.

 

STRASSE
E’ un progetto fondato a Milano nel 2009 da Francesca De Isabella e Sara Leghissa.
Strasse lavora sul linguaggio performativo legato all’espressione del corpo in relazione al paesaggio urbano, e sul linguaggio cinematografico come filtro di osservazione della realtà.

Il lavoro che Strasse porta avanti genera la possibilità per lo spettatore di trasformare il suo punto di vista sullo spazio e sul contesto in cui l’opera è costruita, permettendogli di vedere ciò che già esiste, al fine di creare cornici sulla scena e sulle cose.

 

CALENDARIO

Prove:
dal 15 al 19 giugno, il 22 e il 29 settembre 2016
Indicare sul modulo di partecipazione la fascia oraria di preferenza.
Per la buona riuscita del progetto, ogni partecipante dovrà garantire la propria disponibilità per tutti i giorni di prova nella fascia oraria scelta.

 

Presentazioni pubbliche:
dal 23 al 25 settembre, il 29 settembre e l’1 e 2 di ottobre 2016

SOLO verrà presentato al pubblico durante l’ISOLA KULT, il festival culturale del quartiere isola organizzato da ZONA K.
Per la buona riuscita del progetto, ogni partecipante dovrà garantire la propria disponibilità per tutti i giorni delle presentazioni pubbliche, concordate precedendemente con la compagnia.

 

DOCUMENTAZIONE RICHIESTA

  • Modulo di partecipazione da compilare in ogni sua parte.
    Il modulo è richiesto anche per i partecipanti minorenni.
  • Qualche riga di motivazione.

 

Tutta la documentazione dovrà essere inviata via email
organizzazione@zonak.it indicando nell’oggetto “SOLO-Selezioni”.

Per ulteriori informazioni contattare Silvia Orlandi 393.8767162.

 

pic. by Luca Chiaudano

La musica della città di MI

Campus estivo in lingua tedesca.

Se ascoltiamo insieme Beethoven, cosa succede?
Come ci muoviamo sulla musica di Ciaikovskij o su quella degli ACDC?
Si può disegnare la musica di Shakira? O raccontare quella di Mozart?
E ancora: che musica ha composto Bach per raccontare la frenesia di Milano?
Quale musica sceglierei io per raccontare Piazza Duomo?
I rumori del traffico possono diventare musica? E le nostre urla durante l’intervallo?

Tra brani rubati ai musicisti e suoni rubati alla città, costruiremo una grande sinfonia urbana, colonna sonora collettiva del nostro spettacolo estivo, della nostra città di MI.

In questo campus estivo sono previsti due gruppi distinti in base alla fascia d’età; i gruppi lavoreranno in maniera autonoma:
GRUPPO MATERNA: 4 – 6 anni
GRUPPO ELEMENTARI: 7 – 11 anni

Ogni attività, salvo eventuali visite di esperti e ospiti esterni, sarà svolta in tedesco, con momenti dedicati al lavoro in piccoli gruppi per stimolare l’uso attivo della lingua anche tra i bambini.

La settimana di campus alterna momenti di attività e momenti di riposo e libertà.
Accanto ai laboratori pratici, sono previste ogni settimana 2 o 3 gite a musei e luoghi culturali della città in linea con il tema del campus.

Orario: dalle 8.00 alle 12.30 (senza pranzo) oppure  fino alle 16.30 (con pranzo)

Per avere tutti i dettagli, non perdere tempo, scrivi a organizzazione@zonak.it.

Il numero dei posti del campus estivo è limitato, le iscrizioni sono aperte fino al raggiungimento del numero massimo di iscritti.

 

La geografia della città di MI

In questo campus estivo reinventiamo la città facendoci ispirare dai grandi movimenti artistici.

Cos’hanno a che vedere le geometrie di Giotto, le pennellate di Van Gogh, le serie di Andy Warhol o gli schizzi di Pollock con le strade, le piazze, i parchi, le case di Milano?
Quali sono i colori più giusti per disegnare un grattacielo? Quali sono i materiali più adatti a costruire un parco? Come li hanno disegnati i grandi artisti?

Lo scopriremo insieme, osservando gli uni e gli altri con sguardo nuovo e curioso.
Copieremo forme e colori dei grandi artisti per farli nostri.
Al contempo osserveremo il mondo che ci circonda e proveremo a reinterpretarlo attraverso i loro occhi.

Ridisegneremo una Milano tutta nuova, con portici gotici accanto a parchi impressionisti, pubblicità pop-art sulle facciate di grattacieli cubisti, murales di action paintig lungo binari minimalisti.
Sarà la scenografia urbana del nostro spettacolo estivo, della nostra città di MI.

In questo campus estivo sono previsti due gruppi distinti in base alla fascia d’età; i gruppi lavoreranno in maniera autonoma:
GRUPPO MATERNA: 4 – 6 anni
GRUPPO ELEMENTARI: 7 – 11 anni

Ogni attività, salvo eventuali visite di esperti e ospiti esterni, sarà svolta in tedesco, con momenti dedicati al lavoro in piccoli gruppi per stimolare l’uso attivo della lingua anche tra i bambini.

La settimana di campus alterna momenti di attività e momenti di riposo e libertà.
Accanto ai laboratori pratici, sono previste ogni settimana 2 o 3 gite a musei e luoghi culturali della città in linea con il tema del campus.

Orario: dalle 8.00 alle 12.30 (senza pranzo) oppure  fino alle 16.30 (con pranzo)

Per avere tutti i dettagli, non perdere tempo, scrivi a organizzazione@zonak.it.

Il numero dei posti di questo campus estivo è limitato, le iscrizioni sono aperte fino al raggiungimento del numero massimo di iscritti.

 

L’ISOLA DEL TESORO

Campus estivo VIDEO&TEATRO.

Avete mai sentito parlare dell’isola del tesoro?
Si dice che in quest’Isola si nasconda un tesoro prezioso… sì, ma dove?
Proviamo a chiedere agli abitanti della nostra Isola se ne sanno qualcosa…

Armati di telecamere, taccuini e microfoni i bambini e le bambine partiranno all’avventura!

Come veri pirati ed esploratori di oggi andranno alla ricerca di indizi e suggerimenti, pronti a incontrare marinai, pescatori e sirene dell’Isola.

Attraverso il gioco del TEATRO e il linguaggio del VIDEO i bambini e le bambine, in questo campus estivo scopriranno gli strumenti tecnici, espressivi e narrativi per realizzare un cortometraggio che sarà mostrato a tutti gli abitanti del quartiere durante il festival ISOLA KULT a fine settembre.

Posti limitati, l’iscrizione è obbligatoria. Il campus si attiverà al raggiungimento del numero minimo richiesto.

Costo: € 170,00.
Le iscrizioni sono accettate fino a esaurimento posti. 

Per scoprire il dettaglio della settimana di campue estivo e avere maggiori informazioni scrivi a organizzazione@zonak.it

ZONA K crede nella commistione dei linguaggi creativi, e ne fa un suo punto di forza sia nelle attività di laboratorio per le scuole o per le famiglie, sia nelle scelte delle proposte artistiche in stagione.
Il campus vede la collaborazione con Federica Di Rosa e Davide Stecconi.

MUSICA PER LE MIE ORECCHIE @Unicredit Pavilion

AUDIATION INSTITUTE
presenta concerto straordinario presso Unicredit Pavilion di

MUSICA PER LE MIE ORECCHIE
concerto secondo la MLT di E.E. Gordon
per bambin* da 0 a 6 anni

Il concerto è rivolto a tutta la famiglia: mamme in dolce attesa e bambini dai 0 ai 6 anni di età accompagnati da due adulti. La musica si ascolta comodamente seduti o sdraiati a terra, immersi nel suono dei musicisti che si esibiranno attorno ai partecipanti. Un’esperienza a contatto diretto con la musica, che dona a piccoli e grandi la libertà di muoversi e interagire attraverso il corpo e la voce.

A cura di AUDIATION INSTITUTE – Organizzazione di ZONA K in collaborazione con AH-UM Milano Jazz Festival e Unicredit Pavilion

Presentarsi almeno 10 minuti prima per il ritiro dei biglietti.

Il concerto dura 45 min. E’ consentito l’ingresso in sala solo entro i primi 10 minuti di concerto.

Numero posti limitati – 8.00 € a ingresso (l’acquisto deve essere effettuato per ogni adulto e per ogni bambin* che accede al concerto)  Acquista i tuoi biglietti QUI

Per informazioni:
biglietti@zonak.it , tel. 393 8767162 (lu-ve 10.00-19.00)

 

Ensamble Musicale:
Federica Braga (tastiera e voce)
Irene Bongiorno e Claudia Veronese (voce)
Marta Noè (oboe e voce)
Daniele Paradiso (contrabbasso e voce)
Luca Spina (violino e voce)
Miriam Valvassori (arpa, flauto e voce)
+ numerosi altri insegnanti Audiation Institute e musicisti ospiti

 

Sabato 30 aprile UniCredit Pavilion ha il piacere di ospitare Millennials Save Jazz, iniziativa ideata dal

Comitato Giovani Lombardia della Commissione Nazionale Italiana per l’UNESCO e AHUM Milano Jazz Festival.

Il progetto è parte della programmazione dell’International Jazz Day, giornata mondiale proclamata nel 2011 da UNESCO per sottolineare l’importante ruolo giocato dal Jazz nella storia e per promuovere la pace, la diversità, il dialogo tra le culture, il rispetto dei diritti umani, la libertà d’espressione nonché rafforzare il ruolo dei giovani nel portare avanti il cambiamento sociale. Per l’occasione il Comitato Giovani della Commissione Nazionale italiana per l’UNESCO promuove oltre 25 eventi in 20 regioni d’Italia.

Qui, tutto il programma della giornata.

Lezione aperta del corso TAM TAM

Un breve viaggio di piccoli esseri di umano tra carta, sagome, sogni, danze, disegni e trasformazioni.

Una prova aperta per mostrare a tutti come abbiamo giocato per quasi un anno, al ritmo di quella difficile domanda: “E io chi sono?” – “Come sono? Come potrei essere? “Cosa posso fare col mio corpo e con la mia voce?”

TAM TAM Teatro Arte e Movimento, il corso multidisciplinare di ZONA K, è alla fine del percorso e tutto quel che abbiamo scoperto, per rispondere a quella domanda, val la pena di essere condiviso.

Una prova aperta per mostrare. Una prova aperta di vedute. Una prova aperta di mentalità.

Ingresso: libero

Paola Gaggiotti, Enzo Biscardi in collaborazione con ZONA K

Laboratorio per bambini dai 6 agli 11 anni. Durata 2 ore.

In giro per la città con tre sagome di forma umana… Chi sono?
Forse stranieri, extraterrestri, i nostri vicini di casa, il nostro compagno di banco…

Non sappiamo nulla di loro, non conosciamo l’età, la lingua, il colore della pelle e dei capelli. Non conosciamo i loro gusti e le loro abitudini. Loro non sanno nulla di noi.

Trascorreremo con loro due ore, allo scadere delle quali proveremo a immaginarceli e a disegnarli, dandogli un’identità che tenga conto delle differenze e delle somiglianze che ci siamo immaginati.

Ingresso: 10,00€

Numero limitato di partecipanti. Prenotazioni su biglietti@zonak.it

Livia Grossi

A journey between Italy, Burkina Faso and Senegal to talk about theatre and emigration, in times of crisis, through videos, interviews and music.
On the subject, the journalist writes: “The Senegalese are starting to go back home because the game is no longer worth the candle, the Italians are thinking of Africa to escape from loneliness and poverty”.

At the heart of the work is a reflection on a West adrift, the need for a new redefinition of the words “wealth” and “poverty”, but also the urgency of finding a meaning to the encounter between spectator and actor. To rediscover that “Theatre of the origins” which, beyond any commonplace, establishes a renewed form of sharing reality through storytelling and its representation.

A theatrical rite, ancient and daily, in search of a new civilisation of dialogue that compares different identities and expressions.
A rethought journalism, in turn a “journalism of the origins”, capable of transmitting, with feeling and reason, new and necessary motivations.
“More than 200 theatre companies work in Burkina Faso, the sixth poorest country in the world: as if to say, when theatre is an emergency there are no limits, only challenges. Here the shows are a means of information and social education. They talk about AIDS, emigration, infibulation, deaths in childbirth, but also about how to cure oneself with herbs. Theatre is everywhere, under the baobabs in the villages, in the squares amidst the red dust of the streets, under the stars of the theatre in Ouagadogou, or among the clothes hanging in the House of the Word, the ancient court of Sotigui Kouyaté, the griot chosen by Peter Brook for his Mahabharata’.

The reading is preceded by a prologue dedicated to Thomas Sankara, “the African Che Guevara”, with excerpts from his speech on public debt, and updates on recent events in Burkina Faso (photos by Marina Spironetti).
A “theatrical reportage” that transforms the stage into a page of a newspaper, with photographic contributions, video interviews, live music and the journalist who says the piece looking the audience in the eye.

 

text and voice Livia Grossi; photos and video Emiliano Boga; music Jali Omar Suso; scenic writing Emanuela Villagrossi; video editing Silvia Torri.

 

Livia Grossi. A freelance journalist, she works for Corriere della Sera, covering theatre, culture and reportage. A great traveller, she has toured South America, Albania and sub-Saharan Africa. Her travels and encounters with people have led to the creation of “Reportage Teatrali”, a different way of reporting, a “new” journalism, which draws heavily from the agora from which it originated.

WALK ON RIGHTS

Amnesty International, consapevole dell’importanza della musica, dei video, della scrittura e delle arti figurative come mezzi di trasmissione di valori quali il rispetto e la tolleranza tra gli esseri umani, ha indetto anche quest’anno il Concorso “Walk on Rights”.

In gara 5 categorie: 1. Fotografia Digitale 2. Disegno o Fumetto 3. Musica 4. Videoclip 5. Testo in Prosa o Poesia.
La PREMIAZIONE della V° Edizione del Concorso nazionale sui DIRITTI UMANI di quest’anno è dedicato alla LIBERTA‬‘ D’ESPRESSIONE.

‪#‎EspressivaMENTE‬ – dai forza alla ‪#‎libertà‬ d’espressione

Le molte opere arrivate sono al vaglio della giuria di esperti in varie discipline che hanno l’obiettivo di determinare in modo collegiale la scelta di vincitrici e vincitori.

L’ingresso è libero.

Per informazioni: 346.3673730 – walkonrights@gmail.com

Organizzato da Amnesty International Circoscrizione Lombardia

Federica Di Rosa e Davide Stecconi

Radio Onda Clandestina racconta le storie di bambini e ragazzi che vivono a Milano durante la seconda guerra mondiale, che giocano per le vie devastate dalle macerie, invadono i prati di periferia per una partita di pallone e ascoltano la musica per non sentire il rumore delle bombe.

Qui si può ascoltare anche musica proibita, canzoni come “Crapa pelada” e “Maramao perché sei morto”, censurate dai fascisti per timore che possano nascondere messaggi segreti oppure perché mettono in ridicolo il regime, e “Questi sono tempi in cui anche ridere è roba da matti, roba che non si può”.

Radio Onda Clandestina racconta una storia nella Storia. L’ antagonista è Pippo, un aereo misterioso e solitario che di notte se ne va in giro sulla città. Al grido di “Arriva Pippo!”  tutti si chiudono in casa o corrono nei rifugi, e bisogna spegnere tutte le luci, perché dove vede luci accese Pippo “sgancia un confetto… cioè una bomba”. Ma chi è Pippo? Un nemico o un amico? Un messaggero di pace o un messaggero di morte?

“A noi ragazzi non dicono niente, ma certe cose noi le vediamo lo stesso. Certe cose non sono quello che sembrano”. Ecco i protagonisti di questa storia: sono Libero, Luigi, Lidia, il Mentina, il Sidela, il Testina. Questi ragazzi vogliono scoprire come stanno davvero le cose e  riprendersi la loro città: formano una banda, si danno appuntamento in un posto segreto e decidono di fare la loro Resistenza.

Con la sua voce ironica e tagliente, Radio Onda Clandestina ci accompagna attraverso queste storie fino alla giornata più importante: il 25 aprile 1945.

Da quel giorno Pippo non volerà più.

Liberamente ispirato all’omonimo libro di Antonio Quatela.
Uno spettacolo di Federica Di Rosa e Davide Stecconi con Veronica Franzosi

Dai 9 ai 99 anni.

Contemporary circus.
Comparing ideas.

After the show, INDOMADOR – Animal Religion, an informal chat between Quim Girón and Filippo Malerba of Associazione Quattrox4, which has long been involved in promoting contemporary circus arts in the Milan area. Open questions from the audience.

Quim Girón is 29 years old and comes from Barcelona, Spain.
He does continuous research in the fields of balancing, music, percussion, clowning and animal movement. After studying at the Rogelio Rivel circus school in Barcelona, his travels took him north, where he attended LIDO (circus school, Toulouse, France) for a year, finishing his studies at DOCH (University of Circus and Dance, Stockholm, Sweden) with handstand and acro-dance disciplines.

In collaboration with:

logo gennaio2

 

FINGERPRINTS / Performing Gender

Gender Bender presents an exhibition of original illustrations by Luca Di Sciullo, Viola Niccolai, Lisa Passaniti and Cristina Portolano and photographs by Elisa D’Errico.

An exhibition that, in its entirety, stems from the work of young Italian illustrators and artists, called upon to follow and document the artistic work conducted by 17 young choreographers and visual artists from Italy, the Netherlands, Croatia and Spain, selected for the European project Performing Gender; training in choreographic production and creation in museums, dedicated to the representation of sexual orientation and gender roles.
The exhibition had its national premiere in Bologna in 2014.

ZONA K presents four albums of sketches, drawings, portraits and stories by Luca Di Sciullo, Viola Niccolai, Lisa Passaniti and Cristina Portolano, together with photos by Elisa D’Errico, which compose a collective diary of the encounter with performers from the European scene and provide a panoramic view of an extraordinary human and artistic experience.