Diana Anselmo e Sara Pranovi (IT)

performance in Italian and LIS | duration 50 min

c/o ZONA K, admission allowed with membership 2024

In collaboration with Danae Festival

Je Vous Aime is a lecture-performance about a short film, so short that it lasts barely a second: it is 1891, four years before the Lumière premiere. Georges Demenÿ invents a device that for the first time manages to project a faint moving image: his own face uttering the words “Je vous aime”. This is technically the first video ever, which will lead to the invention of the cinematograph and eventually cinema itself.

Starting from History, always the result of a meticulous choice between what can be preserved and what cannot, and from the Archive, a device at the service of a certain system of power, the performance highlights the anti-history, or rather “those whom History does not take into account”; thus revealing how that first video was aimed at teaching lip-reading to deaf children – after they were prevented by law from signing. This was the verdict of the Milan Congress, the consequences of which still affect Deaf people today. In Italy, Italian Sign Language (LIS) was only recognised as a true language in May 2021: 141 years later. Je vous Aime is, therefore, a multimedia performative stage action that unfolds between verbal storytelling, slides, video testimonies in Italian Sign Language (LIS), and Visual Sign (a poetic form of sign languages) with the aim of discussing audism, phonocentrism, and linguicism, and rewriting the “literature of the masters”.

performer Diana Anselmo and Sara Pranovi director Diana Anselmo video testimonies Paolo Girardi, Leonarda Catalano, Mario Minucci, Maurizio Anselmo, Anna Folchi, Vincenza Giuranna, Diana Vantini, Matteo Pedrazzi produced with the support of IntercettAzioni – Centro di Residenza Artistica della Lombardia

Photo by Sara Meliti

Diana Anselmo is a Deaf performer, activist and improvised human being.Bilingual LIS and Italian, she made her debut with her first performance “Autoritratto in 3 atti” (2021), still presented at various Italian and international festivals. Abroad, he made his debut in Berlin with “Le Sacre du Printemps (2022)” by Xavier Le Roy. He is one of the founders of Al.Di.Qua. Artists, the first association in Europe of and for artists* with disabilities.

Sara Pranovi is a LIS interpreter with specific expertise in the world of performance. On stage, she has translated numerous shows into LIS: alongside Marta Cuscunà (Corvidae, Sguardi di Specie) and Irene Serini (Abracadabra), she has also interpreted in sign language the works “Abbracci” by Teatro Telaio, “I Danni del Pomodoro” by Teatro d’Emergenza, “Escargot” by Teatro del Piccione, “Il Tenace Soldatino di Piombo” by Teatro delle Apparizioni and “Pornodrama 2.0” by Giuseppe Comuniello and Camilla Guarino.

Massimo Furlan / Claire De Ribaupierre (CH)

show  | duration 60 min | in italian

c/o Parco delle Cave

Con l’Animale is the second part of the ‘Trilogie des liens‘, a project in which Massimo Furlan and Claire de Ribaupierre ponder our relationships with nature and its inhabitants, to understand how an environment is made up: who the protagonists are, how they interact, how they evolve contextually and constantly. To understand what unites us, what we all have in common. How we build balances or cause imbalances, how we create alliances or break them, how we live together.

The show Con l’Animale starts from interviews with people who have a special relationship with the wild world: wildlife guards, gamekeepers, fishermen, local hunters, ecology theorists, and philosophers. The stories told reflect the wealth of knowledge and connections with animals. Rivers and forests reveal environments rich in contaminations, condensing some of the paradoxes of our time. The artists listen to their stories, anecdotes, and experiences and ponder their habits. Their actions and practices combine tradition and contemporary issues, necessary needs (population regulation, human feeding, etc.) and Sunday pastimes, intimate understanding of animals in their environments and questions about human intervention in natural ecosystems. Today, more and more, we are neglecting ancestral knowledge based on the balance between what we take from nature and what we give it time to replenish. Not knowing the environment anymore means neglecting it, taking excessive advantage of it means destroying it. Without knowledge of the intelligence of what surrounds us, we destroy ourselves.

a project by Massimo Furlan and Claire de Ribaupierre direction Massimo Furlan dramaturgy Claire de Ribaupierre with Tommaso Banfi, Vanni Bruscaglioni, Fabio Fiochi, Paolo Nicolini, Andrea Reversi, Pablo Vallin technical and video direction Jérôme Vernez lighting Etienne Gaches sound Aurélien Chouzenoux administration and production Noémie Doutreleau distribution Jérôme Pique production Numero23Prod. co-production Théâtre Vidy – Lausanne (CH), Les 2 scènes – Besançon with the support of Ville de Lausanne, État de Vaud, Pro Helvetia – Fondation Suisse pour la Culture, Loterie Romande (en cours), programme européen de coopération transfrontalière Interreg France-Suisse dans le cadre du projet CDuLaB.

Foto di Pierre Nydegger

After training at the Ecole des Beaux-Arts in Lausanne, Swiss set designer and visual artist Massimo Furlan worked with various dance and theatre companies. In 2003, he founded his own company dedicated to the performing arts, Numéro23Prod, to interrogate the act of representation outside the confines of genres. His multiple performances, essentially articulated around humour and contrast, question popular manifestations, the notion of the team and the themes of image, duration, childhood, memory and play. In 1988 Furlan received an award from the Irène Reymond foundation in French-speaking Switzerland and in 2001 a Prix culturel vaudois jeunes créateurs beaux-arts. In 2014, he received the Swiss Cultural Theatre Prize. Her works have been presented in theatres and festivals throughout Europe.

Since 2023 Claire de Ribaupierre has been the dramaturge of Massimo Furlan’s creations. She holds a degree in Literature and conducts research in the fields of anthropology and contemporary images and literature.

Berlin (BE)

show | duration 110 min
in English with Italian subtitles

c/o Teatro La Cucina / Olinda onlus via Ippocrate 45, Milan

The making of Berlin is a portrait of a city. It is built around the extraordinary story of Friedrich Mohr, a Berliner who was the Berliner Philharmoniker’s stage manager during WWII. The making of Berlin – with live horn music – offers an unfiltered look at BERLIN’s work process. But above all, it tells the story of one of the ‘unbrave’ who failed to stand up when fellow Jewish musicians and friends were expelled from the orchestra. The making of Berlin is the final part of the Holocene cycle, during which BERLIN made several portraits of cities over the past twenty years.

BERLIN helps Mohr to realize an as yet unfulfilled dream. At the end of WWII, the conductor of the Philharmonic decided to perform Siegfried’s Funeral March from Wagner’s Götterdämmerung one last time. The performance would be broadcast live on German state radio. Rehearsing with the entire orchestra in one location soon proved too dangerous due to ongoing bombing. So the conductor divided the orchestra into seven segments and had them rehearse in separate bunkers. Faltering (recording) technology threw a spanner in the works. Mohr’s ultimate wish is to perform the technical tour de force as initially planned seventy-five years after the date. The Götterdämmerung will be played from seven bunkers simultaneously and can be heard in its entirety on the radio. A daring feat for which BERLIN called on, among others, radio station Klara, the orchestra of Opera Ballet Vlaanderen and German actor Martin Wuttke (known from Tarantino’s Inglourious Basterds).

Theatre- and film-maker Fien Leysen records the creation process for a behind-the-scenes documentary. Her footage eventually ends up in the performance as well. You gradually discover together with BERLIN that Mohr’s story is full of inaccuracies and that he seems to want to restore the irreparable. How far can you stretch the truth when you’re looking for atonement?

direction Yves Degryse with (on stage) Yves Degryse, Geert De Vleesschauwer / Marjolein Demey / Bregt Janssens / Eveline Martens / Sam Loncke (afwisselend), Rozanne Descheemaeker / Matea Majic / Diechje Minne / Jonathan van der Beek (afwisselend) ; with (film) Friedrich Mohr, Martin Wuttke, Stefan Lennert, Werner Buchholz, Alisa Tomina, Krijn Thijs, Chantal Pattyn, Symfonisch Orkest Opera Ballet Vlaanderen, Alejo Pérez, Yves Degryse, Caroline Große, Michael Becker, Claire Hoofwijk, Alejandro Urrutia, Marek Burák, Marvyn Pettina, Farnaz Emamverdi, team BERLIN: Jane Seynaeve, Eveline Martens, Jessica Ridderhof, Geert De Vleesschauwer, Sam Loncke, Manu Siebens, Kurt Lannoye, team Opera Ballet Vlaanderen: Jan Vandenhouwe, Lise Thomas, Eva Knapen, Christophe De Tremerie video e video editing Geert De Vleesschauwer, Fien Leysen, Yves Degryse internship video editing Maria Feenstra drone shots Yorick Leusink, Solon Lutz behind the scenes footage Fien Leysen scenography Manu Siebens set construction Manu Siebens, Ina Peeters, Rex Tee, Joris Festjens set design and construction film Jessica Ridderhof, Klaartje Vermeulen, Ruth Lodder, Ina Peeters musical composition and mixing Peter Van Laerhoven live music (horn) Rozanne Descheemaeker / Matea Majic / Diechje Minne / Jonathan van der Beek (alternating) music film Peter Van Laerhoven, Tim Coenen, Symfonisch Orkest Opera Ballet Vlaanderen olv Alejo Pérez mixing orchestra Maarten Buyl sound design and mixing Arnold Bastiaanse sound recordings Bas De Caluwé, Maarten Moesen, Bart Vandebril technical coordination Manu Siebens, Geert De Vleesschauwer production management Jessica Ridderhof production support Germany Daniela Schwabe, Gordon Schirmer research Wagner Clem Robyns, Piet De Volder research internship Annika Serong photography Koen Broos, Gordon Schirmer technical coordination berlin Marjolein Demey day-to-day coordination and production assistant Jane Seynaeve production BERLIN coproduction DE SINGEL (Antwerp, BE), le CENTQUATRE-PARIS (FR), Opera Ballet Vlaanderen (BE), VIERNULVIER (Ghent, BE), C-TAKT (Limburg, BE), Theaterfestival Boulevard (Den Bosch, NL), Berliner Festspiele (DE) with the support of the Flemish Government, Sabam for Culture, Tax Shelter of the Belgian federal government via Flanders Tax Shelter

Photo by Koen Broos

Founders of BERLIN in 2003, Bart Baele, Caroline Rochlitz and Yves Degryse decided not to choose a particular genre, but to venture into the realm of documentary filmmaking and let the places of their forays guide their inspiration. This philosophy resulted in two project cycles: Holocene (the current geological era) where the starting point is always a city or other place on the planet, and Horror Vacui (fear of the void) in which true and poignant stories are delicately unravelled around a table. The Holocene cycle includes Jerusalem, Iqaluit, Bonanza, Moscow and Zvizdal. The first three episodes of Horror Vacui are Tagfish, Land’s end and Perhaps all the dragons. BERLIN are still working on both cycles. The Making of Berlin is the last chapter of Holocene. The company has worked in 27 different countries in recent years, within various circuits: from theatres to exhibition spaces, from festivals to special locations.

Simon Senn (CH)

performance | duration 60 min

c/o ZONA K, admission allowed with membership 2024

In this digital conference that doubles as a demonstration and confession, Simon Senn, a videographer and visual artist from Geneva, demonstrates how the virtual world and the real world are not always in opposition, revealing the unexpected entanglements between technology, representation, gender, and law.

Simon Senn’s experience began when he bought the digital replica of a female body online. He then went in search of the woman whose body he was « virtually » inhabiting. Onstage he conveys this disturbing experience to the audience.

After downloading the replica (a detailed and evidently accurate reproduction), he brought it to life with easily purchased sensors and discovered what it felt like to « have » a female body – at least through his 3D glasses. The experience was moving. Who is this woman ? Can he do anything he likes with this digital body ? What about the new and enjoyable sensuality this virtual form offers him ? He managed to track down the young woman and begin a discussion with her (one that continues today), where together they investigate this third digital body that exists between them. Arielle is now part of the project and is present in the show.

Simon Senn decided to consult a psychologist and explore his feelings of «gender disturbance », which continue to surprise him – does he perhaps suffer from « Snapchat dysmorphia », the clinically accepted psychological illness of those who wish to transform themselves in order to resemble their online image?

conception and direction Simon Senn with Simon Senn, Arielle F. and a virtual body production Compagnie Simon Senn co-production Théâtre Vidy-Lausanne – Le Grütli, Centre de production et de diffusion des Arts vivants – Théâtre du Loup distribution and tour Théâtre Vidy-Lausanne with the support of Porosus – Pro Helvetia – Fondation Ernst Göhner – Pour-cent culturel Migros – Loterie Romande

Photo from simonsenn.com

Born in 1986, Simon Senn is an artist and theater director, and lives in Geneva. He obtained a Bachelor of Fine Arts from the Haute école d’art et de design de Genève and a Master’s degree from Goldsmiths College in London. At first glance, his work seems to suggest that he is a socially engaged artist, speaking out against a certain type of injustice. However, his works sometimes reveal a more ambiguous approach, exploring aporias rather than articulating addressed criticisms. Even if his videos or installations are normally based on a certain reality, fiction is often mixed in. Be Arielle F is his first proposal for the stage, with which he received the second Prix d’encouragement pour les arts de la scène Premio in 2019. During the health crisis of 2020, a live stream and adapted version of the show was offered digitally by the Théâtre Vidy-Lausanne. In 2024, he collaborates with Indian dancer Rohee Uberoi to capture and encode the movement of Bharata natyam in their projet Rohee, to be shown in Vidy.

Be Flat (BE)

urban acrobatics performance | duration 60 min

c/o Portello

The two acrobats of Be Flat have prepared a unique tour of (name city) for a select group of followers. The streets of the city, the facades of the buildings and the cobblestones below are transformed into an urban circus piste. But Follow me is not only a performance to be watched, it is a playful collective journey through public space. So turn off your cell phones, tighten your shoelaces, and lets go!

directors / circusartists Ward mortier, Thomas Decaesstecker dramaturgical advice Craig Weston external viewpoint Sander De Cuyper with the support of Vlaamse gemeenschap coproduction Miramiro partners Circuscentrum, Centre des Arts scéniques, Centre des Arts de la Rue, Latitude 50, Circusplaneet, Circus in beweging et Ell Circo d’ell Fuego

Photo by Yngwie Scheerlinck.

Thomas (Tervuren 1989) and Ward (Ghent 1993) first met at a freerunning gathering in Ghent in 2008. Sharing a mutual passion for music and movement during the ensuing years has led them to a unique and solid friendship. Ward studied Chinese pole combined with acrodance at ESAC (Ecole Supérieure des Arts du Cirque, Brussels). Thomas followed training as acrobat and hand-stand artist in Santiago, Chili at the Escuela De Artes Circenses Del Circo Del Mundo. Their mutual interests, combined with their individual specialisations and experiences, guarantee a broad range of skills to be used in a gamma of contexts and situations.

Zoë Demoustier / Ultima Vez (BE)

dance | duration 60 min
in English with Italian subtitles
c/o ZONA K, admission allowed after membership 2024

At the end of the performance on Friday 5 April there will be the meeting “The political gesture of a body-archive“.
The body-archive and gesture as instruments of an investigation into violence, at the centre of Zoë Demoustier’s work, are themes that also belong to other contemporary dance experiences.
One of the most significant is that of Arkadi Zaides and his “Archive”, in which the dancer’s body interprets the proxemics of war, calling into question the gaze of the spectator.
To these intersections is dedicated the meeting with Zoë Demoustier, moderated by Camilla Lietti and Francesca Serrazanetti (Stratagemmi).

In Unfolding an Archive, Zoë Demoustier unfolds an image archive of 20 years of war reporting. The man behind the camera is her father Daniel Demoustier. The search for a relationship to the imagery of world events with which she grew up is like a movement from far and near. In an attempt at a reconstruction, she brings the archive to life. She dismantles the mechanisms hidden behind the archive images. Gradually, a choreography of poses and gestures is created in a broken timeline of physical memories.

« In Unfolding an Archive I investigate what news is, how journalism works, how you use images to place reality in a certain frame. But there is also a second, much more personal track: what has my father’s special job done to me? It took a long time before I dared to put that into the performance. At some point I realized I couldn’t avoid that question. And that those apparently very personal topics – how
our family functioned, the father-daughter relationship, the question of how present a parent should be – are just very universal: everyone has to deal with them. » Zoë Demoustier in HUMO

Choreography and performance Zoë Demoustier Live sound Willem Lenaerts Sound concept Willem Lenaerts & Rint Mennes Light design Harry Cole Light and technical support Pieter Kint Interview & editing Yelena Schmitz Design & Costume Annemie Boonen Research Annemie Boonen & Willem Lenaerts Dramaturgy Elowise Vandenbroecke Coaching Danielle van Vree Video and sound archive Daniel Demoustier Co-production STUK With the support of the City of Leuven, 30CC, Platform In De Maak Residences STUK, Ultima Vez, Vlaams Cultuurhuis de Brakke Grond, Voetvolk Atelier Rubigny Thanks to Shila Anaraki, Oihana Azpillaga, Jonas Beerts, Anna Bentivegna, Stijn De Cauwer, Elliot Dehaspe, Dirk De Lathauwer, Lahja Demoustier, Misha Demoustier, Hannes Dereere, Josine De Roover, Pieter Desmet, Klaas De Somer, Willem Malfliet, Hildegard De Vuyst, Silke Huysmans, Karen Joosten, Koen Theys, Maarten Van Cauwenberghe, Gerlinde Van Puymbroeck, Veerle Van Schoelant, Niek Vanoosterweyck, Bart Vanvoorden, Remo Verdickt, Cas-co Leuven, Dag van de Dans, Danstuin.

Photo by TomHerbots

Zoë Demoustier (1995) is performer and choreographer. The body is always the starting point for her visual representations. From movement she makes links with topical and committed subjects to create documentary choreographic work. Zoë made the performances nesten (fABULEUS/Anna Bentivegna & Ayrton Fraenk), Road to Nowhere (Forsiti’A/Yelena Schmitz), Born to be wild (Thespikon) and worked as a performer and assistant with Kabinet K, Michiel Vandevelde, Alma Söderberg/Manyone, Iris Bouche/Opera Ballet Vlaanderen, David Weber Krebs and Marcelo Evelin. In 2021 she was ambassador of Dance Day in which she created tomorrow’s dance makers in collaboration with De Zendelingen. From 2022 she will start a new collaboration as a choreographer at Ultima Vez. Unfolding an Archive is her first solo performance, for which she has already initiated within the Directing course at the RITCS and Cultural Studies at the KU Leuven. In the performance she uses techniques from the mime corporel tradition that she learned during her studies at the Mime Education in Amsterdam. For Unfolding an Archive she works closely with musician and sound designer Willem Lenaerts.

Lina Saneh and Rabih Mroué (LB)

show | duration 50 min
in French with Italian subtitles

c/o ZONA K, admission allowed upon 2024 membership

After its premiere in 2009, Photo-Romance immediately become one of the most successful international theatre pieces and is now, after touring worldwide, is coming to Mousonturm in its newest version: in the roles of author and censor Lina Saneh and Rabih Mroué discuss the photo novella adaptation of a historical film document, which shows the enthusiasm of Italian crowds at Hitler’s Mussolini visit. The two of them – him, a former leftist activist, she, a divorced homemaker – met in Beirut in 2006 shortly after Israel’s attack on Lebanon: two lonely people, uncomfortable with the hubbub outside. By mixing fiction and reality, Photo-Romance deconstructs the political logic, as well as the illusion of theatre and shows “truth” to be a construction of possibilities.

Concept, text and direction Lina Saneh and Rabih Mroué Translation Masha Refka Set design Samar Maakaroun Music Charbel Haber Soundtrack Lina Saneh, Rabih Mroué, Sarmad Louis Direction of photography Sarmad Louis jeu pour la bande-image Rabih Mroué, Lina Saneh Special guest Mona Mroué Assistant director and executive producer Petra Serhal Costumes Zeina Saab de Melero Makeup Stéphanie Aznarez Production assistant Ashkal Alwan (Beyrouth) With Lina Saneh, Charbel Haber, Rabih Mroué

Director, performer and playwright, Lina Majdalanie is a Lebanese artist, living in Berlin. Her work includes: Hartaqāt (2023), Second Look (serie video, 2020), Sunny Sunday (2020), Borborygmus (2019), Do I Know you? (2017), A Drop of Sweat (2015), 33 rpm and a few seconds (2012), Photo-Romance (2009), Appendice (2007), I Had A Dream, Mom (vidéo, 2006), Biokhraphia (2002), and others… 
She curated several events in Mousonturm-Frankfurt (2016 and 2023), HAU-Berlin (2017), Kunsthalle-Mulhouse (2015) and Tanzquartier-Vienna (2009). She was a fellow at the International Research Center “Interweaving Performance Cultures”/FU in Berlin (2009-2010) and a member of Home Workspace Curricular Committee-Ashkal Alwan (Beirut 2010-2014). She opted the pseudonym Lina Saneh in April 2015.

Rabih Mroué, born in Beirut and currently living in Berlin, is a theatre director, actor, visual artist and playwright. He is a contributing editor for The Drama Review /TDR (New York) and a co-founder of the Beirut Art Center (BAC).  He was a fellow at The International Research Center: Interweaving Performance Cultures/ FU/Berlin from 2013 -2014. He has been a theatre-director at Münchner Kammerspiele from 2015 -2019.
His works include: Hartaqāt (2023), Sunny Sunday (2020), Borborygmus (2019), So Little time (2016), Ode to Joy (2015), Riding on a cloud, (2013), 33 RPM and a Few Seconds (2012), Photo-Romance (2009), The Inhabitants of images (2008), Who’s Afraid of Representation (2005), Looking for a Missing Employee (2003), Biokhraphia (2002), Three Posters (2000) and others… 

Sette pièce tra campi e foreste

Paesaggi condivisi is a theatrical journey through fields and forests, seven immersive proposals to provoke an examination of our relationship with the landscape and nature.

What if the landscape were a theatre? What if art did not imitate nature, but rather allowed us to experience it collectively? What is at stake in our relationship with “nature” and its representations, in this era in which climate and resources have made us aware of our fragility and interdependence?

Paesaggi condivisi is an invitation to leave the theatre and spend a day in nature; walking and exploring fields and forests, spectators will discover seven works of art, seven variations on the theme of landscape. Stefan Kaegi, from the Rimini Protokoll collective, and Caroline Barneaud, curator of the Théâtre Vidy-Lausanne, have invited ten European artists to share their visions on our relationship with the territory. Performative and choreographic interventions, sound and multimedia creations and dives into philosophy offer a collective and participatory experience.

Paesaggi condivisi is part of the European project Performing Landscape, which sees the involvement of eight partners from Germany, Austria, France, Italy, Spain, Portugal, Slovenia. Artists, cultural organisers and experts reflect on notions of art, the landscape and the territory. Drawing a visible and invisible map of the European locations involved, they reveal the spaces that the share through the lens of the arts and the sciences. An alternative way to examine and reinvent Europe together. Paesaggi condivisi made its debut on 14 May 2023 in Chalet-à-Gobet with the Théâtre Vidy-Lausanne and has currently been adapted and presented in the various locations involved: Avignon, Berlin, Milan, Ljubljana, St. Pölten, the Girona region and the Lisbon region.

Stefan Kaegi (Rimini Protokoll)  

The Swiss and German director Stefan Kaegi invites the audience to lie down under the trees, to put on headphones, and to listen to a conversation recorded under similar circumstances. An immersion into sound for a shift in perspective.
Conversation with a psychoanalyst, a singer, a curious child, a forest ranger and a meteorologist.

Chiara Bersani e Marco D’Agostin 

Chiara Bersani and Marco D’Agostin are two Italian artists, one with disability and the other not, who have been exploring the notion of “political body” together for the past ten years. 
With a local performer, using bodies and words, the duo will stage a strange picnic in which the landscape will become a space of sharing as much as an inaccessible space.

Sofia Dias e Vítor Roriz  

Portuguese choreographers and performers Sofia Dias and Vítor Roriz have developed a choreographic language that includes text and voice, creating shows, performances, and podcasts as well as installations… For Paesaggi Condivis, the duo has composed a sound and choreographic piece for audio-guide headsets, which simultaneously guides two audience groups through the forest, in a kind of pas de deux or surrealistic ritual, between instructions and daydreams. A personal meditation and a collective experience that interrogates our relationship to what surrounds us.

Begüm Erciyas e Daniel Kötter

Begüm Erciyas is a Turkish-Belgian artist who develops theatrical devices that offer audiences individual and intimate experiences in a collective context.
Daniel Kötter is a director and filmmaker, and has directed a
series of virtual reality documentaries that explore the effects of extraction on landscapes and communities.

Ari Benjamin Meyers 

Ari Benjamin Meyers, an American artist and composer living in Berlin, creates musical pieces for international stages and museums. He is particularly interested in formats that deploy the social and performative issues at stake in music.  He takes advantage of this unique occasion to deploy a piece for an entire territory and an entire afternoon and composes for Paesaggi Condivisi UNLESS, 4 musical and sculptural works for the trees, the ground, the birds and the air, which unfold as the landscape and the day go by with 6 local musicians.

El Conde de Torrefiel

El Conde de Torrefiel is a Spanish collective that creates visual and textual theatre pieces in which theatre, choreography, literature and the visual arts cohabit. For the end of the day and of the route, El Conde de Torrefiel will install the audience in a situation in which they will contemplate a “subtitled” landscape, augmented by an LED screen on which thoughts, questions, perspectives and revelations will unfurl. A collective reading of the landscape which will highlight the imperceptible and some of the fictions that govern our representations of nature.

Émilie Rousset 

French director Emilie Rousset uses documentary research to create theatrical, installative, and filmic forms in which actors embody the collected archives, creating fruitful superpositions between reality and fiction, original and copy. For Paesaggi Condivisi, she met with an agroecology  advocacy officer, a tractor farmer and a bio-acoustician, and recorded their words. Performers and a machine replay these original and several versions, inviting the audience to contemplate, upend, and examine the connections between science, technology, economy and landscape.

PAESAGGI CONDIVISI Sette pièce tra campi e foreste
Duration (estimation) : 7 hours, including breaks Performative land art (theatre, performances, music…)
Concept and curation Caroline Barneaud, Stefan Kaegi (Rimini Protokoll)
With pieces by Chiara Bersani and Marco D’Agostin (Italy), El Conde de Torrefiel (Spain), Sofia Dias and Vítor Roriz (Portugal), Begüm Erciyas and Daniel Kötter (Turkey, Belgium, Germany), Stefan Kaegi (Germany, Switzerland), Ari Benjamin Meyers (USA, Germany), Émilie Rousset (France)
Artistic assistant Giulia Rumasuglia, Magali Tosato
Stage manager Guillaume Zemor 
Production and coordination Isabelle Campiche, Aline Fuchs (Théâtre Vidy-Lausanne)
With the support of the production, technique, communication and administration teams of Théâtre Vidy-Lausanne
Coordination of Performing Landscape Chloé Ferro, Monica Ferrari,  Lara Fischer (Rimini Protokoll)
Production Rimini Apparat (Germany) and Théâtre Vidy-Lausanne (Switzerland)
Coproduction Performing landscape, European consortium: Bunker and Mladi Levi Festival (Slovenia), Culturgest (Portugal), Festival d’Avignon (France), Tangente St. Pölten – Festival für Gegenwartskultur (Austria), Temporada Alta (Spain), ZONA K and Piccolo Teatro di Milano Teatro d’Europa (Italy).

Berliner Festspiele (Germany).

Performing landscape, European consortium: Bunker and Mladi Levi Festival (Slovenia), Culturgest (Portugal), 
Festival d’Avignon (France), Tangente St. Pölten – Festival für Gegenwartskultur (Austria), Temporada Alta (Spain), ZONA K and Piccolo Teatro di Milano Teatro d’Europa (Italy).

Berliner Festspiele (Germany).

pic © Léonard Rossi

With the support of INVR Berlin for the virtual reality headsets.

The concept creation was funded by the Federal Agency for Civic Education (Germany)

The prototype in Lausanne was supported by Jorat natural park, the City of Lausanne, the Competence Centre in Sustainability of the University of Lausanne.

Mobile Akademie Berlin (DE)


c/o La Pelota Jai Alai, via Palermo 10, Milan (MM2 Moscova)

Free entrance subject to availability.

The performance will take place from 5 p.m. to 8.30 p.m.
from 16.00 it is possible to join at any time until the end of the performance

The city has restarted. It is moving. It looks ahead. She has to do, to move forward, to plan, to take care of others and herself. It is always her: progressive, generous, activist, entrepreneurial, international, obnoxious, snobbish, exaggerated. The city regenerates and consumes, operates from below and builds high, dismantles crime and tradition. It is finance and real estate speculation. It is branding. Bike lanes, culture, ethical food, new neighborhoods, housing prices up 40 percent, uninhabitable public housing, 700,000 cars coming in every day, ever-increasing commuters, off-market student beds. A washing machine that centrifuges its inhabitants. It attracts them, welcomes them and after 15 years spits out 60 percent of them. But the city is a complex system. If, in physics, a complex system is defined as a whole that acts and evolves according to a logic that cannot be reduced to the sum of its parts, Milan must be seen in its molecular tangle composed of multiple elements: physical, social, economic, cultural, human, all closely connected and intertwined. A complex system. A complex organization that is self-determining and determines an evolution of individual and collective choices.

Conceived by Hannah Hurtzig and presented for the first time in 2004, The Market for Useful Knowledge and Non-Knowledge was rappresented 34 times in the countries Germany, Poland, Turkey, Latvia, France, Israel, Finland, Colombia; Great Britain and many others. 

It is an artistic event, a wide-ranging participatory performance, a place for the exchange, observation and production of knowledge that combines the intimacy of the tête-à-tête with the spectacularity of the theatrical installation, creating a multidisciplinary, multidimensional and hallucinatory space of knowledge, evoking what Milan is and could become.

In a large space called the Arena with the atmosphere of a reading room and market noise, experts are called upon to offer some of their knowledge – obvious, irreverent, unexpected and surprising – in 30 minutes of one-to-one conversation with the audience. Their knowledge provides an encyclopaedic insight into the selected topic. These are urgent topics of urban and universal interest, different for each venue.

When entering, the audience is given an encyclopaedia, a guide to the event that is useful for understanding the subject matter and expert knowledge. Yet, the encyclopaedia – faced with the wild taxonomy of cultural, artistic, scientific, practical and common-sense areas of knowledge, disciplinary and non-disciplinary, recognised and clandestine – always fails in its task of guidance.

It is in front of a Check-in – manned by uniformed hosts and hostesses, the administrative stage and bureaucratic heart of the evening’s organisation – that the public queues up to book a dialogue for the symbolic sum of 1€. This is not a market organised according to the principle of rational choice, but rather a roulette: customers queue to book a dialogue, but 60% of them are persuaded by the salesman to book something or someone else. If the customer is not satisfied with his purchase, he can turn to a Complaints and Grievances Desk to express his disappointment. These moments of bureaucratic efficiency (or Kafkaesque bureaucracy) offer further moments of involvement and absurdity.

The one-to-one conversations are simultaneously observed by the audience sitting on the bleachers around the Arena, who can tune in to one of the Market Radio channels to hear what is being said. A multiple-choice experience is created, in which each spectator chooses whether to participate or observe or do both.

The Knowledge and Non-Knowledge Market is an interactive installation space for learning and unlearning. Here knowledge and non-knowledge are staged and in play. One will witness a proliferation of speech acts, punctuated to the rhythm of administrative time. All possibilities are open to what is said and heard, as long as three simple rules are observed: Arrive at the table on time! Wait for the gong, the conversation starts with the gong! The expert has the first word! You have 30 minutes.

The Market of Knowledge and Non-Knowledge transforms the performative nature of all social interaction into captivating theatre. A strongly desired project that marks the arrival and restart of ZONA K’s 10 years, the synthesis of a will and a vision of our building out-of-format participatory theatre projects.


  1. Access and booking of conversations with expert(s) from 4 p.m. onwards.
    The cost of each conversation (duration 30 minutes) is €1.
    Booking from 16.00: ROUND 1A 17.00>17.30 | ROUND 1B 17.35>18.05
    Booking from 17.00: ROUND 2A 18.15>18.45 | ROUND 2B 18.50>19.20
    Booking from 18.00: ROUND 3A 19.30>20.00 | ROUND 3B 20.05>20.35
  2. It is possible to follow some of the conversations on the RADIO DEL MERCATO channels.
    Headphones are available at the entrance in exchange for an ID card.
    Conversations in Italian, English, French, Arabic, Spanish, Tunisian dialect, Chinese, Romanian, LIS.
    For more information on the project www.mobileakademie-berlin.com | www.zonak.it


Pietro Bagnoli, Architect; Jada Bai, Professor of Chinese culture and cultural mediator; Yraida Bailon, Caregiver; Christine Ballarin, Head Of Planning And Valorisation Of The Hydro Resources Of The Municipality Of Milan; Gianni Barbacetto, Journalist and writer; Carlo Berizzi, Associate professor of Architectural And Urban Composition – University Of Pavia; Ales Bonaccorsi, Creative director National Museum Of Science And Technology “Leonardo Da Vinci”; Paola Bonini, Expert in digital media, activist of “Sai che puoi”; Lucia Borso and Teresa De Martin, Co-founders of “So.De – Social Delivery”; Gabriella Bottini, Neurologist, neuropsychologist, ordinary professor of Psychophysiology; Rabii Brahim e Anna Serlenga, Co-founders of “Corps Citoyen”; Marco Caccianiga, Botanic; Ilenya Camozzi, Cultural sociologist; Davide Carnevali, Dramaturg and theater author; Ivan Carozzi, Journalist and writer; Anna Casali, Real estate consultant; Arianna Censi, Councillor to the Mobility of the Municipality of Milan; Fabio Cherstich, Director and set designer; Michele Ifigenia Colturi, Choreographer and guest Airbnb; Mimmo Cosenza, Expert on AI; Edoardo Croci, Professor at Bocconi University and director of the Sustainable Urban Regeneration Lab; Tobia D’Onofrio, Cultural agitator, music and controculture enthusiast, journalist; Marianna D’Ovidio, Urban sociologist; Giovanni Damiani, Architect; Danilo De Biasio, Journalist and director of  “Fondazione Diritti Umani”; Elio De Capitani, Actor, director and artistic co-director of “Teatro dell’Elfo”; Nicola Del Corno, Associate professor of  History of Political Thought; Andrea Di Mario, Headmaster; Alberto “Abo” Di Monte, Social and geographical agitator, librarian, author; Linda Di Pietro, Cultural manager; Jacopo M. DustyEye, Time traveller; Progetto Giovani dell’Istituto dei Istituto Nazionale dei Tumori di Milano; Giordana Ferri, Architect; Francesco Floris, Journalist; Silvio Garattini, Founder and president of the “Istituto di Ricerche Farmacologiche – IRCCS Mario Negri” (Farmalogical Research Insitute); Elena Gianni, Architect, “Mutuo Soccorso” member; Sandro Greblo, Bicycle delivery man and author; Igor Guida, Scientific director for “Stripes Digitus Lab” at MIND Milano Innovation District; Cecilia Guida, Art curator and critic; Eiman Hussein Adam, Activist; Isabella Inti, Urban Architect – landscape technician; Michel Koffi Fadonougbo, Griot and activist; Alessandra Kustermann, Gynecologist and “SVS Donna Aiuta Donna” President; Chiara Lainati, Anthropologist and founding member of “Super”; Federico Leoni, Philosopher; Claudio Longhi, Director of “Piccolo Teatro di Milano”; Alessandro Maniaci, Lawyer and ASL interpreter; Alina Marazzi, Director; Gabriele Antonio Mariani, Engineer and architect; Michele Masneri, Journalist; Marco Minoja, General director “Fondazione Scuole Civiche Milano”; Liliana Moro, Artist; Azzurra Muzzonigro, Independent researcher, “Association Sex and the City” co-founder; Giacomo Negri, Activist and inhabitant of the neighborhood; Bertram Niessen, Researcher, design engineer, professor, author and advisor, “cheFare” president; Maurizio Orlandella, Consultative gynecologist; Caterina Orsenigo, Journalist and writer; Giovanni Padula, Urban economist, specialist in the creative and cultural sectors; Giacomo Papi, Writer, journalist and television author; Federico Parolotto, Transport planner; Diego Piemontese, Theater director, activist, stand-up comedian; Paolo Pileri, Professor of urban planning and design at the Politecnico di Milano; Milena Piscozzo, ICC Head teacher and writer; Plata, Artist and rapper; Carlo Polidori, Zoologist; Oliviero Ponte di Pino, Curator of the “Bookcity Milano” programme; Ulisse Romanò | Demetra, Biologist, actor and drag queen; David Röttgen, Environmental lawyer; Gianluca Ruggieri, Environmental engineer; Giovanni Scirocco, Professor of contemporary history, Università degli Studi di Bergamo; Rahel Sereke, Urban planner, politician, activist; Davide Steccanella, Lawyer and essayist; Sonia Stefanizzi, Ordinary professor of Sociology and director of the Department of Sociology and Social Research at the Università Degli Studi di Milano – Bicocca; Gregorio Taccola, Doctor of research in history; Luciana Tavernini, Historian and writer; Alberto Tavolaro, Student and institute representative of the “Liceo Carducci” di Milano; Jacopo Tondelli, Journalist and writer, founder of “Gli Stati Generali”; Lucia Tozzi, Journalist and independent scholar; Alberto Vailati, Physicist and professor of Physics of Matter at Università degli Studi di Milano; Franco Vaio, Physicist and author; Fulvio Vanacore, Artist and tarologist; Serena Vitucci, Activist; Sara Zambotti, Radio presenter and university professor; Cino Zucchi, Architect

research and dramaturgy Federica Di Rosa, Valentina Kastlunger e Valentina Picariello
with the collaboration of Silvia Rigon e Eliana Rotella
and the contribution of Renata Viola
with the participation of Federica Bruscaglioni, Valeria Casentini, Gabriele De Risi, Leo Djavidnia, Anna Doneda, Philippe Hochleichter, Fabio Lastella, Nicole Lentin, Sathya Nardelli, Silvia Orlandi, Elena Pagallo, Leda Peccatori, Lorenzo Piccolo, Silvia Rigon, Eliana Rotella
production manager Luca De Marinis
organisation and production Federica Bruscaglioni e Leda Peccatori
set design Marco Muzzolon e Marianna Cavallotti
head of beauty and costume design Christian Fritzenwanker
make up & styling Elizabeth Fogel
communication Silvia Orlandi
graphics Leonardo Mazzi – Neo Studio
press office Renata Viola
administration and fund raising Valeria Casentini
licenser Hannah Hurtzig e Mobile Akademie Berlin
licensee ZONA K Milano
a project by Mobile Akademie Berlin
produced by ZONA K Milano
with the support of MIC and Fondazione Cariplo

Mauro Pescio (IT)


Theatrical show | duration 75 min


A show born as a podcast from the pen of an actor-writer, Non è la storia di un eroe is the return of the podcast Io ero il Milanese of and with Mauro Pescio. The show is the telling of a man which in life has made many wrong choices, a man which unluckiness has gotten fierce to, a man who’s touched the bottom, but from which he risen back. Lorenzo’s story became a podcast, titled Io ero il Milanese, produced by RaiPlay Sound, become a real and true case in 2022. It took off quietly, and thanks to word of mouth it conquered the public, overtaking 700 thousand plays. Now Lorenzo S.’s story can be known live: theatre space is, per antonomasia, the space of the revolution, hence suitable to give voice to the personal revolution of Lorenzo S. And his past, difficult, tough, but also full of hope.

of Mauro Pescio e Lorenzo S. with Mauro Pescio and the special participation of Coro Amici della Nave di San Vittore under the cure of Associazione Amici della Nave, Associazione Verso Itaca, ZONA K 

Mauro Pescio, radio and theatrical author. After graduating from Civica Scuola di Teatro Paolo Grassi di Milano he moves to Rome where he founds a theatre company with which he works for ten years. From 2012 he is author of “Voi siete qui” for Radio24 and from 2015 Radio 2’s “Pascal”. He has written “La piena” for Audible, Amazon’s first Italian production on a theatre podcast. Since 2015 he collaborates with Radio3 for the transmission of audiodocumentaris “Tre Soldi” (A few bucks).

Sergi Casero Nieto (ES)


Performance in the Spanish language with subtitles in Italian | duration 55 min

On Friday, Nov. 10, at the end of the performance, there will be a meeting open for the audience with Sergi Casero and Angelo Miotto (journalist and co-director of Q Code Magazine) and Maddalena Giovannelli of Stratagemmi Prospettive Teatrali

At ZONA K, via Spalato 11

“Why to I barely know my grandma’s past?”

El Pacto del Olvido is a theatrical monologue which looks into the historic silence on the civil war and Francisco Franco’s reign in Spain, on his intergenerational transmission and the effects he has had on those who were born after the dictatorship.

The performance combines personal experiences, historical stories and documents collected during the research Casero conducted around the “Il Patto dell’oblio” affair, a Spanish amnesty law which passed soon after the the dictators Francisco Franco’s death in 1975 which impedes the investigation on the crimes committed during the 40 years of rule. In the monologue Casero tries to rebuild an incomplete national historiography through the recounts of the grandma who witnessed the civil war. It deals however with a fragmented narration, fruit of an auto-censorship at this point internalised at transgenerational level. This performative work is born from the reflection which, to confront Spain’s recent political violence, it is necessary to reveal the habits of domestic oppression on which oblivion has been woven into generation after generation, idem for the aftermath which this historic omission has produced in the successive descendents of families such as Casero’s.

Autofiction and historical analysis go hand in hand in this memory exercise which, through the language of light, examines the surroundings of the collective silence, inviting the spectator to explore the empty gaps of memory in which decades of furtively repressed decades of pain are insinuated. With the intention of intimately toning down the trauma provoked by the official speech which talks about winners and wins as collectives with no personal background, Casera investigates the varying generational behaviours respecting the institutionalised amnesia, incarnated in their relatives.

Until what point can silence push itself before becoming oblivion?

Ideation and direction Sergi Casero Nieto author Testo di Sergi Casero Nieto with citations and fragments of Jorge Luís Borges, Federico García Lorca, text of memory of Clara Valverde interpreted by Sergi Casero Nieto assistant to the dramaturgy Mónica Molins Duran assistance Elsa Casanova Sempé English translation Vincent Sanchís Puerto Italian translation Sofia Breschiane scenography, stage and stage objects Sergi Casero light design Sergi Casero with the supervision and help of Mifuel Angel Ruz Velasco costumes Sara Clemente graphic design Sergi Casero distribution Domenico Garogalo production Centrale Fies / Live Works residence Centro de Residencias Matadero Madrid

Sergi Casero Nieto (Barcelona, 1991) His work occurs at the intersection between design, action and research. In his work he explores the use of performance as an instrument to represent the results of research, paying particular attention to the projection of scenographic techniques. The historical information becomes physically present in his work, delving deeper into counter-narrations such as the oral testimonies or the collective memory, putting into discussion the hegemonic narrations through the presentation of multiple past perspectives. His work has been presented, amongst the other European institutions, at the Veem House for Performance (Amsterdam), at the Het Nieuwe Instituut (Rotterdam), at the Van Abbe Museum (Eindhoven), at the Arts Santa Mònica (Barcellona) and at the Centrale Fies (Dro, Italia).

Photos by Roberta Segata

Anagoor (IT)

Sorry, this entry is only available in Italian.

proiezione con live set elettronico | durata 50/70 min

c/o Teatro Out Off, via Mac Mahon 16

A fine replica si terrà l’incontro con la compagnia e la giornalista Ira Rubini (Radio Popolare Milano).

Un Grand Tour nelle zone buie del cosmo, lì dove scaturiscono insieme la tenebra e le sofferenze delle generazioni, il rapporto dell’uomo con la natura, con l’eros, con i compagni animali, con il tempo e con la tecnica, con l’assoluto: l’impossibile. Sotto il nome del demone che tentò Faust, Mephistopheles, Anagoor raduna il materiale video raccolto tra il 2012 e il 2020 in un unico viaggio per immagini attraverso le lacrime del mondo, musicato in un live set elettronico da Mauro Martinuz. La materia cinematografica di spettacoli teatrali come Lingua Imperii, Virgilio Brucia, Socrate il sopravvissuto, Faust, Orestea, è composta da immagini profeticamente raccolte nei musei e nei templi, nelle case di cura per anziani e negli allevamenti intensivi, tra macellai, pastori e pellegrini, in India, in Iran, ad Olimpia, sulla ferita campagna veneta e sul Vesuvio. L’enorme quantità di materiale inedito trova nuova composizione in questo volo e caduta in forma di concerto cum figuris. Un concerto per immagini sul mondo, l’umano e l’animale, la violenza contro i corpi e il profitto in un’opera che ben mostra la visione estetica e politica della compagnia. Un’opera-film dove l’immagine che scorre trova il suo movimento nel suono live di Mauro Martinuz per condurci in un contemporaneo fuori dal tempo: quello dei corpi e della loro devastazione, dei soprusi di un capitalismo sempre più accelerato che nega le stagioni, il paesaggio e i sentimenti. Uomo contro natura ma anche uomo contro uomo. Mephistopheles eine Grand Tour è un film “mondo”, un gesto politico di consapevolezza.

scritto e diretto da Simone Derai musica e live set Mauro Martinuz montaggio Simone Derai fotografia Giulio Favotto assistente alla regia Marco Menegoni riprese Giulio Favotto, Simone Derai, Marco Menegoni coordinamento organizzativo Annalisa Grisi management e promozione Michele Mele produzione esecutiva Centrale Fies / Laura Rizzo, Stefania Santoni produzione Anagoor 2020 coproduzione Kunstfest Weimar*, Theater an der Ruhr**, Fondazione Donnaregina per le arti contemporanee / Museo Madre***, Centrale Fies, Operaestate Festival Veneto in collaborazione con Fondazione Campania dei Festival – Napoli Teatro Festival Italia, Villa Parco Bolasco – Università di Padova

*supportato dal Ministero dell’Ambiente, Energia e Protezione della Natura della Turingia;

**supportato dal Ministero della Cultura e della Scienza della Renania Settentrionale – Vestfalia;
*** finanziata da POC Regione Campania 2014-2020.

Vai a ECOGLA XI Un omaggio presuntuoso alla grande ombra di Andrea Zanzotto

La compagnia Anagoor è fondata da Simone Derai e Paola Dallan a Castelfranco Veneto nel 2000, configurandosi fin da subito come un esperimento di collettività. Oggi alla direzione di Simone Derai e Marco Menegoni si affiancano le presenze costanti di Patrizia Vercesi, Mauro Martinuz e Giulio Favotto, Monica Tonietto, Gayané Movsisyan, Massimo Simonetto mentre continuano a unirsi artisti e professionisti che ne arricchiscono il percorso e ne rimarcano la natura di collettivo. Il teatro di Anagoor risponde a un’estetica iconica che precipita in diversi formati finali dove performing art, filosofia, letteratura e scena ipermediale entrano in dialogo, pretendendo tuttavia, con forza e in virtù della natura di quest’arte, di rimanere teatro. Dal 2008 Anagoor ha la sua sede nella campagna trevigiana, presso La Conigliera, allevamento cunicolo convertito in atelier e dal 2010 fa parte del progetto Fies Factory di Centrale Fies – art work space. Michele Mele e Annalisa Grisi completano il team seguendo management e curatela del progetto artistico.

Anagoor (IT)

Sorry, this entry is only available in Italian.

un omaggio presuntuoso alla grande ombra di Andrea Zanzotto

spettacolo teatrale | durata 80 min

c/o Teatro Out Off, via Mac Mahon 16

Anagoor ha sede a Castelfranco Veneto e ha un atelier operativo nella campagna trevigiana in un ex allevamento di conigli trasformato in teatro. Da sempre ha a cuore la relazione che intercorre tra politica, lingua, ambiente naturale e paesaggio: lo fa convocando sulla scena linguaggi diversi, una babele delle arti (da quelle visive alla poesia) nello sforzo di dire il reale e le sue fratture. Anagoor -pur non citandolo mai esplicitamente -ha da tempo fatto propria la lezione di Zanzotto. Molte le analogie che legano il gruppo di Castelfranco al poeta di Pieve di Soligo: la scelta radicale di osservare la storia dalla periferia senza che questa posizione implichi chiusura e arroccamento, la relazione complessa con la tradizione e con il canone che determina un’inattualità ostinata, la sofferenza per la devastazione, la tenacia nel rinnovare la fiamma di arti solo apparentemente inascoltate.

Il titolo di questo lavoro allude alla raccolta di versi IX Ecloghe che Andrea Zanzotto pubblicò nel 1962. Il poeta sceglieva per umiltà di stare un passo indietro al luminoso Virgilio e alle dieci ecloghe delle Bucoliche. Ultra moderno e antichissimo a un tempo, Zanzotto sa bene che la letteratura è come un coro di voci di morti. L’ultra modernità da antichissimo che connota Zanzotto non è tuttavia un dato puramente letterario, e la sovrimpressione delle bucoliche al proprio paesaggio, al proprio linguaggio, non è mai piana memoria letteraria, bensì̀ percezione di una irrimediabile frattura tra chi è ormai “versato nel duemila” e quel mondo perduto. Zanzotto capta e illumina l’inferno dentro il quale siamo calati eppure ostinatamente regge il fuoco di una speranza bambina. Il poeta del paesaggio, attraverso la visione della devastazione del paesaggio e la crisi del paesaggio interiore, della psiche e della lingua, afferra e connette le cause e gli effetti di un dolore che rende muti, ergendosi presto come forza civile e storica e persino metafisica. L’intera opera di Zanzotto, come una nuova ecloga, oltre le dieci di Virgilio, parla con la voce futura della profezia e rinnova la visione di un bambino che verrà.

testi Andrea Zanzotto con Leda Kreider e Marco Menegoni musiche e sound design Mauro Martinuz drammaturgia Simone Derai, Lisa Gasparotto regia, scene, luci Simone Derai voce del recitativo veneziano Luca Altavilla la scena ospita un’evocazione dell’opera Wood #12 A Z per gentile concessione di Francesco De Grandi Realizzazioni Luisa Fabris immagine promozionale realizzata da Giacomo Carmagnola management e distribuzione Michele Mele produzione Anagoor 2022 coproduzione Centrale Fies, Fondazione Teatro Donizetti Bergamo, ERT / Teatro Nazionale,TPE – Teatro Piemonte Europa / Festival delle Colline Torinesi, Operaestate Festival Veneto


Foto Giulio Favotto


Participatory theatre play
At Cittadella Dei Giovani
Viale Giuseppe Garibaldi, 7, 11100 Aosta AO

info and bookings: 016535971 – info@cittadelladeigiovani.it

Does work really define who we are?
How well does it meet our expectations?
How much weight does it bear on our lives and on the choices we make?

A participatory performance on working men and women, a choir of instances and inquiries.

A public call, tens of workers which respond and a chorus. The “work” like fil rouge. Work as an aspiration, a forced choice, a source of sustenance, but most of all as a motor which derails trajectories, defines self esteem and personal beliefs, and which determines where and who with we spend most of or time. But does work truly define who we really are? How well does it meet out expectations? How much weight does it bare on our life and the choices we make? Does comprehending happiness or individual dissatisfactions help us evaluate collective wellbeing? The concatenation of stories becomes an investigative instrument to transform the collective experience into a shared narration, a hymn thought as a total art piece to re-hug a communities wish, and, through theatre, find new forms of representing reality. 

a ZONA K project, direction Alessandro Renda, scenic implant Fabio Cherstich, testo Riccardo Spagnulo, con Matteo Gatta. Alessandra Renda, i cittadini and the coro di Aosta, production ZONA K co-porduction Teatro delle Albe

The project is realised with the support of the Fondazione Compagnia di San Paolo in the scope of Art Waves Produzioni of contemporary culture and with the support of Fondazione Cariplo and the Comune di Milano
Alessandro Renda is an actor of the Teatro delle Albe di Ravenna and from 2001 he is a “guide” in the laboratories of the “non-scuola”, pratica teatral-pedagogica antiaccademica delle Albe, with different experiences in Italy and abroad.

Photos Alessandro Renda

Kepler-452 (IT)

CAPITAL. A book that we haven’t read yet

Theartre Show | duration 100 min

At Teatro Out Off, via Mac Mahon 16

Once the play has finished on Wednesday 4th October the meeting with the company and Prof. Vittorio Morfino (ordinary Professor of the History of Philosophy at University Milano-Bicocca) will be held.
Moderated by Ira Rubini (Radio Popolare Milano)

A theatre company that decides to play “Il Capitale” (Capital) by Karl Marx. It decides this because, after the end of the first lockdown, it feels the urge to listen to in the immediate successive stage, would lose their position of employment. Nicola and Enrico hence decide to cruise around Italy at the research of those places in which the pages of Marx became people, locations, events. One day they end up in a factory, the GKN of Campi Bisenzio, which has just closed. One morning of the 2021 summer, the 9th to be precise, the 422 employees which worked there received an email: they did not have to return to work the day after: they’ve been fired. From that day on the employees occupy the factory. In the first days of Autumn the company entered for the first time at the GKN. The workers invite them to eat boar together. From that day on they sleep there, inside the occupied factory, on some cots. Meanwhile Nicola and Enrico interview the hundreds of workers, participate at pickets, assemblies, manifestations, listen, observe, each time looking to return to Marx’s pages to try to establish a creative dialogue between “Capital” and what happens in the environment, between a classic on philosophical and economic literature and a group of human beings in flesh and bones. Then their attention shifted onto three people in particular: Iorio, maintainer, Felice, worker responsible for setting up and Tiziana, worker responsible for cleaning, which they invite to the theatre to make a show together. This is the start of the creation of Il Capital, a show which recounts the meaning what spending 20 years in a factory making pieces, of the difference between who’s done it and who has never done it, of the extraction of surplus value, the closing of one factory amongst many, of what happens when a group of workers decide to attempt to make history, of how for some time the logics of the Capitale become ousted from a perimeter of space, one of an occupied industrial establishment. Of how Il Capital, sooner or later will return to present the bill. Il Capital Is also the story of the meeting between a theatre company and a group of metal labourers in the Capitale’s autumn. Il Capital is especially a show on time, on its passing, on who owns it, on who sells it, buys it, frees it. 

A Kepler-452 project dramaturgy and direction Enrico Baraldi and Nicola Borghesi with Nicola Borghesi and Tiziana de Biasio, Felice Ieraci, Francesco Iorio – factory workers collective GKN and with the participation of Dario Salvetti light and scenic space Vincent Longuemare sound design Alberto Bebo Guidetti video and documentation Chiara Calió technical-scientific advice on “Capital” by Karl Marx Giovanni Zanotti assistant to the direction Roberta Gabriele machinist Andrea Bovaia light and video technician Giuseppe Tomasi sound engineer Francesco Vacca scenic elements created in the Laboratorio di ERT production Emilia Romagna Teatro ERT / Teatro Nazionale thanks to Stefano Breda and Cantiere Camilo Cienfuegos di Campi Bisenzio

Kepler-452 is a theatre company born in 2015 in Bologna from the encounter between Nicola Borghesi; Enrico Baraldi, Paola Aiello and, for the organisation role, first Michela Buscema and then, since 2021, Roberta Gabriele. Since it’s birth the company cultivates this urgency: opening the doors of theatres, go out, observe what’s around, in the unshakable conviction that reality has an autonomous dramaturgical force. The theatrical formats created range from the involvement of non-professionals on stage on the basis of their own biographies, to theatrical reportages that transform investigations into reality into performative moments, to the creation of audio-guided itineraries and other devices for interaction with the urban space, up to the creation of the Festival 20 30 which, starting from 2014, brought many under 30s on stage in an attempt to paint a generational fresco. Starting from 2018, a production path begins with ERT / Teatro Nazionale (“ Il giardino dei ciliegi – Trent’anni di felicità in comodato d’uso” (The cherry garden – Thirty years of happiness on loan for use) (2018) while in 2019 F. – Perdere le cose” (F. – Losing things) debuts. Starting from 2017, its creats several editions of Comizi d’amore, a participatory theatre format that tells the story of communities on stage starting from the questions posed by Pasolini in his honomymous documentary.

photos Luca Del Pia

Roger Bernat/FFF
e Qui E Ora (ES/IT)

Participatory performance

at Magnete – via Adriano 107, Milan

In LA SCELTA (THE CHOICE) the public is called to experiment work mechanisms of an artistic direction: visualise, discuss, operate the choice. A real challenge, in which one finds themselves immersed, a fiction which produces effects on the reality of one’s city. 
Roger  Bernat has been for 6 months spectator of different artistic directions participated by the “Rete Risonanze”. From this came a work which reproduces, witnesses and prevaricates about this experience, telling another possibility of carrying out cultural programming, where people speak for themselves. 

Project by Roger Bernat, with the dramaturgy of Roberto Fratini and Marie-Klara Gonazález, with the participation of Francesca Albanese, Silvia Baldini, Josephine Magliozzi e Laura Valli, programming and technical care Stefano Colonna and Txalo Toloza, graphics Marie-Klara Gonazález, creative transcription of the registrations of the tour following the artistic directions of Elena Bernardi and Pina Rocco, production and curation Qui e Ora in coproduction with Capotrave – Infinito e Kilowatt Festival, with the support of Risonanze Network and the MIC, thank you to Stronger Peripheries

With the collaboration and images of: Catalina (Iniciativa Sexual Femenina), Les Vedettes (Marta Galán), Grandissima Illusione (Cris Blanco), The Watching Machine (Macarena Recuerda), Aquelles que no han de morir (Las Huecas), Figures (Germana Civera), It don’t worry me (Atresbandes + Bertrand Lesca & Nasi Voutsas), Los figurantes (Ça Marche) e Tierras del Sud (Azkona/Toloza).
And the cooperation of: Agnès Mateus e Quim Tarrida, Agrupación Señor Serrano, Alessandra García, Animal Religion, Baró d’Evel, Brodas Bros, Cabosanroque, Col·lectiu VVAA, David Espinosa, El Conde de Torrefiel, Joan Català, Jordi Oriol, Juana Dolores, Malpelo, Marcel·lí Antúnez, La Veronal, Nao Albet e Marcel Borràs, Núria Guiu, Nyam-nyam, Pere Faura, Quim Bigas, Societat Doctor Alonso e Soren Evinson.

Roger Bernat is a Catalan director, after having started his studies in architecture and painting, he studies dramaturgy and directing at the Institut del Teatre di Barcellona. IN 2008 he founds Roger Bernat/FFF and starts creating performances in which the public takes the stage and becomes the protagonist. «The spectators pass across a piece which invites them to obey or to conspire, and in any case to pay with their own body and make an effort». The firs parcipitatoru performance is Domini Public (2008), followed by the others Please ontinue (Hamlet)(2011), Pendiente de voto (2012) We need to talk (2015), No se registrar conversations de interés (2016-17) and The place of the Thing (2017), Flam (2019), ENA (2020), Desnonissea (2021), PIM PAM(2021) or Terra Baixa (2022). Roger Bernat utilises theatrical instruments to built collective dramatisations in which, like every community, the public is the one which has the difficult job of getting themselves in action. These parcititatory dramatisations confuse the roles of the actor and spectator and present the public with an experience of doubt. While his projects have been presented predominantly in theatrical contexts, in the last decade his pieces have been produced by institutions like Documenta Kassel or the Biennale di San Paolo.

Qui e Ora is a production company constituted by artists originating from diverse experiences but joined by the same poetic vision. It works on a autographic dramaturgy and loves confronting and collaborating with other artists to give life to the their works, in a crossbreeding of languages and outlooks. In 2007 on territory of the Bergamo province, along with the project Être –  Esperienze Teatrali di Residenza was born, composition in national and international setting with production of shows, organisation or reviews, laboratory curations. Qui e Ora is the theatre that talks about the present, which tries to construct imaginary collectibles and give force to contradictions with an ironic look. Since 2012 in the Bergamo province Qui e Ora realises an artistic and cultural project which brings the territory and its citizens – through laboratories, inquiries, reviews and theatre festivals – at the centre of the artistic experimentation and the creation of cultural products. In 2015 he founds the Granaio, a hospitality project in artist residences beside an ex restructured barn. In 2018 Qui e Ora is recognised by MIBAC as “theatrical innovatory production business”. 

Event inserted in the schedule of

Eléctrico 28 (ES/AT)

Urban performance with headphones | in English and Italian, duration 45 min

in the Sarpi neighbourhood
The exact location of the performance will be communicated to the public only via mail. 

Inspired by the observation of all that surrounds us which Georges Perec wrote about, with the urban performance [The Frame] the Austrian/Catalan collective Elétrico 28 invites us to accommodate ourselves in a pop up theatre situated in a calm city street to observe life flowing, to think about it, calculate it, determine it and share it. $ characters, trained in the observation and organisation of space, of things and living beings, immerse themselves in the vertigo of the present and translate, with poetic simplicity, what happens through letters, the letters in words and the words in phrases. For a short lapse of time, everything becomes a big theatre play which never ends. A comedy with no plot which stays in equilibrium on the edge of banality of the things which take place through the theatre’s magnifying glass. [The Frame] is an invitation to open eyes and heart to discover the irrelevant, insignificant, the things in life. [The Frame] is a great opportunity to stop and observe. A drastic exercise. A pacific rebellion against dominant thought.

Creation by Daniela Poch, Josep Cosials, Jordi Solé and Alina Stockinger outside eye Claudia Mirambell Adroher, Sergi Esebanell production Elétrico Express & Aranu Vinós sound and music Jakob Rüdisser costumes Sarah Sternat photos Eva Freixa / Clemens Nestroy video Raúl Moreno coproduction Feneralitat de Catalunya (Departament de Cultura) ICEC & theaterland steiermark & Fira Tàrrega with the support of Graz Kultur, Land Steiermark Kultur, Escena Poblenou, Can Allà, CC Can Felipa, das andere theater, FITCarrer Vila-real, Sinksen Festival Kortrijk, Institut Ramon Llull

Eléctrico28, is an Associate artist of IN SITU, the European platform for artistic creation in public space, in the frame of the project (UN)COMMON SPACES, co-funded by the Creative Europe Programme of the European Union. The Associate artist programme is supported by Artopolis Association (HU), Atelier 231 (FR), Čtyři Dny / Four Days (CZ), FiraTàrrega (ES), Flynn Center (USA), Freedom Festival (UK), La Strada (AT), Lieux publics (FR), Metropolis (DK), Norfolk & Norwich Festival (UK), Oerol Festival (NL), Østfold Internasjonale Teater (NO), Oda Teatri (XK), Provinciaal Domein Dommelhof (BE), Scène Nationale De L’Essonne (FR) and a consortium of 3 Italian partners: ZONA K, Indisciplinarte, Teatro Stabile Di Sardegna.”

with the contribution of

Eléctrico 28 is a collective of austrian and catalan artists that dedicates its work to the public space and its inhabitants. They love the surprises of the streets, the cinematographic images which can be created on this vast stage in continuing evolution and the visual memory which remains when we go. They love exploring the gray areas between reality and fiction, putting in discussion the social and theatrical conventions and rethink the role of the public. Humorism and filanthropy are the principal driving forces of their wor

Miriam Selima Fieno/ Nicola Di Chio (IT)

Multimedia participatory show | duration 75 min

To participate it is required to request the 2023 card at least 24 hours before the show
Do it instantly, click HERE

Through a dialogue which oscillates between the theatre and the document, where live narration founds itself on audiovisual narration, two adolescents confront themselves: Giorgia, an Italian 14 year old girl, speaks of her everyday life as a European which lives in a flourishing time of peace, in which however lies the pain of a family war; Abdo a young Syrian refugee approaches Giorgia to the knowledge of another war: the one made of bombs, missiles and explosions under which from 11 years live thousands of his compatriots in Syria. 

The spectators are invited to delicately enter a private and lacerating world in together with the protagonists who, through electronic devices and personal materials, accept to expose a live elaboration of their biography and the privileged and painful aspects which have marked their stories up to this day. The show goes after the search of a balance between a personal story and a epochal story, in an intensely emotive fresco where technology enlarges like a magnifying glass our present and opens gashes on worlds after all not so far, reveals the faces of war, enters inside homes and shows their fragments, memories and possible futures. 

Concept and direction Nicola di Chio, Miriam Selima Fieno on stage Abdo Al Naseef Alnoeme, Giorgia Possekel dramaturgy Miriam Selima Fieno virtual scenography and light design Maria Elena Fusacchia videomaking Nicola Di Chio, Miriam Selima Fieno, Abdo Al Naseef Alnoeme, Giorgia Possekel archive video Hazem Alhamwy miniature realisations Ilenia Lella Fieno sonorous space Antonello Ruzzini production Tieffe Teatro Menotti, Bottega degli Apocrifi with the support of CSS Teatro Stabile di Innovazione del FVG / Dialoghi – Residenze delle Arti Performative a Villa Manin 2022_2024, Qui e Ora Residenza Teatrale, L’ Arboreto Teatro Dimora di Mondaino, Teatro Giovani Teatro Pirata / AMAT, Zona K in collaborazione con Mishwar Ong.Vincitore Premio YOUNG&KIDS 2022 FIT Festival Lugano Menzione Premio Scenario Infanzia 2020 Vincitore Bando Alte Marche Creative 2021

Nicola di Chio and Miriam Selima Fieno are actors, directors and authors. They graduate from Civica Academia d’Arte Dramatic “Nico Pepe” di Udine. Together they work since 2011 in the area of performing arts creating contemporary dramaturgical pieces which space from fiction to non fiction. The realise the shows “Lybia. Back home”, “Human Animal”, “RealItaly”, “Cantare all’amore”, “La protesta”. They win the Bando Ora! of the Compagnia di San Paolo, the Premio Scintille, the Bando Funder35 of Cariplo, the Bando Hangar Creatività di Regione Piemont, the Bando Next, the Premio In-Box. Through the years they receive important recognitions, realise reviews and festivals, conduct formative courses. From 2018 they conduct their work towards documentary theatre defining a new road of real cinema, facing topics linked to geopolitics, human rights, West and Middle East relations. They work with actors, musicians, children, refugees, journalists, and creat pieces which intercept not only different disciplines like theatre, cinema and music, but also distant artistic and cultural identities. With new documentary shows “Fuga dal’Egitto” and “From Syria: is this a child?” They win the bando IntercettAzioni, the Bando Movin’upm the prize Young&Kids at the Fit Festival di Lugano, the mention at the Premio Scenario Infanzia, the bando Alte Marche Creative. Currently they are busy with the realisation Syrian director Hazem Alhamwi’s new film in the writing of their first feature film. 

Mammalian Diving Reflex/Darren O’Donnell (CA)

A ZONA K and Triennale Teatro Milano project

Participatory multimedia performance with the use of 3D visuals for 30 spectators | duration 90 min | the performance is characterised by an intense presence of smoke


With nostalgia we watch  that little red dot in the night sky and we stupidly dream of restarting, as if problems on earth are resolved more easily at -65º and with the help of high doses of cosmic radiation. Combining live and virtual reality performance, The Last Minutes Before Mars invites us in to enter the world of a group of youngsters to meet their families and friends and spend some time in spaces precious in their lives. This acts as a background to the meetings with the other strangers present in the room, in a collective experience which reflects on the recognition of everyone being part of the same journey, in motion towards the same direction – independent of what happens to us -; now, hundreds of years in the past and beyond, in a future to terrifying and attractive to imagine.

Ideation and direction: Darren O’Donnell co-direciton: Chiara Prodi co-ideation team: Darren O’Donnell, Konstantin Bock, Alice Fleming, Tina France, Sorcha Gibson, Thule Can Den Dam, Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Morena Marra, Craig McCorquendale, Genny De Leon, Elisa Fasiello, Mervin Kyle Fajardo, Fi Nicholson, Gianluca Benvenuti with: Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Elisa Fasiello, Mervin Kyle Fajardo executive producers: Alice Fleming, Ryan Lewis, Virginia Antonipillai associate producers: Craig McCuorquodale music: Isola Music thanks to: Stephen O’Connell, Letizia Gozzini (ITAS Giulio Natta).

The last Minutes Before Mars was originally co-comissioned a coproduced by ZONA K and Triennale Milano Teatro, in collaboration with the ITAS Giulio Natta di Milano and with the support of the Canada Council of the Arts, the Ontario Arts Council e the Ambasciata del Canada in Italia.

Guided by Darren O’Donnell, Mammalian Diving Reflex is a company founded in Toronto in 1993. After having distanced itself from a more traditional theatrical setting to move towards more socially engaging practices focused on performance. Creating shows to research the contradictions to transform into aesthetically brilliant experiences, the Mammalian always look to overtake themselves and the public with ideas and sensations, leaving intuition to lead the way.

Darren O’Donnell is a novelist, essayist, dramaturge, filmmaker, performance director, artistic director and founder of Mammalian Diving Reflex. His mission is the one to give life to a social tissue which deeply integrates culture and cultural institutions, increasing their capacity for social response. In 2000 he won the Pauline McGibbon Awards for direcion and was nominatod for numerous Dora Awards of Toronto for writing, direction and acting, winning, alongside Naomi Campbell, for the project While Mice. His work with the Mammalian company entered in the top 100 of the Yerba Beuna Culture Centre in 2016. He has been nominated twice for the german BKM Preis Kulturelle Bildung and New York’s Ellen Stewart inagrual prize.

Photos © Paul Blakemore

Silke Huysmans & Hannes Dereere (BE)

– Season preview 2023 –

multimedia performance with English and Italian subtitles | duration 60 min

A meeting with the company will be held at the end of the performance on Friday 24 February.

c/o Out Off Theatre, via Mac Mahon 16

‘We know more about the surface of the moon than we do about the bottom of the ocean.’ This statement is often heard when talking about the deep sea. Worldwide, only 10 percent of the ocean floor has been mapped and explored. At a moment in history when the planet we live on seems to have been explored extensively, some places remain unstudied and untouched.

After their acclaimed performances Mining Stories and Pleasant Island, Silke Huysmans and Hannes Dereere present the final part of their trilogy on mining. This time, they focus on a completely new industry: deep sea mining. With resources on land becoming increasingly scarce and overexploited, mining companies turn towards the ocean. In the spring of 2021, three ships gather on a remote patch of the Pacific Ocean. One of them belongs to the Belgian dredging company Deme-Gsr. Four kilometres below the sea surface, their mining robot is scraping the seabed in search of metals. On another ship, an international team of marine biologists and geologists keep a close watch on the operation. A third ship completes the fleet: on board of the infamous Rainbow Warrior, Greenpeace activists protest against this potential future industry.

From their small apartment in Brussels, Silke and Hannes connect with the three ships through satellite. Each of the ships represents one pillar of the public debate: industry, science and activism. Through a series of interviews and conversations, an intimate portrait of this new industry emerges. The piece is an attempt to capture a potentially pivotal moment in the history of the earth. How much deeper can mining companies dig, and what are we as humankind actually digging towards? What are the challenges and risks? What opportunities potentially lay ahead?

by & with Silke Huysmans & Hannes Dereere dramaturgy Dries Douibi sound mix Lieven Dousselaere outside eye Pol Heyvaert technique Korneel Coessens, Piet Depoortere, Koen Goossens & Babette Poncelet production CAMPO coproduction Bunker (Ljubljana), De Brakke Grond (Amsterdam), Noorderzon – Festival of Performing Arts and Society (Groningen), Zürcher Theater Spektakel (Zürich), Beursschouwburg & Kunstenfestivaldesarts (Brussels), PACT Zollverein (Essen), Théâtre de la Ville (Paris) & Festival d’Automne à Paris (Paris) residencies Kunstenwerkplaats, Pilar, Bara142 (Toestand), De Grote Post, 30CC, GC De Markten & GC Felix Sohie special thanks to John Childs, Henko De Stigter, Patricia Esquete, Iason-Zois Gazis, Jolien Goossens, Matthias Haeckel, An Lambrechts, Ted Nordhaus, Maureen Penjueli, Surabhi Ranganathan, Duygu Sevilgen, Joey Tau, Saskia Van Aalst, Kris Van Nijen, Vincent Van Quickenborne & Annemiek Vink thanks to all conversation partners & the people who helped with the transcriptions 

Silke Huysmans studied acting at the KASK School of Arts Ghent and Hannes Dereere theatre science at the University of Ghent. With their performances, the two Brussels-based artists investigate the use of journalistic and documentary elements within theatre. Underlying their work is extensive field research, which they use to shape their projects. Since 2016, they have been working on a trilogy involving long-term research on mining. For the first part entitled Mining Stories (2016), Silke and Hannes returned to where she grew up in Brazil. In 2015, a dam explosion flooded this place with toxic mining waste, causing one of the biggest ecological mining disasters in recent history. Mining Stories received the main prize at the Zürcher Theaterspektakel 2018 (Switzerland). From 2019 is the second part, Pleasant Island. In this performance, the tiny island state Nauru holds a mirror up to the whole world. Nauru was once a paradise in the Pacific. After decades of colonisation and mining, this island finds itself in grave danger, literally up to its neck in rising sea levels. Out of the Blue concludes the trilogy and premiered at the Kunstenfestivaldesarts in May 2022.

Babilonia teatri (IT)

– Season preview 2023 –

show-concert | duration 75 min

c/o Out Off Theatre, via Mac Mahon 16

On 25 January 2011, the Egyptian revolution began, which within a few days led to the ousting of Mubarak. One of the triggers was the killing of Khalid Said by two policemen, who was guilty of asking the reason for a sudden search of him inside an internet café.  Khalid Said was beaten savagely and then taken to the barracks where he was tortured and killed. His body will be found lifeless in the middle of a street.

On 25 January 2011 in Tahrir Square was Ramy Essam, known in Egypt today as the voice of the revolution. Ramy in the square was singing for Khalid Said, for all the Khalid Saids, who before and after Khalid Said suffered the same fate. Ramy sang to depose Mubarak and, to this day, has never stopped singing against the successive regimes in Egypt.

Since 2014 Ramy has been living in exile, he can no longer set foot in Egypt, an arrest warrant for terrorism hangs over his head. The arrest warrant makes no reference to his art or the content of his songs, but it is clear that the Egyptian regime does not in any way welcome the call for freedom and justice for his people that he sings endlessly, and that the accusation of terrorism is completely unfounded.

Ramy’s songs, in Egypt and beyond, everyone knows them, his videos reach 10 million views, but he, for his people, cannot sing.

Not one note. Not a word. His mouth must remain shut. He can only connect with those who follow him through a screen.
Ramy has opened our eyes. Every day Ramy asks us questions and demands answers.

Questions that alone we did not have the words to formulate, but which today, working on stage side by side with Ramy become deeply concrete, deeply human, deeply political, deeply authentic.

With this performance we want to give voice to these questions.

What does the state mean. What justice means. What power means. What police means. What is process. What legality means. What constitutes incarceration. What means torture. What public opinion means. What journalism and freedom of information means. What responsibility, humanity, strength means.

To tell it, with us, will be the voice of those who, like Ramy, live every day on their skin what dictatorship means. Ramy will sing and shout it with the grace, poetry, anger and nostalgia of those who pay a high price every day, exile, for their choices.

We want to expose the hypocrisy of certain politics. We want to tell how and to what extent the reason of state is ready to trample underfoot the inviolable rights of man, repeatedly enshrined in international conventions that, in practice, remain a dead letter. We want to question ourselves on our weakness. About the weakness of a state that does not know how to give transparent answers. We want to tell how our being free citizens in a free state encounters and clashes with the dynamics of victim and executioner. With dynamics that harm, offend and play with people’s dignity. We believe that this is never acceptable and that it is always worth repeating with strength and determination.

In order not to stop being free citizens in a free state.

by Valeria Raimondi and Enrico Castellani with Ramy Essam, Enrico Castellani, Valeria Raimondi, Amani Sadat, Luca Scotton lights design Babilonia Teatri/Luca Scotton stage direction and video design Luca Scotton
production Teatro Metastasio di Prato

Babilonia Teatri is a group that has entered the contemporary theatre scene with a decisive step, distinguishing itself for a language that has been defined as pop, rock, punk. The founders of the group, Enrico Castellani and Valeria Raimondi, compose dramaturgies with a unique pace, a sort of litany carved out of the contradictions of today, brought to the stage with a rebellious attitude. 
They have investigated different angles of provincial life, crystallising it as a microcosm of a universal pain, tackled with desecrating courage. Courage that earned the group the prestigious Silver Lion at the Venice Biennale. Babilonia Teatri is characterised by its irreverent and divergent gaze on today's uncovered nerves. For an unconventional style that understands theatre as a mirror of society and reality. Through the use of new visual and linguistic codes it expresses the need and urgency of questioning, to bring out conflicts and tensions, with irony and cynicism, affection and indignation.

60+ Corso di teatro, scrittura e audiovisivi dedicato agli Over60

Sorry, this entry is only available in Italian.

Qual è l’oggetto che ti rappresenta? Che voce ha, che cosa può dire di te?
Gli oggetti raccontano storie, reali e immaginarie. Raccontano persone, esperienze, segnano un momento particolare della vita, riportano all’infanzia, definiscono un carattere.

Il percorso 60+ esplora la scrittura, l’azione teatrale e l’improvvisazione utilizzando anche strumenti audio e video, per approfondire il tema con diverse discipline artistiche e creare una performance collettiva e partecipata.

Il percorso è strutturato in 14 lezioni da febbraio a maggio 2024.
Le lezioni di 90 minuti si svolgono il lunedì dalle ore 14.30 alle ore 16.00.
Costo € 400,00

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 19 febbraio 2024 solo su prenotazione.
Contatti: organizzazione@zonak.it – 02.97378443

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

Sarà condotto da Davide Stecconi: diplomato alla Civica Scuola d’Arte Drammatica Paolo Grassi 1999 (corso Drammaturgia). Dal 2000, alternandosi come sceneggiatore e regista, ha scritto e diretto cortometraggi e lungometraggi e alcune fiction per la TV fra cui la serie Piloti – Rai2 -. Più recentemente collabora alla realizzazione di spot per il web e documentari come filmmaker.

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)

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.

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.


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
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.
    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.
    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.


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.




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.


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.


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


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).





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.


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€



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.


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.


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

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

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

Part of the subscription shows


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


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

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.

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′


+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.


Sorry, this entry is only available in Italian.

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.

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′


+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! 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.






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


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
The Money

5 March 2019
Money makes happiness
curated by Q Code Mag

15 – 16 March 2019
Mio cugino (limited edition)

22 – 23 March 2019
£¥€$ (Lies)

31 March 2019
Trials of Money (preliminary hearing)




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?

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.


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
[itinerant performance]

21 – 22 May 2019

24 – 25 May2019

28 – 29 May 2019
Human animal. Liberamente tratto da “il re e pallido” di D.F. Wallace




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.


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.



11 – 14, 16 and 18 – 20 

16 October 2019

19 – 20 October 2019
LOOKOUT “a one on one meeting with a city view”

23 October 2019
[meeting] by Q Code Magazine

26 – 27 October 2019
[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.



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.




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.


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.



“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.


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

22 – 24 November 2019

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


  • 21 – 22 November 2019
  • 29 – 30 November 2019
  • 6 – 10 December 2019
    [performance] c/o Sala delle adunanze dell’Istituto Lombardo, via Brera 28 


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


Sorry, this entry is only available in Italian.

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.


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.


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.


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


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.

























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


di MariaGiulia Serantoni
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


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.

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.

Quest’anno la cornice narrativa sarà un viaggio fuori dall’ordinario attraverso pianeti e stelle… fino ad arrivare alla luna! FLY ME TO THE MOON è un viaggio spaziale attraverso il teatro da costruire insieme ai bambini… perché ogni viaggio diventi unico.

6 – 7 anni lunedì TEATRO, ARTE E MOVIMENTO
Che succede su Marte? E come sarà fatto Plutone? Immaginiamo i pianeti e attraverso suggestioni visive, racconti e suoni costruiamo storie possibili e impossibili fatte di parole, movimento, ritmo e immagini.

8 – 10 anni mercoledì TEATRO, MOVIMENTO e RAP
Un viaggio in un universo possibile (e impossibile) in cui le storie e i movimenti si fondono con la musica rap: inventiamo canzoni, azioni e parole e andiamo alla scoperta di quello che possiamo fare con il teatro e con l’immaginazione.

E’ possibile partecipare gratuitamente a una lezione di prova tra lunedì 18 o 25 settembre e mercoledì 20 o 27 settembre.: organizzazione@zonak.it – 02.97378443

Per effettuare l’iscrizione, compila il modulo online QUI

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.

Costo € 470,00.


– 15% per iscrizione entro il 15 settembre pagamento in unica rata;

– 10% per iscrizione pagamento unica rata;

– 5% per iscrizione secondogeniti e iscritti anno precedente pagamento in due rate

Gli sconti non sono cumulabili.


Corso di Teatro TAM TAM

Sorry, this entry is only available in Italian.

TAM TAM è un percorso di avvicinamento al TEATRO in cui si gioca anche con l’ARTE e il MOVIMENTO CREATIVO.

La città si trasforma! Un quadrato diventa una finestra, un cerchio rotola come una ruota di bicicletta, un triangolo è un cartello stradale di una città immaginaria. Le forme geometriche disegnano la città e l’immaginazione le può trasformare ogni volta che vogliamo.
Trasformiamo le forme, inventiamo una storia e mettiamola in azione! Attraverso suggestioni visive e musicali e all’interno di una cornice narrativa, i bambini saranno stimolati a esplorare lo spazio, il ritmo, il suono, il gesto.  Con il lavoro di gruppo e l’interazione di tre discipline artistiche diverse potranno sperimentare le proprie potenzialità creative e avvicinarsi al linguaggio teatrale.

Al termine del percorso annuale è prevista una restituzione aperta a un pubblico di genitori e amici per far conoscere anche a loro la città che avremo immaginato.

E’ possibile partecipare gratuitamente a una lezione di prova a scelta tra lunedì 18 o 25 settembre.
La prenotazione è obbligatoria: organizzazione@zonak.it – 02.97378443

Per effettuare subito l’iscrizione, compila il modulo online QUI

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.

Costo € 420,00.


– 15% per iscrizione entro il 15 settembre pagamento in unica rata;

– 10% per iscrizione pagamento unica rata;

– 5% per iscrizione secondogeniti e iscritti anno precedente pagamento in due rate

Gli sconti non sono cumulabili

Corso di teatro e video

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.

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

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.


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.

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!

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.


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.



cancelled for health reasons of an actor
Bluemotion (IT)


19 – 21 May 2017 h. 20.30
OPERA retablO (CH)

25 May 2017 h. 20.30
Floor Robert/InQuanto teatro (IT)




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


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.





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.




Un progetto di


Con il sostegno di:

02_MIBACT logo


Con il patrocinio del
brand milano

In collaborazione con:


Gob Squad (DE/UK)

Featuring Fanny Alexander.

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

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

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

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


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


Gob Squad (DE/UK)

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

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

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

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


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


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


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



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

Oliver Frljić (BA/HR)

NATIONAL PREMIERE In collaboration with OLINDA

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

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

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

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

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


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



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

Annalisa Piras and Bill Emmott (IT/UK)

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

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

Fiction, reality or premonition?


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

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

In English with Italian subtitles 


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.



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

16 November 2017 h. 20.30
Piras and Emmot (IT/UK)
[documentary film]

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

22 – 23 November 2017 h. 20.00
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
Gob Squad (DE/UK)

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

01 – 02 December 2017 h. 20.30
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.


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.



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

[performance c/o Triennale Teatro dell’Arte].

23 – 24 and 29 – 30 September 2017 h. 17.45
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
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
Fattoria Vittadini (IT)
[dance c/o private houses]

26 – 29 October 2017 h. 18.00, 19.00, 20.00
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)
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)
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.



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
Christophe Meierhans (CH/BE)


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
[incontro con aperitivo ]

19 March 2017 h. 20.30

from 23 March every Thursday until 15 June 2017 h. 20.30
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)



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
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 




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



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.



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


“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)

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.”





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.


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.



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

Murx den Europäer! Murx ihn! Murx ihn! Murx ihn! Murx ihn ab!
[Video version of the performance]

15 February 2017 h. 18.30
[meeting with aperitif].

16 – 17 February 2017 h. 20.30

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

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
[film from 12 years old]





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 



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