THE FIES FACTORY CATALOG 2012

THE FIES FACTORY Una crew italiana di artisti e creativi under 35 / An Italian crew of Italian artists and creators under 35.

ANAGOOR CODICE IVAN DEWEY DELL FRANCESCA GRILLI MARTA CUSCUNA’ PATHOSFORMEL TEATRO SOTTERRANEO

THE FIES FACTORY

Una crew di artisti e creativi italiani under 35.

Ff è un progetto di Centrale Fies a sostegno della creazione contemporanea nato nel 2007. Dalla ideazione di una strategia di sviluppo dei progetti artistici alla vendita, passando per la gestione nanziaria, la produzione, la ricerca dei possibili partner, la distribuzione, la promozione, la comunicazione, in una struttura, essibile capace di prendere forme diverse a seconda delle esigenze. Un nuovo concetto di fare residenza e un modo speciale per sostenere la nuova generazione di artisti italiani.

A crew of Italian artists and creators under 35.

Ff is a project initiated by Centrale Fies in 2007 in order to support the contemporary creation. We support and develop the artistic projects from the concept to the selling, passing through nancial supervision and production management, research of partners in coproduction, distribution, promotion and communication, in a structure able to adapt and respond to di erent requests and needs.

A new concept of residency and a special way to sustain the new generation of Italian artists.

a

ANAGOOR

TEMPESTA ¡ con / with anna bragagnolo, pierantonio bragagnolo studio del movimento / movements simone derai, anna bragagnolo riprese video marco menegoni, moreno callegari, simone derai montaggio e regia video / video editing and direction simone derai, marco menegoni suono / sound marco menegoni, simone derai, moreno callegari canti e voce / chants and voices paola dallan marco menegoni historical and iconographic advice professor silvio d’amicone DPOTVMFO[B TUPSJDB F JDPOPHSBmDB Qrofessor silvio d’amicone scrittura / writing simone derai, eloisa bressan regia / direction simone derai produzione / production anagoor coprPEV[JPOF DFOUSBMF mFT PQFSBFTUBUF GFTUJWBM F DPO JM TPTUFHOP EJ regione del veneto

Su due schermi a cristalli liquidi, sospesi come due moderne pale d’altare, appaiono paesaggi nebbiosi e i venti di una tempesta in arrivo. Nell’aria un senso di tragedia imminente.

Tempesta lega passato e presente, immergendosi nelle enigmatiche composizioni pittoriche di Giorgione. La TVB QJUUVSB QBDJmDB F TPMBSF TPMP BMM BQQBSFO[B JORVJFUB MP THVBSEP EFMM PTTFSWBUPSF BMMVEFOEP BE VOB SFUF EJ TJHOJmDBUJ NPMUP QJĂĄ DPNQMFTTB Giorgione morĂŹ nel 1510, a soli 33 anni. Anagoor, con base a Castelfranco Veneto, cittĂ natale dello stesso artista, ha ricevuto una Menzione Speciale al Premio Scenario 2009 per questa inquieta performance visiva che indaga i temi cupi di un Giorgione apocalittico: la luce, la natura, la giovinezza e la violenza.

Showing misty landscapes and the winds of a gathering storm, two suspended video screens appear like modern day altar pieces. A sense of impending tragedy hangs in the air.

Tempesta links past and present, exploring the world revealed in enigmatic paintings by Renaissance artist, Giorgione. Outwardly calm and conventional each one raise doubts in the viewers’ mind, hinting at a more complex web of meanings.

Giorgione, teacher of Titian, died at 33 in 1510. From his home town of Castelfranco, near Venice, Anagoor was recognised at Italy’s 2009 Stage Awards for this unsettling, visual and physical collage inspired by the artist’s ambiguous studies of light, landscape, youth and violence. Intriguing and atmospheric.

1 giorno premontaggio 1 replica: 3.000 ₏ + iva al 10% + scheda tecnica + vitto, viaggio e alloggio per 6 persone + noleggio furgone per il trasporUP EFMMB TDFOPHSBmBø 1 day of set-up before the perforNBODFø EBUF ø Ê øUFDIOJDBM SJEFS NFBMT BDDPNPEBUJPO USBWFM expenses for 6 people + van to be rented for the set transporUøø

1 date: 2.000 â‚Ź + technical rider + meals, accomodation, travel e

RIVELAZIONE sette meditazioni intorno a Giorgione ¡ con / with paola dallan e marco menegoni drammaturgia / dramaturgy laura curino, simone derai, maria grazia tonon video simone derai, moreno callegari regia / direction di simone derai produzione / production anagoor coproduzione / coproduction operaestate festival

(JPSHJPOF Ă’ VOB EFMMF mHVre piĂš enigmatiche della storia dell'arte.

Cercare di metterlo a fuoco è come osservare la costellazione delle sette sorelle, le Pleiadi: riesce meglio se VOP OPO MB mTTB EJrettamente.CosÏ ha fatto Anagoor con la complicità di Laura Curino: si è trattato di narrare Giorgione attraverso gli occhi di chi lo frequenta mO dall'infanzia e lo ha ormai sovrapposto alle immagini del quotidiano e lo rivela per storie concentriche all'ospite stupefatto e preso per malia.

Giorgione is one of the most enigmatic painters of the history of art. Trying to focus on him is like to observe the star cluster of the Seven Sisters, the Pleiades: you do it better ifyou don’t stare directly at it.

This is what Anagoor aims to do with the complicity of dramaturg Laura Curino: to describe Giorgione through the eyes of those who are familiar with him since childhood and reveal him by means of concentric tales to the amazed guest.

2.000 â‚Ź + iva al 10% + scheda tecnica + vitto, viaggio e alloggio per 3 persone 2.000 â‚Ź + technical rider + hotel, meals, travel expenses for 3 people

MAGNIFICAT Anagoor 2009, 40’ MAGNIFICAT 2009, 40’ di/by alda merini voce/voice paola dallan di/by alda merini voce/voice paola dallan suono e musiche/sound and music mauro martinuz suono e musiche/sound musicpaola maurodallan, martinuz disegno vocale/ vocaland design marco menegoni, simone derai disegno vocale/ vocal design paola dallan, marco menegoni, simone derai regia/direction simone derai regia/direction simone derai coproduzione/coproduction operaestate festival coproduzione/coproduction operaestate festival 4FO[B CJPHSBmTNJ O� BHJPHSBmB JM WFSTP QPFUJDP SFTUJUVJTDF MB DPNQMFTTJUË EJ .BSJB VOB DSFBUVSB EJ MVDF F DBSOF GSBHJMF 4FO[B CJPHSBmTNJ O� BHJPHSBmB JM WFSTP QPFUJDP restituisce la complessità di Maria: una creatura di luce e TNBSSJUB F QFSEVUBNFOUF JOOBNPSBUB *M .BHOJmDBU BQQBSF DPNF VOB DPOWFSTB[JPOF OPUUVSOB USB BNBOUJ JTPMBUB BM UFMFGPOP carne, fragile, smarrita e perEVUBNFOUF JOOBNPSBUB *M .BHOJmDBU BQQBre come una conversazione notturna j)P TBQVUP UVUUP EJ UF DPNF PHOJ EPOOB UFSSFOB TB UVUUP EFMMhVPNP DIF BNBx -B EJTUBO[B mTJDB F JM mMUSP TPOPSP SFOEPOP tra amanti, isolata al telefono: Ho saputocarezza tutto di/ ètemai / come donna terrena / sa tutto dell'uomo l'intimità piÚ vibrante di sensualità : Nessuna stata ogni cosÏ silenziosa / e presente / come la mano che di Dio.Sulla WJDJOBO[B FTUSFNB USB VNBOP F EJWJOP TVMMB MBCJMJUË EFM DPOmOF USB TBDSP F QSPGBOP MB TDSJUUVSB JNQSFWFEJCJMF EFMMB QPFUFTTB BNBx -B EJTUBO[B mTJDB F JM mMUro sonoro rendono l'intimità piÚ vibrante di sensualità : Nessuna carezza / è gioca a scardinare l'immagine tradizione a rintracciarne una non univoca ma vibrante di mai stata cosÏ silenziosa / econsolidata presente /nella come la manoeuropea di Dio.e Sulla vicinanza estrema tra umano e divino, contrasti.

TVMMB MBCJMJUĂ‹ EFM DPOmOF USB TBDro e profano, la scrittura imprevedibile della poetessa gioca a scardinare

l'immagine consolidata nella tradizione europea e a rintracciarne una non univoca ma vibrante di contrasti.

Far from the character of an individual biography or of an hagiography, Mary, the way she is portrayed by poetic verse, is represented as a complex creature of light and flesh, fragile, forsaken and helplessly fallen in love.The Magnificat appears as a night conversation on the phone: ÂŤI know anything of you / as every earthly woman / knows everything of the man she lovesÂť. Physical distance and the filter of music set up an intimate atmosphere of glowing sensuality: ÂŤNo caress ever / was so silent / and present / as the hand of GodÂť.The extreme closeness between human and divine, the vagueness of the border between sacred and profane, the unpredictable style of the poet works on reversing the consolidated image of the European tradition and outlining a new one, not monolithic, but intense and contradictory.

1 replica: 2.000 â‚Ź + iva al 10% + scheda tecnica + vitto, viaggio e alloggio per 4 persone + noleggio furgone per il trasporUP EFMMB TDFOPHSBmB 1 date: 2.000 â‚Ź + technical rider + meals, accomodation, travel expenses for 4 people + van to be rented for the set transport

1 replica: 1.800 â‚Ź + iva al 10% + scheda tecnica + vitto, viaggio e alloggio per 4 persone 1 date: 1.800 â‚Ź + technical rider + hotel, meals, travel expenses for 4 people

FORTUNY 2011, 60’ concept simone derai, moreno callegari, marco menegoni con / with anna bragagnolo, pierantonio bragagnolo, moreno callegari, marco menegoni DPSFPHSBmB DIPSFPHSBQIZ BOOB CSBHBHOPMP TJNPOF EFSBJ NPSFOP DBMMFHBSJ QJFSBOUPOJP CSBHBHOPMP scene e costumi / scenes and costumes simone derai, serena bussolaro, moreno callegari, marco menegoni video simone derai, marco menegoni musiche / music marco menegoni, mauro martinuz canti / chants paola dallan, emanuela guizzon regia / direction simone derai produzione / producion anagoor coproduzione / coproduction città di venezia_teatro fondamenta nuove, DFOUSBMF mFT PQFSBFTUBUF GFTUJWBM WFOFUP JO DPMMBCPSB[JPOF DPO JO DPMMBCPSBUJPO XJUI NVTFP GPSUVOZ F GPOEB[JPOF NVTFJ DJWJDJ WFOF[JBOJ festival contemporanea prato con il patrocinio di regione del veneto TJ SJOHSB[JB UIBOLT UP GPSUVOZ TQB BOBHPPS GB QBSUF EFM QSPHFUUP mFT GBDUPSZ BOBHPPS JT QBSU PG UIF mFT GBDUPSZ QSPKFDU

La disperata difesa della memoria e la fragilitĂ della bellezza in un Paese che sembra calpestarla impuneNFOUF TPOP MF MJOFF HVJEB EJ RVFTUP OVPWP QFSDPSTP UFBUSBMF 'PSUVOZ OPO Ă’ VOP TQFUUBDPMP BUUPSOP BMMB mHVSB EJ .BSJBOP 'PSUVOZ NB EJ MVJ BTTVNF MP THVBSEP TVMMB EFMJDBUF[[B EJ 7FOF[JB DPO M JOUFOUP EJ DBUUVSBSF JM DVPSF del suo lavoro sulla catalogazione e sulla trasmissione delle forme. Oggi, in una realtĂ come quella italiana, la disaffezione ignorante e criminale per la memoria culturale e per la bellezza, lo strazio subĂŹto dal paesaggio e il disagio di chi vive una delicatissima etĂ di formazione corrono velocissimi su binari paralleli e talvolta spaventosamente si intrecciano. Non potrebbe essere altrimenti per chi nella fase di metamorfosi percepisce MB GSBHJMJUĂ‹ EFMMF DPTF QSF[JPTF F MB OPODVSBO[B DPO DVJ RVFTUF TPOP TBDSJmDBUF JO OPNF EFM QSPmUUP JOmOJUP Quando a piĂš livelli i padri sono assenti o si fanno osservare senza vergogna sconvolti dal furore luminoso EFMMB GPSUVOB BMMPSB TJ BEEFOTBOP OVCJ BMM PSJ[[POUF DIF OPO QSPNFUUPOP OVMMB EJ CVPOP & B 7FOF[JB JO FQPDB rinascimentale, il legame tra fortuna e tempesta era ben conosciuto.

The desperate defense of memory, the fragility of beauty in a country that seems to trample on it with impunity are the guidelines of Anagoor's newest theatrical path. FORTUNY is not a theatrical project about Mariano Fortuny but rather takes its inspiration from his complex eye for the precious delicacy of Venice with the intent to capture the spirit of his fervent work on cataloguing memory and on the ways Form is transmitted.

Today in Italian reality, the ignorant and criminal indifference for cultural memory and beauty, the agony suffered by the land and landscape, the discomfort of those who live in a very delicate age of growth, exist on parallel tracks and are frighteningly intertwined. It could not be otherwise for those who, in the process of metamorphosis, perceive the fragility of precious things and the nonchalance with which anything precious JT TBDSJmDFE JO UIF OBNF PG JOmOJUF QSPmU 8IFO GBUIFST BSF BCTFOU PS XJUIPVU TIBNF TIBSF JO UIF EFWBTUBUJPO brought by the bright fury for fortune then clouds gather on the horizon. They do not bode anything good (and in the Renaissance Venice the link between fortune and tempest was well-known).

1 giorno premontaggio, 1 replica: 3.500 â‚Ź + iva al 10% + scheda tecnica + vitto, viaggio e alloggio per 6 persone + noleggio furgone per il trasporto della TDFOPHSBmB EBZ PG TFU VQ CFGPSF UIF QFSGPSNBODF EBUF UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF WBO UP CF SFOUFE GPS UIF TFU USBOTQPSU

THE FORTUNY PROJECT BALLO VENEZIA performance 20’*, 2011 CON LA VIRTÙ COME GUIDA E LA FORTUNA PER COMPAGNA performance 20’, 2010 WISH ME LUCK. video installation 9’, 2010 WISH ME LUCK. performance20’*, 2010 HOW MUCH FORTUNE CAN WE MAKE? performance 20’, 2010

Il Progetto Fortuny consiste di uno spettacolo principale, FORTUNY, e di cinque episodi collaterali concepiti come TJUF TQFDJmD QFS MVPHIJ TUSBPrEJOBSJ F TUPSJDJ NVTFJ BOUJDIF DIJFTF F DIJPTUSJ TQB[J DPO VOB GPrUF DPOOPUB[JPOF Brtistica o gravidi di memoria.

The Fortuny project consists in a main perforNBODF BOE B DMVTUFS PG DPMMBUFSBM FQJTPEFT DPODFJWFE BT TJUF TQFDJmD performances for extraordinary spaces, historical architectures, museums, ancient churches.

*Not available anymore $BDIFU Ê JWB WJUUP BMMPHHJP WJBHHJP TDIFEB UFcnica Le perforNBODF TPOP DPODFQJUF QFS TQB[J OPO Teatrali. Proprio per la lorP OBUVSB FDDF[JPOBMF PHOJ TJOHPMP Qrogetto può essere adattato al luogo proposto.

5IF QFrformances arF UIPVHIU GPS OPO UIFBUSJDBM QMBDFT %VF UP UIFJS TQFDJmD OBUVre, every single project can be BEBQUFE UP UIF TQBDFT Qroposed.

L.I. LINGUA IMPERII violenta la forza del morso che la ammutoliva ¡ con/with Anna Bragagnolo, Mattia Beraldo, Moreno Callegari, Marco Crosato, Paola Dallan, Marco Menegoni, Gayanèe Movisisyan, Eliza Oanca, Monica Tonietto e con/and with Hannes Perkmann, Hauptsturmbannfßhrer Aue e/and Benno Steinegger, Leutnant Voss traduzione e consulenza lingustica/translation and linguistic advice Filippo Tassetto voci fuori campo/voice off stage Silvija Stipanov, Marta Cerovecki, Gayanèe Movisisian, Yasha Young, Laurence Heintz musiche originali/original music Paola Dallan, Simone Derai, Mauro Martinuz, Marco Menegoni, Gayanèe Movsisyan, Monica Tonietto costumi/costumes Serena Bussolaro, Simone Derai musiche non originali/non original music Komitas Vardapet, musiche della tradizione medievale armena/armenian music of the medieval tradition video Moreno Callegari, Simone Derai, Marco Menegoni drammaturgia/dramaturgy Simone Derai, Patrizia Vercesi regia/direction Simone Derai produzione/production Anagoor 2012 coproduzione/coproduction Trento Film Festival, Provincia Autonoma di Trento, Centrale Fies, Operaestate Festival con il sostegno di/with the support of APAP Network Culture Programme of European Union iniziativa realizzata con il contributo di/initiative organized with the support of Fondazione Cassa di Risparmio di Trento e Rovereto Anagoor fa parte del progetto/Anagoor takes part of the project Fies Factory

Storie di cacce innominabili. Non metafore, ma fenomeni storici concreti, antiche odiose abitudini secondo le quali, nelle forme della caccia, alcuni uomini si sono fatti predatori di altri uomini e, ancora nel XX secolo, hanno intriso il suolo d’Europa EFM TBOHVF EJ NJMJPOJ EJ QFSTPOF UBOUP JM TVP DVPSF DJWJMF RVBOUP MF TVF WBTUF GPSFTUF mOP BJ TVPJ FTUSFNJ DPOmOJ NPOUVPTJ Lamentatori che non vogliono piÚ essere stati cacciatori e che, di fronte al riemerso ricordo delle vittime, lamentano il peso EFMMB DPMQB EFMMB DBDDJB DSVFOUB *M $BVDBTP MJNJUF FTUSFNP EFMM &VSPQB DPOmOF HFPHSBmDP OBUVSBMF NPOUBHOB EFMMF MJOHVF F JOUSFDDJP mUUJTTJNP EJ QPQPMJ MBCJSJOUP DIF USBDDJB F JOTJFNF DPOGPOEF J DPOmOJ J MJNJUJ MF EJTUJO[JPOJ F TJ FSHF NBTTJDDJP come epicentro della memoria e luogo mitico di questo giudizio.

Lingua imperii è la lingua dell’impero inteso come dominio coercitivo. Ăˆ la lingua povera, bruta ed ingannevole delle propagande fasciste. Sono gli alfabeti e le lingue insegnate a forza. Ma è anche il bavaglio o l’assenza di voce imposti DPNF VO EPOP WJPMFOUP EBJ EPNJOBUPSJ *OmOF JM MJOHVBHHJP TUFTTP EFMMB WJPMFO[B L.I. Lingua Imperii - so violent was the force that struck her dumb.

Stories of unnameable hunts: not metaphors, but concrete historical phenomena, hateful old habits according to which, in the forms of hunting, some men have become predators of other men and, even in the twentieth century, have soaked the soil of Europe with the blood of millions of people, its civil heart, as much as its vast forests, up to its mountainous borders.

Mourners who no longer want to be hunters and, in front of the resurfaced memory of the victims, complain the burden of guilt for the bloody hunting.

The Caucasus, extreme end of Europe, natural geographical frontier, the Mountain of the Languages, dense crucible of people, a maze that trace boundaries, limits and distinctions and confounds them at the same time, a massif that stands as the epicentre of the memory, a mythical place for this judgment.

Lingua Imperii is the language of the empire meant as coercive domination. It is the poor, brutish, deceitful language of the Nazi propaganda. It is the alphabets and the languages taught by force. But it is also a gag imposed as a violent gift by the rulers. Ultimately, it is the very language of violence.

1 giorno premontaggio, 4.000 â‚Ź + iva al 10% + scheda tecnica + vitto, viaggio e alloggio per 11 persone + noleggio furgone per il trasporto della TDFOPHSBmB 1 day of set-up before the performance, 4.000 â‚Ź + technical rider + hotel, meals, travel expenses for 11 people + van to be rented for the set transport

c

CODICE IVAN

WEWANNABEYOURHAPPENING 2010, progetto cumulativo BUBBLEBUSH---VISITORS(SPACE) site specific per SAME MOMENT (Raum) THE BIG SISTER---VISITORS(SPACE) site specific per EX-MURATE. Evento di inaugurazione (Firenze) W.ROOM---VISITORS(SPACE) site specific per SANTARCANGELO 40° videoinstallazione+videoinstallazione/performance

WeWannaBeYourHappening è un percorso performativo modulare, concepito per frammenti, per studi molto EJWFSTJ USB MPSP OFMMB UFNBUJDB NB VOJUJ EBMMB DPNVOF SJnFTTJPOF TVM SVPMP EFMMP TQFUUBUPSF F TV RVFMMP EFM performer, sul rapporto tra realtà percepita e rielaborazione performativa. Il performer si sposta, si fa appaSFOUFNFOUF EB QBSUF F DIJFEF B DIJ OPSNBMNFOUF PTTFSWB VOP TUJNPMP VOB SJnFTTJPOF VO JNNBHJOF VO JOHSFEJFOUF EFMM FTQFSJNFOUP *M SJTDIJP BHHVBUP F TUJNPMP Ò RVFMMP EJ VO GBMMJNFOUP EFMMB mO[JPOF EBWBOUJ BMM FNBODJQB[JPOF BMM FNFSHFSF EFMMB SFBMUË P TQFUUBUPSF DPNF PSJHJOF MP TQFUUBUPSF DPNF mOF MP TQFUUBUPSF DPNF NFUPEP MP TQFUUBUPSF DPNF OPO TQFUUBUPSF MB TPUUSB[JPOF M VSHFO[B EJ BTDPMUBSF JM CJTPHOP EJ EBSF TQB[JP il materiale della realtà WeWannaBeYourHappening is a performative modular journey, conceived in fragments, study units very diverging per theme, but linked together by the common thought about the role of the audience and the performer, the relationship between the perceived reality and its performative revision. The performer moves, apparently sets aside and asks to the ones usually observing to provide a stimulus, a remark, an image, an JOHSFEJFOU GPS UIF FYQFSJNFOU 5IF SJTL TOBSF BOE TQVS BU UIF TBNF UJNF JT UIF GBJMVSF PG mDUJPO JO GSPOU PG UIF emancipation and the emerging of reality. the audience as the origin / the audience as the end / the audience as the method he audience as non-audience / the removal / the urgency to listen to / the need to give space the material of reality

QSF[[P EFJ QSPHFUUJ EB EFmOJSF DPTUT GPS UIF QSPKFDU UP CF EFmOFE

PINK, ME & ROSES 2009, 45’ creazione collettiva / original collective drama codice ivan con / with anna destefanis, leonardo mazzi, benno steinegger scene, luci e costumi / setting codice ivan foto di scena / photo giovanni giacomelli, federica giorgetti produzione / production codice ivan DPQSPEV[JPOF DP QSPEVDUJPO DFOUSBMF mFT SFTJEFO[F BSUJTUJDIF SFTJEFODFT GBG mSFO[F DFOUSBMF mFT ESP

vincitore premio scenario 2009 / winner premio scenario 2009 DPEJDF JWBO GB QBSUF EM QSPHFUUP mFT GBDUPSZ DPEJDF JWBO JT QBSU PG UIF mFT GBDUPSZ QSPKFDU

Pink, Me & The Roses è anche e soprattutto un palloncino che esplode, il tutto che procede, comunque, a strattoni e per continui inceppi, in un dispositivo in cui l'errore è inevitabile e accettato come tale. Siamo rimasti imprigionati, non nostro malgrado ma volontariamente, dentro il teatro stesso; per questo Pink, Me & The Roses non solo rivela ciò che succede dietro le quinte, ma anche come si è arrivati alla messa in scena. Il making off, il processo, irrompe in una scena essenziale: pochi oggetti, pochi colori, poco spazio e ben NBSDBUP JO DVJ DPNVORVF BODPSB VOB WPMUB TJ UFOUB EJ DPTUSVJSF M FOOFTJNB mO[JPOF NB TJBNP PMUSF MB OBSSB[JPOF F M JOHBOOP OPO SFHHF QJå -B SFMB[JPOF USB HMJ PHHFUUJ DPTF F QFSTPOF TJ SPNQF DPOUJOVBNFOUF JO piccole morti ripetute, in cadute, scoppi, sbagli. Ma continuamente trova nuove possibilità .

1SPCBCJMNFOUF BMMB mOF TJ EPWSĂ‹ SJQBSUJSF EB VOB SJDPORVJTUBUB POFTUĂ‹ Pink, Me & The Roses is also and above all a balloon that explodes, everything proceeding, however, jerkily and jamming continuously, in a device in which a mistake is inevitable and accepted for what it is. We remain imprisoned, not against our will but voluntarily, within the theatre itself. Pink, Me & The Roses not only reveals what happens behind the curtains, but also how the staging came into being. The making of, the process, breaks out in an essential scene: few objects, few colors, a small and well-marked space, in which, however, we yet again attempt to construct the umpteenth pretence; but we have gone beyond the narration and the deceit is no longer credible. The relationship between the objects (things and people) breaks continuosly JOUP TNBMM SFQFBUFE EFBUIT JOUP GBMMT DSBTIFT BOE NJTUBLFT #VU JU DPOUJOVPTMZ mOET OFX QPTTJCJMJUJFT 1SPCBbly at the end, we will have to begin again, parting from a reconquered honesty.

SFQMJDB ĂŠ JWB BM TDIFEB UFDOJDB WJUUP WJBHHJP F BMMPHHJP QFS QFSTPOF OPMFHHJP GVSHPOF QFS JM USBTQPSUP EFMMB TDFOPHSBmB 1 date: 2.000 â‚Ź + technical rider + hotel, meals, travel expenses for 4 people + van to be rented for the set transport

GMGS_ WHAT THE HELL IS HAPPINESS? 2011, 60’ creazione collettiva / original collective drama codice ivan produzione / production codice ivan DP QSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT DPO JM TPTUFHOP XJUI UIF TVQQPSU PG GBG mSFO[F

JO DPMMBCPSB[JPOF DPO JO DPMMBCPSBUJPO XJUI GPOEB[JPOF EFM UFBUSP TUBCJMF EJ UPSJOP QSPTQFUUJWB DPOUFNQPSBOFB GFTUJWBM UFBUSP NFUBTUBTJP TUBCJMF EFMMB UPTDBOB SFTJEFO[F DSFBUJWF SFTJEFODFT DFOUSBMF mFT ESP QJN PGG NJMBOP

GBG mSFO[F TQB[JPL LJOLBMFSJ QSBUP

DPEJDF JWBO SJOHSB[JB UIBOLT UP OFYU FNFSTPO mSFO[F F J QSJWBUF DVMUVSF DPEJDF JWBO GB QBSUF EFM QSPHFUUP mFT GBDUPSZ DPEJDF JWBO JT QBSU PG UIF mFT GBDUPSZ QSPKFDU

$hĂ’ VO VOJDP FSSPSF JOOBUP FE Ă’ RVFMMP EJ DSFEFSF DIF OPJ FTJTUJBNP QFS FTTFSF GFMJDJ " 4DIPQFOIBVFS *M QSPHFUUP (*7& .& .0/&: (*7& .& 4&9@8IBU UIF IFMM JT IBQQJOFTT (.(4 OBTDF EBM CJTPHOP EJ DPOGSPOUBSTJ DPO VO DPODFUUP VO NPUPSF EFM GBSF RVPUJEJBOP F DPO MB TVB TQFTTP PTTFTTJWB SJDFSDB MB GFMJDJUĂ‹ 0HOVOP Ă’ QPSUBUP B MPUUBSF QFS SBHHJVOHFSMB TFO[B QFSĂ› DBQJSF OĂ? EPWF OĂ? DPNF BOEBSF - VOJDB DFSUF[[B Ă’ M BVUP DBDDJBUB EB VO NPOEP QFSGFUUP F MB DPOTBQFWPMF[[B EFMMF RVPUJEJBOB EJGmDPMUĂ‹ EJ TDFMUB & BMMPSB DJ DIJFEJBNP DPNF EPCCJBNP WJWFSF (.(4 Ă’ MhBDSPOJNP EJ (JWF .F .POFZ (JWF .F 4FY (JWF .F $PGGFF BOE $JHBSFUUFT WFSTP EFM CSBOP #BCZ 5VSO #MVF EFJ 7JSHJO 1SVOFT There is only one inborn erroneous notion ... that we exist in order to be happy A. Schopenhauer The project GIVE ME MONEY, GIVE ME SEX_What the hell is happiness? (GMGS), was born from the necessity of comparing with the wheels of modern life and its often obsessive research: Happiness.

Everybody struggles to reach it without understanding where to go or how to arrive to it. The only certainty is the (self)dismission from a perfect world, and the consciousness that every human action produces as many EBNBHFT BT CFOFmUT 4P XF BTL UP PVSTFMWFT )PX TIPVME XF MJWF

SFQMJDB ĂŠ JWB BM TDIFEB UFDOJDB WJUUP WJBHHJP F BMMPHHJP QFS QFSTPOF EBUF ĂŠ UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF

TANK TALK QSPHFUUP QSPKFDU $PEJDF *WBO DPMMBCPSB[JPOF DPMMBCPSBUJPO GPS BJ WJEFP *O'MVY QSPEV[JPOF QSPEVDUJPO $PEJDF *WBO DPQSPEV[JPOF DPQSPEVDUJPO $FOUSBMF 'JFT TPTUFHOP TVQQPSU $3"5FSF .FSBOP $PEJDF *WBO GB QBSUF EFM QSPHFUUP $PEJDF *WBO JT QBSU PG UIF 'JFT 'BDUPSZ 2VBMDVOP DPO QJDDPMJ QBTTJ TJNJMJ BE VOB EBO[B IB GFSNBUP VO DPOWPHMJP EJ UBOL Ò TBMJUP TVM DBSSP BSNBUP IB DFSDBUP EJ USPWBSF VOP TQJSBHMJP PMUSF MB DPSB[[B IB QSPWBUP B QBSMBSF DPO DIJ FSB BMMB HVJEB )B DFSDBUP M VPNP EJFUSP BMMB NBDDIJOB $PNVORVF 3JWPMUB -F QBSPMF TJ DPOTVNBOP TJ DPOUSBGGBOOP TJ MPHPSBOP DPNF J DPODFUUJ 1FSEPOP F NVUBOP JM QSPQSJP WBMPSF TFNBOUJDP $PTÖ QBSMBSF EJ SJWPMUB BQSF BE VOP TQB[JP EJ QPTTJCJMJUË F JOUFSQSFUB[JPOF OVPWB 3JWPMHFSF HJSBSF QSFOEFSF OVPWF TUSBEF P JOUFSGFSJSF TV RVFMMF BMNFOP JO BQQBSFO[B HJË USBDDJBUF .B BMMPSB PHHJ JM UFSNJOF SJWPMUB RVBMF TQB[JP EFmOJTDF $PTB DJ GB DPNQSFOEFSF F EB DPTB TJ EJTUJOHVF 'PSTF MB SJWPMUB Ò PSNBJ VO BUUP JOEJWJEVBMF 6OB RVFTUJPOF QFSTPOBMF - JOUJNJUË EJ VOB QSFTB EJ QPTJ[JPOF EJ VO UFOUBUJWP EJ EJBMPHP P EJ TDPOUSP DPO JM NPOEP DPO VO DBSSP BSNBUP DIF BWBO[B & QPJ VOB WPMUB DPORVJTUBUB M BUUFO[JPOF DPTB EJSF 3JQBSUJBNP EB RVJ 6O QFSGPSNFS WFTUJUP DPNF M VPNP EJ QJB[[B 5JFO BONFO DFSDIFSË EJ GFSNBSF DPTF F QFSTPOF DIF QSPDFEPOP TFHVFOEP USBJFUUPSJF QSPQSJF DFSDIFSË EJ SJQFUFSF HMJ TUFTTJ QBTTJ DIF OFM IBOOP QFSNFTTP BE VO VPNP EJ GFSNBSF VOB DPMMPOOB EJ UBOL DFSDIFSË EJ BWFSF VOP TDBNCJP VNBOP VO EJBMPHP QSPWFSË B SJDPNJOJDBSF B EJSF RVBMDPTB B GBSTJ BTDPMUBSF B TVTTVSSBSF P B HSJEBSF RVBMDPTB BMM PSFDDIJP EJ RVBMDVOP

Someone stopped a convoy of tanks with his small, dance-like steps, climbed onto the tank and looked for a crack in its armour, tried to talk to the driver. He sought the man behind the machine. Anyway… Revolt. Words are being consumed, counterfeited, forged, like concepts. They lose and change their semantic value. Thus talking about revolt (in this way) opens up spaces and possibilities for new interpretations.

Turn around, twist, take new roads or interfere on those which have been, at least in appearance, already EFmOFE 8IJDI TQBDF EFmOFT UIF UFSN SFWPMU UPEBZ 8IBU EPFT SFWPMU NFBO GPS VT XIBU NBLFT JU EJTUJODU XIBU EPFT JU OPU NFBO BOZ NPSF 1FSIBQT OPXBEBZT B SFWPMU JT BO JOEJWJEVBM BDU B QFSTPOBM FORVJSZ 5IF JOUJNBDZ PG TVTUBJOJOH B DFSUBJO QPTJUJPO CFDPNJOH DPOTDJPVT BO BUUFNQU B EJBMPHVF PS B RVBSSFM XJUI UIF world, with a tank which moves forward… "OE UIFO IBWJOH DBQUVSFE BUUFOUJPO XIBU UP TBZ 8F SF TUBSU GSPN IFSF " QFSGPSNFS ESFTTFE MJLF UIF NBO PG 5JFO BONFO 4RVBSF XJMM USZ UP TUPQ UIJOHT BOE QFPQMF GPMMPXJOH UIFJS PXO SPVUFT IF XJMM USZ UP SFQFBU UIF TBNF TUFQT UIBU BMMPXFE B NBO JO UP TUPQ B MJOF PG UBOLT IF XJMM USZ UP IBWF B IVNBO FYDIBOHF B EJBMPHVF IF will try again to say something, to be listened, to whisper or to scream something in someone’s ear.

QSF[[P EFJ QSPHFUUJ EB EFmOJSF DPTUT GPS UIF QSPKFDU UP CF EFmOFE

d

DEWEY DELL

1 replica: 1.800 € + iva al 10% + scheda tecnica + vitto, viaggio e alloggio per 4 persone 1 date: 1.800 € + technical rider + hotel, meals, travel expenses for 4 people

A' ELLE VIDE 2007, 25’ DPSFPHSBmB DPTUVNJ DIPSFPHSBQIZ BOE DPTUVNFT UFPEPSB DBTUFMMVDDJ DPO XJUI UFPEPSB DBTUFMMVDDJ BHBUB DBTUFMMVDDJ NVTJDIF PSJHJOBMJ PSJHJOBM NVTJD EFNFUSJP DBTUFMMVDDJ MVDJ F BTTJTUFO[B BMMB QSPEV[JPOF MJHIUT BOE QSPEVDUJPO BTTJTUBODF FVHFOJP SFTUB SFBMJ[[B[JPOF QBSUJ QMBTUJDIF QMBTUJD BSUT DIJBSB CPDDIJOJ SFBMJ[[B[JPOF DPTUVNJ SFBMJ[BUJPO PG DPTUVNFT HBCSJFMMB CBUUJTUJOJ DBSNFO DBTUFMMVDDJ SJOHSB[JBNFOUJ UIBOLT UP WBMFOUJOB HVJEJ DIJBSB CBSUPMJOJ GSBODFTDB CBSUPMJOJ QSPEV[JPOF EFXFZ EFMM mFT GBDUPSZ POF QSFNJP TQFDJBMF BM DPODPSTP TQFDJBM NFOUJPO HEhB QBSUFDJQBOUF BE BFSPXBWFT UIF QMBDF MPOESB QSPKFDU QBSUJDJQBOU BFSPXBWFT UIF QMBDF MPOEPO EFXFZ EFMM GB QBSUF EFM QSPHFUUP mFT GBDUPSZ EFXFZ EFMM JT QBSU PG UIF mFT GBDUPSZ QSPKFDU

%VF BOJNBMJ %VF mHVSF %VF EJTFHOJ *M QSJNP 3PTTP *M (BMMP *M TFDPOEP #JBODP -P 4DPSQJPOF %VF DBSBUUFSJ DIF TJ SJTQFDDIJBOP OFMMhFTQSFTTJPOF OFM DPNQPSUBNFOUP OFM NPWJNFOUP 0HOJ UBOUP BGmPSBOP WPDJ TQF[[BUF F NPTTF EB VO UPSNFOUP 'PSTF MF WPDJ EJ CSBOEFMMJ EJ DBSUPPOT EFQPTJUBUJ OFMMB OPTUSB NFNPSJB *M NPWJNFOUP EFM (BMMP Ò BMUFSP TDSVUB F PTTFSWB MP TQB[JP DPNF TF GPTTF JM EFQPTJUBSJP EJ VO NJTUFSP *M NPWJNFOUP EFMMP 4DPSQJPOF Ò MhJNNPCJMJUË QSFDJTB TJDVSB NFOUBMF EJ DIJ TJ USPWB OFMMB TUBTJ QSJNB EJ BUUBDDBSF $hÒ VOhFMFHBO[B JNQBMQBCJMF JOFOBSSBCJMF BSDBOB *M SPTTP EFM (BMMP JM TVP DPMPSF EJWFOUB JM TVP NPWJNFOUP *M CJBODP EFMMP 4DPSQJPOF MB TVB TPTQFOTJPOF EJWFOUB MB TVB WPDF *M OFSP EFMMP TQB[JP EJWFOUB JM UFNQP EJ VOB SFMB[JPOF WVPUB 'PSTF NJ USPWP EJ GSPOUF BE VOhJEFB EJ DBSUPOF BOJNBUP 4FNQMJDFNFOUF 5XP BOJNBMT 5XP mHVSFT 5XP ESBXJOHT 5IF mSTU 3FE 5IF DPDL 5IF TFDPOE 8IJUF 5IF TDPSQJPO 5XP OBUVSFT UIBU BSF SFnFDUFE JO UIF FYQSFTTJPO JO UIF CFIBWJPVS JO UIF NPWFNFOU .JHIU UIFTF WPJDFT CF CJUT PG DBSUPPOT UIBU BSF EFQPTJUFE JO PVS NFNPSZ #MBDL FZFMBTIFT FYDFTTJWFMZ MPOH TVSSPVOE UIF EBSL FZFT PG UIF UXP CFJOHT UIF $PDL BOE UIF 4DPSQJPO .FMBODIPMJD MPPLT DPNF PVU PG UIF GBDFT BOE B TUSBOHF BOE QPXFSGVM QSJEF XSBQT UIFN &WFSZUIJOH PVUDSPQT B MJUUMF CJU BOE UJNF BGUFS UJNF 5IF $PDL T NPWFNFOU JT IBVHIUZ JU TDBOT BOE PCTFSWFT UIF BSFB BT JG JU XBT UIF LFFQFS PG B NZTUFSZ 5IF 4DPSQJPO T NPWFNFOU JT UIF QSFDJTF DFSUBJO BOE NFOUBM TUJMMOFTT PG UIF POF XIP JT JO B TUBOETUJMM CFGPSF BUUBDLJOH 5IFSF JT BO JOUBOHJCMF JOEFTDSJCBCMF BOE BSDBOF FMFHBODF 5IF SFE PG UIF $PDL JUT DPMPVS CFDPNFT JUT NPWFNFOU 5IF XIJUF PG UIF 4DPSQJPO JUT TVTQFOTJPO CFDPNFT JUT WPJDF 5IF CMBDL PG UIF BSFB CFDPNFT UIF UJNF PG B WPJE SFMBUJPO 1FSIBQT * TUBOE CFGPSF BO JEFB PG DBSUPPO +VTU UIBU

SFQMJDB FVSP JWB B OPSNB EJ MFHHF TDIFEB UFDOJDB WJUUP BMMPHHJP WJBHHJP QFSTPOF EJSJUUP E BVUPSF EBUF FVSPT UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF BVUIPS SJHIUT

KIN KEEN KING 2008, 35’ concept agata castellucci, teodora castellucci, eugenio resta DPSFPHSBmB DPTUVNJ DIPSFPHSBQIZ BOE DPTUVNFT UFPEPSB DBTUFMMVDDJ DPO XJUI FVHFOJP SFTUB UFPEPSB DBTUFMMVDDJ BHBUB DBTUFMMVDDJ NVTJDIF PSJHJOBMJ F MVDJ PSJHJOBM NVTJD MJHIUT EFNFUSJP DBTUFMMVDDJ TDFOB EJTFHOP MVDJ F BTTJTUFO[B BMMB QSPEV[JPOF TFU MJHIU EFTJHOFS QSPEVDUJPO T BTTJTUBOU FVHFOJP SFTUB BTTJTUFO[B UFDOJDB UFDIOJDBM BTTJTUBODF UJ[JBOP SVHHJB QSPUIFTJT QMBTUJLBSU SFBMJ[[B[JPOF DPTUVNJ SFBMJ[BUJPO PG DPTUVNFT EBOJFMB GBCCSJ DBSNFO DBTUFMMVDDJ JM iQBUUJOPw SFBMJ[[B[JPOF TDFOF SFBMJ[BUJPO PG TDFOFT SJOBMEP SJOBMEJ QSPEV[JPOF QSPEVDUJPO EFXFZ EFMM mFT GBDUPSZ POF DP QSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT GFTUJWBM EF NBSTFJMMF VPWP QFSGPSNJOH BSUT GFTUJWBM DPO MB DPMMBCPSB[JPOF "."5 UFBUSP QFUSFMMB EJ MPOHJBOP PQFSBFTUBUF GFTUJWBM WFOFUP UFBUSJ EFM UFNQP QSFTFOUF M FUJ o FOUF UFBUSBMF JUBMJBOP QFS MF OVPWF DSFBUJWJUË EFXFZ EFMM GB QBSUF EFM QSPHFUUP mFT GBDUPSZ EFXFZ EFMM JT QBSU PG UIF mFT GBDUPSZ QSPKFDU

/FM TVPOP POPNBUPQFJDP EFM UJOUJOOBSF EJ VOB HPDDJB Ò EJTDIJVTP JM SJWFMBSTJ EJ VOB mHVSB SFHBMF JODBSOBUB EBMMF RVBUUSP MFUUFSF EFM WPDBCPMP JOHMFTF "MM JOJ[JP Ò TPMP VO BCCP[[P MB UFTUB NBODBOUF EJ VO GFUP JODPNQMFUP 1PJ M VSMP EJ VOP TDBGBOESP TPUUPNBSJOP NFUUF JO NPTUSB MB UFTUB FOPSNF F DSVEFMNFOUF CFMMB VO DSBOJP EPMJDPDFGBMP DIF SJDBMDB M PNCSB EJ TUJSQJ SFBMJ F TBDFSEPUJ TFSQFOUJ 4J SJTWFHMJB JOOBUP JM TFOTP EFM 4VCMJNF 7JSJMJUË QSJWB[JPOF EFGPSNB[JPOJ F JNQFSUVSCBCJMJUË OF TPOP MF NBOJGFTUB[JPOJ TFOTB[JPOJ QSPWBUF EB "DIBC EBWBOUJ BMMB CBMFOB CJBODB F RVJ JODBSOBUF EBMMB NPTUSVPTJUË EJ VO QJDDPMP QSJODJQF EFGPSNF 4FHVF M BUUJNP EFMMB EFWJB[JPOF M JNQFSDFUUJCJMF TEPQQJBNFOUP EFMMB iJw EJ ,JO OFM TVPOP FRVJWBMFOUF EJ EVF iFw TFQBSBUF F HFNFMMF %VF mHVSF GFNNJOJMJ SJDPQFSUF EJ VOB QFMVSJB TUJMMJGPSNF F MVDFOUF TFHOBOP DPO NPWJNFOUJ DJSDPMBSJ FE FOFSHJDJ JM QFSJNFUSP EFM SPTPOF DBMDBUP B UFSSB NFOUSF DPO TBMUJ F DPMQJ EJ DSJOJFSB CBUUPOP MF QBSFUJ JO VOB GPMMF EBO[B TFMWBHHJB µ JM NPNFOUP EFMM BTTFO[B EFMM BMMPOUBOBNFOUP EJ 3JDDBSEP $VPS EJ -FPOF EBM SFHOP F EFMMB QSFTB EJ QPTTFTTP EFM SFBNF EB QBSUF EJ JODVCJ F BSDBOJ JODBOUFTJNJ "EFMF $BDDJBHSBOP

5IF POPNBUPQPFJD TPVOE PG UIF KJOHMF PG B ESPQ SFWFBMT B LJOHMZ mHVSF FNCPEJFE CZ UIF GPVS MFUUFST PG UIF FOHMJTI XPSE i,JOHw "U UIF CFHJOOJOH IF T KVTU B TLFUDI IF T UIF NJTTJOH IFBE PG BO JODPNQMFUF GFUVT 5IFO UIF IPXM PG B TVCNBSJOF EJWJOH TVJU TIPXT UIF FOPSNPVT BOE DSVFMMZ CFBVUJGVM IFBE B TLVMM XIJDI USBDFT UIF TIBEPX PG SPZBM GBNJMJFT 5IF TFOTF PG UIF 4VCMJNF BXBLFOT 7JSJMJUZ EFQSJWBUJPO EFGPSNBUJPO BOE JNQBTTJWOFTT BSF JUT NBOJGFTUBUJPOT UIFZ TJNCPMZ[F UIF GFFMJOHT PG "DIBC JO GSPOU PG UIF XIJUF XIBMF BOE UIFZ BSF FNCPEJFE CZ UIF NPOTUSPVTOFTT PG B TNBMM NJTTIBQFO QSJODF 5IF NPNFOU PG EFWJBUJPO JT UIF GPMMPXJOH TJUVBUJPO UIF JNQFSDFQUJCMF TQMJUUJOH PG UIF iJý PG i,JOw JOUP UIF FRVJWBMFOU TPVOE PG UXP UXJO BOE TFQBSBUF ýFw 5XP GFNBMF mHVSFT DPWFSFE XJUI B TIJOZ BOE TUZMJGPSN IBJS NBSL UIF QFSJNFUFS PG UIF SPTF XJOEPX PO UIF nPPS XJUI DJSDVMBS BOE FOFSHFUJD NPWFNFOUT NPWJOH XJUI KVNQT JO B XJME EBODF *U T UIF NPNFOU PG UIF BCTFODF 3JDIBSE UIF -JPOIFBSU EFQBSUT GSPN UIF LJOHEPN OJHIUNBSFT BOE arcane spells take possession of it. (Adele Cacciagrano) SFQMJDB FVSP JWB B OPSNB EJ MFHHF TDIFEB UFDOJDB WJUUP BMMPHHJP WJBHHJP QFSTPOF EJSJUUP E BVUPSF EBUF FVSPT UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF BVUIPS SJHIUT

BALDASSARRE 2008, 5’ con / with teodora castellucci DPSFPHSBmB F DPTUVNF DIPSFPHSBQIZ BOE DPTUVNFT UFPEPSB DBTUFMMVDDJ NVTJDIF PSJHJOBMJ PSJHJOBM NVTJD EFNFUSJP DBTUFMMVDDJ TDFOB MVDJ SFBMJ[[B[JPOF DPTUVNF TFU MJHIUT SFBMJ[BUJPO PG DPTUVNFT FVHFOJP SFTUB cura ed assistenza alla creazione / assistance to creation agata castellucci QSPEV[JPOF QSPEVDUJPO EFXFZ EFMM mFT GBDUPSZ EFXFZ EFMM GB QBSUF EFM QSPHFUUP mFT GBDUPSZ EFXFZ EFMM JT QBSU PG UIF mFT GBDUPSZ QSPKFDU

&h VO UFTTVUP EhPSP RVFMMP DIF GB EB TGPOEP BMMhFQJGBOJB EFMMB mHVSB EJ #BMEBTTBSSF 6OB WJTJPOF DIF EVSB QPDIJ JTUBOUJ EPWF MB NBOP EFM NBHJP TJNCPMP EFMMB HFOFSPTJUË NVOJmDB EFM SF DPNQJF MB TVB EBO[B & OFMMhPTDVSJUË EB DVJ UVUUP OBTDF TJ SJUPSOB DPNF JO VO SJTVDDIJP DPNF TF OJFOUF JO SFBMUË GPTTF BQQBSTP A golden cloth as background to the epiphany of Baldassarre. " GFX NJOVUFT MBTUJOH WJTJPO EVSJOH XIJDI UIF IBOE PG UIF 8JTF .BO TZNCPM PG UIF NVOJmDFOU generosity of the King, accomplishes its dance.

And back to the darkness from which everything has its origin you return like in a whirlpool, as if nothing has ever appeared.

SFQMJDB é JWB BM TDIFEB UFDOJDB WJUUP WJBHHJP BMMPHHJP QFS QFSTPOF EBUF é UFDIOJDBM SJEFS IPUFM NFBMT BDDPNPEBUJPO GPS QFPQMF

CINQUANTA URLANTI QUARANTA RUGGENTI SESSANTA STRIDENTI 2010, 45’ concept, agata castellucci, teodora castellucci,eugenio resta con / with sara angelini, agata castellucci, teodora castellucci DPSFPHSBmB DPSFPHSBQIZ UFPEPSB DBTUFMMVDDJ musiche originali, luci / original music, lights demetrio castellucci scene e disegno luci / scenes and light designer eugenio resta realizzazione scene / set rinaldo rinaldi prothesis istvan zimmerman e giovanna amoroso, chiara bocchini fonica / sound marco canali QSPEV[JPOF QSPEVDUJPO EFXFZ EFMM mFT GBDUPSZ DPQSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT SPNBFVSPQB GFTUJWBM SFODPOUSFT DIPS�HSBQIJRVFT JOUFSOBUJPOBMFT de seine-saint-denis, festival uovo performing arts festival con il sostegno / whit the support next/regione lombardia TJ SJOHSB[JB UIBOLT UP QBSJEF QJDDJOJOJ BOBHPPS DBSNFO DBTUFMMVDDJ [BQSVEFS mMNNBLFSTHSPVQ con il sostegno / whit the support of del programma cultura della commissione europea progetto focus on art and science in the performing arts EFXFZ EFMM GB QBSUF EFM QSPHFUUP mFT GBDUPSZ EFXFZ EFMM JT QBSU PG UIF mFT GBDUPSZ QSPKFDU

* DJORVBOUB VSMBOUJ J RVBSBOUB SVHHFOUJ F J TFTTBOUB TUSJEFOUJ TPOP OPNJ EJ BMDVOJ WFOUJ DIF TQJSBOP OFJ NBSJ dell'emisfero meridionale, vicino all'Antartide. Il nostro pensiero è alla nave e a coloro che la abitano. Non c'è distinzione tra il marinaio e la propria imbarcazione. Dal momento in cui si lascia il porto nasce un unico corpo PTDJMMBOUF 2VFTUP OVPWP FTTFSF DIF TJ MFHB BODIF BMMhBDRVB F BM WFOUP EJWFOUB VO FOPSNF PSHBOJTNP BMMhJOUFSOP EFM RVBMF TJ EJTQFSEPOP BMDVOJ DPOmOJ 6O NBHNB PTDVSP EJWFOUB JM SFTQJSP HFOFSBMF JM TVPOP EJ VO universo dove l'uomo, il vento, la nave e il mare uniti inscindibilmente insieme, formano l'unico protagonista possibile.

Furious Fifties Roaring Forties Shrieking Sixties are proper names of three groups of winds that blow over the TFBT PG UIF "OUBSDUJD 0VS XPSL TQSJOHT GSPN B SFnFDUJPO PO UIF TIJQ BOE JUT JOIBCJUBOUT 5IFSF T OP EJGGFSFODF between the sailor and his own ship. From the very moment when the ship leaves the harbor a new, single, nPBUJOH CPEZ JT CPSO 5IJT OFX CFJOH UJFE JOEJTTPMVCMZ UP UIF XBUFS BOE UIF XJOE CFDPNFT BO FOPSNPVT PSHBnism whose borders are blurring. An obscure jumble becomes the general breath: the sound of a world where the man, the wind, the ship and the sea, inextricably combined together, form the only conceivable protagonist.

1 giorno premontaggio SFQMJDB ĂŠ JWB BM TDIFEB UFDOJDB WJUUP WJBHHJP BMMPHHJP QFS QFSTPOF USBTQPSUP TDFOF DPO DPSSJFSF EBZ PG TFU VQ CFGPSF UIF QFSGPSNBODF EBUF ĂŠ UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF TFU USBOTQPSU XJUI B GSFJHIU DPNQBOZ

BLACK FANFARE / DEWEY DELL LIVE CONCERT 2011, 40’ produzione / production dewey dell DPQSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT EFXFZ EFMM GB QBSUF EFM QSPHFUUP mFT GBDUPSZ EFXFZ EFMM JT QBSU PG mFT GBDUPSZ QSPKFDU -B NVTJDB EJ #MBDL 'BOGBSF TJ NVPWF TV EVF BSUFSJF QBSBMMFMF USB DBO[POJ NFMPEJDIF DIF TmPSBOP MhJODMJOB[JPOF QPQ QVS TFHVFOEP VOB SJUNJDB DIF SJNBOEB B TVPOJ EJ VOB CBUUBHMJB JNNBHJOBSJB F VOB DPSSFOUF QVSBNFOUF FMFUUSP BDVTUJDB %FXFZ %FMM MBWPSB JOWFDF TV VOB SJDFSDB MFHBUB QSJODJQBMNFOUF BM SFHOP EFMM JOGPSNF DPNF MVPHP EJ JODFTTBOUJ USBTGPSNB[JPOJ F EJ DPOUSBEEJ[JPOJ TFO[B mOF JO DVJ JM NPWJNFOUP JO UVUUhVOP DPO JM DPTUVNF DSFB JM TPHHFUUP The music of Black Fanfare moves on two parallel currents, between melodic songs, that touch the inclination pop, while following a rhythm that evokes the sound of an imaginary battle, and a purely electro-acustic sound. Dewey Dell explores the reign of unshape as a place of endless trasformations and contradictions where the movement, as one with costumes, is the maker of the subject.

SFQMJDB é JWB BM TDIFEB UFDOJDB WJUUP WJBHHJP BMMPHHJP QFS QFSTPOF EBUF é UFDIOJDBM SJEFS IPUFM NFBMT BDDPNPEBUJPO GPS QFPQMF

GRAVE 2011, 40’ concept agata, demetrio, teodora castellucci, eugenio resta con / with teodora castellucci, agata castellucci DPSFPHSBmB DIPSFPHSBQIZ UFPEPSB DBTUFMMVDDJ musiche originali / original music demetrio castellucci luci / lights eugenio resta realizzazione costumi / costumes realization chiara bocchini, carmen castellucci, daniela fabbri disegno di locandina / poster design clio casadei QSPEV[JPOF QSPEVDUJPO EFXFZ EFMM DPQSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT OFYU GFTUJWBM FVSPNFUSPQPMJT MJMMF LPSUSJKL UPVSOBJ WBMFODJFOOFT SFODPOUSFT DIPS�HSBQIJRVFT EF TFJOF TBJOU EFOJT GPOEB[JPOF GBCCSJDB FVSPQB JO DPMMBCPSB[JPOF DPO JO DPMMBCPSBUJPO XJUI BNBU QFS DJWJUBOPWB EBO[B TJ SJOHSB[JB UIBOLT UP DMËVEJB UBUJOHF OBTDJNFOUP IBSVLB JOPVF UBFLP TFHVDIJ NPNPJ TIJNBEB F RVFMMJ EFM buio.

EFXFZ EFMM GB QBSUF EFM QSPHFUUP mFT GBDUPSZ EFXFZ EFMM JT QBSU PG UIF mFT GBDUPSZ QSPKFDU

*M NPWJNFOUP EJ RVFTUP CSFWF MBWPSP WFSUFSĂ‹ JOUPSOP BMMB TFOTB[JPOF EJ VO DPSQP DIF QSFDJQJUB 6O FTTFSF DIF JO DBEVUB MJCFSB IB VOB MFOUF[[B OFJ TVPJ HFTUJ QSPQSJP NFOUSF MB HSBWJUĂ‹ MP QSPJFUUB B UFSSB BE VOB WFMPDJUĂ‹ TUSBUPTGFSJDB *M NPNFOUP mTTP OFMMB WFMPDJUĂ‹ 6O QVOUP JNNPCJMF EFOUSP MB WFMPDJUĂ‹ EJ VO DPSQP DIF TB DIF TJ TDIJBOUFSĂ‹ “Graveâ€? is an Italian word which indicates something that has a weight, that is subject to the force of gravity.

The movement of this short performance is about the sensation of a precipitating body, the slowness of its HFTUVSFT XIJMF HSBWJUZ NBLFT JU DSBTIJOH UP UIF HSPVOE BU B TUSBUPTQIFSJD TQFFE 5IF NPWFNFOU JT mSN JO UIF speed. A motionless moment inside the speed of a body which knows it’s going to crash to the ground.

SFQMJDB ĂŠ JWB BM TDIFEB UFDOJDB WJUUP WJBHHJP BMMPHHJP QFSTPOF USBTQPSUP TDFOF DPO DPSSJFSF MBCPSBUPSJP DPO QFSTPOF TV piazza EBUF ĂŠ UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF TFU USBOTQPSU XJUI B GSFJHIU DPNQBOZ MPDBM HVFTUT QFPQMF GPS B XPSLTIPQ

QFS MB WFSTJPOF DPO XPSLTIPQ F EBO[BUPSJ USPWBUJ JO MDDP EB DPODPSEBSF UP PSHBOJ[B UIF XPSLTIPQ JO MPDP DPOUTDU VT

f FRANCESCA GRILLI

ARRIVERA' E CI COGLIERA' DI SORPRESA 2006, 3h performance di francesca grilli QSPEV[JPOF QSPEVDUJPO GSBODFTDB HSJMM mFT GBDUPSZ DPQSPEV[JPOF DFOUSBMF mFT SJKLTBLBEFNJF WBO CFFMEFOEF LVOTUFO BNTUFSEBN TFDPOEP DMBTTJmDBUP QSFNJP JOUFSOB[JPOBMF EFMMB QFSGPSNBODF QMBDFE TFDPOE BU UIF JOUFSOBUJPOBM QFSGPSNBODF QSJDF GSBODFTDB HSJMMJ GB QBSUF EFM QSPHFUUP mFT GBDUPSZ GSBODFTDB HSJMMJ JT QBSU PG UIF mFT GBDUPSZ QSPKFDU -hJOUFOUP EJ RVFTUP MBWPSP Ã’ RVFMMP EJ SJWFOEJDBSF MhBWBO[BSF EFM UFNQP EFMMB NPSUF EFMMB CFMMF[[B QFS RVFTUP NPUJWP IP DIJFTUP B EVF CBMMFSJOJ EJ BOOJ EJ EBO[BSF QFS PSF TFO[B NBJ GFSNBSTJ 2VFTUP QSPHFUUP OBTDF QSJODJQBMNFOUF EB VO SJDPSEP EB VOhJNNBHJOF DIF Ã’ QSFTFOUF OFMMB NJB NFNPSJB NB BODIF JO RVFMMB EJ NPMUJ VOP TDFOBSJP SJDPSSFOUF OFMMB [POB EPWF TPOP DSFTDJVUB Mh&NJMJB F QBSUF JOUFHSBOUF EFMMB NJB TUPSJB GBNJHMJBSF )P DFSDBUP EJ JOWFOUBSF VO UFNQP TQB[JP EJWFSTP EB RVFMMP WJTTVUP OFMMB NJB NFNPSJB NB DIF UVUUBWJB NBOUFOFTTF DFSUJ FMFNFOUJ The aim of this work is that of reclaiming the passing of time, death and beauty; I asked to two elderly dancers, to perform for 3 hours. The project springs from a memory, an image vivid in my mind and in that of many, a common scenario in the area where I have grown up, Emilia, and part of my family history. I tried to create a different time and space from that of my memory, which could at the same time maintain some elements.

1 replica: 1.500 € + iva al 10% + scheda tecnica + vitto, viaggio, alloggio per 2 persone + 2 danzatori da trovare su piazza (60-70 anni) 1 date: 1.500 € + technical rider + hotel, meals, travel expenses for 2 people + local dancers (60-70 years old)

ENDURING MIDNIGHT 2007, 20’ performance di / by francesca grilli soprano lina vasta accompagnamento pianoforte / pianist d. mattiello con la collaborazione del direttore di casa verdi QSPEV[JPOF QSPEVDUJPO GSBODFTDB HSJMMJ mFT GBDUPSZ DPQSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT SJKLTBLBEFNJF WBO CFFMEFOEF LVOTUFO BNTUFSEBN UIBOLT UP DBTB WFSEJ NJMBOP EBWJEF CVSBUUJO GSBODFTDB HSJMMJ GB QBSUF EFM QSPHFUUP mFT GBDUPSZ GSBODFTDB HSJMMJ JT QBSU PG UIF mFT GBDUPSZ QSPKFDU Il nome di mia nonna, Fedora, le fu dato per la grande passione che suo padre nutriva per l’Opera Lirica, cosĂŹ durante la sua vita, lei cercava di canticchiare le poche strofe che sapeva delle opere, trasformandole in ninnananne o in cantilene, ereditĂ sonora delle passioni di suo padre. Partendo sempre da un’analisi autobioHSBmDB F EB VO FTJHFO[B EJ OBSSBSF DJĂ› DIF Ă’ QBSUF EFMMB NJB TUPSJB DFSDP EJ DPTUSVJSF MP TQB[JP SJFNQJFOEPMP di alcune tracce del mio vissuto. Enduring Midnight non vuole essere un tentativo di messa in scena, ma piuttosto la ricostruzione di una visione appartenente alla mia memoria sonora, poetica, analitica, sulla QBTTJPOF F TVMMB TVB EVSFWPMF[[B 2VFTUP MBWPSP SVPUB BODPSB VOB WPMUB BUUPSOP BE VO DFOUSP RVFMMP EFMMB mOF della trasformazione, del momento di passaggio, semplicemente accostando due diverse condizioni: M BWBO[BSF EFM UFNQP mTJDP DPNF TWVPUBNFOUP F M FOFSHJB TQSJHJPOBUB EBM DPSPOBNFOUP EFMMB QSPQSJB passione.Chiedo cosĂŹ ad un Soprano che risiede ne “La Casa di Riposo per Musicisti, Giuseppe Verdiâ€?, alla mOF EFMMB TVB MVOHB F HMPSJPTB DBSSJFSB EJ DBOUBSF BODPSB EBWBOUJ BE VO QVCCMJDP NB OFM NF[[P EFMMB OPUUF My grandmother’s name, Fedora, derives from the big passion that her father had for the lyrics.

During her life she crooned the few strophes of the lyric songs that she knew and she changed them into lullabies. Beginning from an autobiographic analysis and from a need to relate, I try to build a space and to mMM JO JU QBSUT PG NZ MJGF &OEVSJOH .JEOJHIU EPFT OPU XBOU UP CF BO FYQFSJNFOU PG B NJTF FO TDFOF CVU UIF SFCV ilding of a vision of my sonorous, poetical and analytical memory about the passion and its continuity.

I asked a Soprano who lives in the Retirement Home for Musicians Giuseppe Verdi in Milan to sing again for a public at the end of her long and glorious career but in the middle of the night.

1 replica: 1.500 â‚Ź + iva al 10% + scheda tecnica + vitto, viaggio, alloggio per 4 persone 1 date: 1.500 â‚Ź + technical rider + hotel, meals, travel expenses for 4 people

LA SECONDA CONVERSAZIONE 2008, 30’ performance di / by francesca grilli con / with gabriele caia, lucia daniele, chiara dimonte assistente alla regia / assistent’s direction alfonso marrazzo regia in lis / lis’s direction gabriele caia interprete / interpreter eleonora de fazio QSPEV[JPOF QSPEVDUJPO GSBODFTDB HSJMMJ mFT GBDUPSZ DPQSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT JO DPMMBCPSB[JPOF DPO JO DPMMBCPSBUJPO XJUI SJKLTBLBEFNJF WBO CFFMEFOEF LVOTUFO BNTUFSEBN F VGmDJP giovani artisti del comune di bologna teatri del tempo presente, l’eti ente teatrale italiano per le nuove creatività GSBODFTDB HSJMMJ GB QBSUF EFM QSPHFUUP mFT GBDUPSZ GSBODFTDB HSJMMJ JT QBSU PGU IF mFT GBDUPSZ QSPKFDU

3FTQJSBSF F TUBSF JO TJMFO[JP TJ EFmOJTDPOP QSPQSJBNFOUF OPO VUJMJ[[BOEP MB QBSPMB i4PHOP VOB OVPWB TPTUBO[B VO JOFTQMJDBCJMF NBOJGFTUB[JPOF EFMM JOWJTJCJMF -B NBOJGFTUB[JPOF QVĂ› TFNCSBSF BDDBEFSF QFS VO BTTPDJB[JPOF NB IB VO BVSB NBHJDB F B WPMUF BQQBSF DPNF VO NJSBDPMP 1SFTUBOEP BUUFO[JPOF B RVFTUB NBOJGFTUB[JPOF MB QBSPMB EJWFOUB JODBOUP .JSBDPMJ RVPUJEJBOJ w *OWJUP VO DPSP TPSEP B DBOUBSF JO NF[[P BM CPTDP 3VCP VO MJOHVBHHJP TJMFO[JPTP VO NFUPEP DFSDP EJ JOWFTUJHBSF MB SFBMUĂ‹ SJWFMBOEPOF M PSEJOBSJP F JM GBOUBTUJDP 0HOVOP EJ MPSP QSFOEFSĂ‹ JM QPTTFTTP EJ VO USPODP E BMCFSP -B DPNVOJDB[JPOF sarĂ tra persone e rocce, tra natura e persone, tra quello che possiamo percepire e quello che non possiaNP 5SB UFNQJ EJGGFSFOUJ QJBOFUJ EJWFSTJ USB JM WJTJCJMF F M JOWJTJCJMF USB MB mO[JPOF F M FTQFSJFO[B -BTDJBOEP TFNQSF MB QPTTJCJMJUĂ‹ DIF MF DPTF OPO TJBOP DPTĂ– USBORVJMMF F TJMFO[JPTF DPNF TFNCSBOP #SFBUIJOH BOE CFJOH TJMFOU BSF QSPQFSMZ EFmOFE XJUIPVU VTJOH BOZ XPSE i* ESFBN BCPVU B OFX TVCTUBODF BO JOFYQMJDBCMF NBOJGFTUBUJPO PG JOWJTJCMF 5IF NBOJGFTUBUJPO DBO IBQQFO GPS BO BTTPDJBUJPO PG UIJOHT CVU JU IBT B NBHJDBM BVSB BOE BQQFBST BT B NJSBDMF 'PDVTJOH PO UIJT NBOJGFTUBUJPO UIF XPSE CFDPNFT TQFMM %BJMZ NJSBDMFT w * JOWJUF B EFBG TJOHFS UP TJOH JO B XPPE 5IF DPNNVOJDBUJPO XJMM CF CFUXFFO QFPQMF BOE SPDLT CFUXFFO OBUVSF BOE QFPQMF CFUXFFO XIBU XF DBO GFFM BOE XIBU XF DBOOPU #FUXFFO EJGGFSFOU NPNFOUT EJGGFSFOU VOJWFSTFT WJTJCMF BOE JOWJTJCMF mDUJPO BOE FYQFSJFODF -FUUJOH UIJOHT CF OPU TP RVJFU BOE TJMFOU BT JU TFFNT

FVSP JWB BM TDIFEB UFDOJDB WJUUP BMMPHHJP WJBHHJP QFSTPOF EBUF FVSP UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT QFPQMF

A TERZA CONVERSAZIONE 2008, 15’ performance di / by francesca grilli con / with nicola della maggiora composizione / composition alfonso marrazzo rumore / noise sergio ricciardone, daniele mana regia in lis - lingua dei segni italiana / lis’s direction rosario liotta interprete / interpreter eleonora de fazio QSPEV[JPOF QSPEVDUJPO GSBODFTDB HSJMMJ mFT GBDUPSZ POF DPQSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT JO DPMMBCPSB[JPOF DPO JO DPMMBCPSBUJPO XJUI DBOHP DBOUJFSJ HPMEPOFUUB mSFO[F contemporanea/colline/festival SJKLTBLBEFNJF WBO CFFMEFOEF LVOTUFO BNTUFSEBN OM VGmDJP HJPWBOJ BSUJTUJ EFM comune di bologna teatri del tempo presente, l’eti ente teatrale italiano per le nuove creatività GSBODFTDB HSJMMJ GB QBSUF EFM QSPHFUUP mFT GBDUPSZ GSBODFTDB HSJMMJ JT QBSU PG UIF mFT GBDUPSZ QSPKFDU

3FTQJSBSF F TUBSF JO TJMFO[JP TJ EFmOJTDPOP QSPQSJBNFOUF OPO VUJMJ[[BOEP MB QBSPMB i4PHOP VOB OVPWB TPTUBO[B VO JOFTQMJDBCJMF NBOJGFTUB[JPOF EFMM JOWJTJCJMF -B NBOJGFTUB[JPOF QVĂ› TFNCSBSF BDDBEFSF QFS VO BTTPDJB[JPOF NB IB VO BVSB NBHJDB F B WPMUF BQQBSF DPNF VO NJSBDPMP 1SFTUBOEP BUUFO[JPOF B RVFTUB NBOJGFTUB[JPOF MB QBSPMB EJWFOUB JODBOUP .JSBDPMJ RVPUJEJBOJ w *OWJUP VO DBOUBOUF TPSEP BE JOUFSQSFUBSF VO SVNPSF -BTDJBOEP TFNQSF MB QPTTJCJMJUĂ‹ DIF MF DPTF OPO TJBOP DPTĂ– USBORVJMMF F TJMFO[JPTF DPNF TFNCSBOP #SFBUIJOH BOE CFJOH TJMFOU BSF QSPQFSMZ EFmOFE XJUIPVU VTJOH BOZ XPSE i* ESFBN BCPVU B OFX TVCTUBODF BO JOFYQMJDBCMF NBOJGFTUBUJPO PG JOWJTJCMF 5IF NBOJGFTUBUJPO DBO IBQQFO GPS BO BTTPDJBUJPO PG UIJOHT CVU JU IBT B NBHJDBM BVSB BOE BQQFBST BT B NJSBDMF 'PDVTJOH PO UIJT NBOJGFTUBUJPO UIF XPSE CFDPNFT TQFMM %BJMZ NJSBDMFT w * JOWJUF B EFBG TJOHFS UP JOUFSQSFU B TPVOE -FUUJOH UIJOHT CF OPU TP RVJFU BOE TJMFOU BT JU TFFN

SFQMJDB ĂŠ JWB BM TDIFEB UFDOJDB WJUUP BMMPHHJP SJNCPSTP TQFTF WJBHHJP QFSTPOF USBTQPSUP DBTTB DPO VO DPSSJFSF EBUF ĂŠ UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF TFU USBOTQPSU XJUI B GSFJHIU DPNQBOZ

MOTH 2009, 15’ performance di / by francesca grilli con / with brooke fox QSPEV[JPOF QSPEVDUJPO GSBODFTDB HSJMMJ mFT GBDUPSZ DPQSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT assistente alla ricerca / assistant researcher eleonora de fazio fuochista / stoker gigi tamagnini si ringrazia / thanks to giancarlo loddo teatri del tempo presente, l’eti ente teatrale italiano per le nuove creatività GSBODFTDB HSJMMJ GB QBSUF EFM QSPHFUUP mFT GBDUPSZ GSBODFTDB HSJMMJ JT QBSU PG UIF mFT GBDUPSZ QSPKFDU Il Barone Albert Von Schrenk Notzing, aristocratico di origine tedesca, fu uno dei pionieri nella ricerca psichica. Furono lo studio della telecinesi e il successivo approfondimento sugli ectoplasmi a renderlo famoso.

Partecipò a diverse sedute spiritiche convincendosi del fatto che i fenomeni ectoplasmatici manifestatisi EVSBOUF MF WBSJF TFEVUF BMUSP OPO GPTTFSP DIF NBOJGFTUB[JPOJ mTJDIF EFM TVCDPOTDJP EFM TPHHFUUP NFEJVN Aveva inoltre notato come le stesse presenze apparse durante le sedute spiritiche avessero modi, pensieri e intelligenza non superiori a quelle che aveva riconosciuto nei partecipanti. L'ectoplasma, quindi, sarebbe TUBUP VOB NBOJGFTUB[JPOF mTJDB EFJ QFOTJFSJ EFJ SJDPSEJ F EFMMF FTQFSJFO[F JODPOTDF EFJ QBSUFDJQBOUJ BMMB seduta. Lo spirito diventa una materializzazione dell’ inconscio collettivo.

Baron Albert Von Schrenk Notzing, a german aristocratic, was a pioneer in psychological research. The study of telekinesis and the subsequent discussion on an ectoplasms made him famous. He participated in several sĂŠances and became convinced that the phenomenas of ectoplasm occurred during the various sessions, there were physical manifestations of the subconscious of the subject-medium.

He also noted that even the presence emerged during the sĂŠances had ways, thoughts and intelligence similar to those of the participants. The ectoplasms, then, was a physical manifestation of thoughts, memories and unconscious experiences of the participants at the meeting. The spirit becomes a materialization of the collective unconscious.

1 replica: 2.500 â‚Ź + iva al 10% + scheda tecnica + vitto, viaggio, alloggio 4 persone + trasporto tubo di rubens 1 date: 2.500 â‚Ź + technical rider + hotel, meals, travel expenses for 4 people + set transport with a freight company

EFFLUVIA 2010, 15’ Dedicato a Agata A. and Giorgio A.C. performance – installation con / with marta peroni scenotecnica statica / static set giovanni marocco scenotecnica dinamica / dynamic set paola villani assistenza ricerca, produzione / assistant research, production alessandra saviotti tecnico luci / lighting carlo melloni QSPEV[JPOF QSPEVDUJPO GSBODFTDB HSJMMJ mFT GBDUPSZ DPQSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT supporto alla ricerca / support to research dominik, rendy, nicola previti GSBODFTDB HSJMMJ GB QBSUF EFM QSPHFUUP mFT GBDUPSZ GSBODFTDB HSJMMJ JT QBSU PG UIF mFT GBDUPSZ QSPKFDU Un giorno mi apparve un angelo bello oltre ogni misura. Vidi nella sua mano una lunga lancia alla cui estremità sembrava esserci una punta di fuoco. Questa parve colpirmi piÚ volte nel cuore, tanto da penetrare dentro di me. II dolore era cosÏ reale che gemetti piÚ volte ad alta voce, però era tanto dolce che non potevo desiderare di esserne liberata. Nessuna gioia terrena può dare un simile appagamento. Santa Teresa D’Avila * TBX JO IJT IBOE B MPOH TQFBS PG HPME BOE BU UIF JSPOhT QPJOU UIFSF TFFNFE UP CF B MJUUMF mSF )F BQQFBSFE UP me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to ESBX UIFN PVU BMTP BOE UP MFBWF NF BMM PO mSF XJUI B HSFBU MPWF PG (PE 5IF QBJO XBT TP HSFBU UIBU JU NBEF NF NPBO BOE ZFU TP TVSQBTTJOH XBT UIF TXFFUOFTT PG UIJT FYDFTTJWF QBJO UIBU * DPVME OPU XJTI UP CF SJE PG JU 5IF TPVM JT TBUJTmFE OPX XJUI OPUIJOH MFTT UIBO (PE 5IF QBJO JT OPU CPEJMZ CVU TQJSJUVBM UIPVHI UIF CPEZ IBT JUT TIBSF JO JU *U JT B DBSFTTJOH PG MPWF TP TXFFU XIJDI OPX UBLFT QMBDF CFUXFFO UIF TPVM BOE (PE UIBU * QSBZ (PE PG )JT HPPEOFTT UP NBLF IJN FYQFSJFODF JU XIP NBZ UIJOL UIBU * BN MZJOH w 4BOUB 5FSFTB % "WJMB

HJPSOP mOP B SFQMJDIF ĂŠ JWB B OPSNB EJ MFHHF TDIFEB UFDOJDB WJUUP BMMPHHJP TQFTF WJBHHJP QFSTPOF EBZ UJMM QFSGPSNBODFT ĂŠ UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF

GOLD 2011, 3h di / by francesca grilli GBMDPOJFSF GBMDPOFST MBSB nJTJ KFTTJDB [JWFSJ cantante / singer alessandra bordiga QSPEV[JPOF F PSHBOJ[[B[JPOF QSPEVDUJPO BOE PSHBOJ[BUJPO BMFTTBOESB TBWJPUUJ DPQSPEV[JPOF DFOUSBMF mFT GSBODFTDB HSJMMJ GB QBSUF EFM QSPHFUUP mFT GBDUPSZ GSBODFTDB HSJMMJ JT QBSU PG UIF mFT GBDUPSZ QSPKFDU *OWJUP BMDVOJ GBMDIJ B QSFOEFSF QPTTFTTP EFMMP TQB[JP QFSGPSNBUJWP WPMBOEP TPQSB JM QVCCMJDP 4J OBSSB DIF RVBOEP %JP PSEJOĂ› BE "EBNP EJ JNQPSSF J OPNJ QJĂĄ BEBUUJ BMMF DPTF DSFBUF FHMJ BCCJB Ă˝QBSMBUPĂ˝ DPO MB MJOHVB EFHMJ VDDFMMJ "CCJB DJPĂ’ VTBUP MB GPOFUJDB QFSGFUUB QFS DPOEFOTBSF JO VOB TPMB Ă˝QBSPMBĂ˝ UVUUP MhFTTFSF EJ PHOJ DPTB DSFBUB *O RVFTUP TFOTP JM TJHOJmDBUP EFJ MJCSJ TBDSJ OPO TBSFCCF QFS OVMMB MFUUFSBMF NB TJ CBTFSFCCF TVMMB GPOFUJDB TVMMhJNQPSUBO[B EJ SJUSPWBSF MP TQJSJUP BUUSBWFSTP JM TVPOP F TVMMB TVB JOUFSQSFUB[JPOF QJV QSPGPOEB When God told Adam to name all created things, he “spokeâ€? in the language of birds using the ideal phonetic to condensate in a single sound the whole being of a creature. In this sense, sacred books should not be interpreted litterally, rather on their phonetics and the importance to reconnect with the soul through the sound and JUT EFFQFTU JOUFSQSFUBUJPO #VJMEJOH VQPO UIF TDJFOUJmD BOE FTPUFSJD JOnVFODFT DIBSBDUFSJ[JOH NZ MBUFTU XPSL this project explores the relationship between the catastrophy and alchemical premonition, connected to a new Golden Age, focusing on the profound revolution that is happening in this contemporary world.

SFQMJDB ĂŠ JWB BM TDIFEB UFDOJDB WJUUP WJBHHJP BMMPHHJP QFS QFSTPOF EBUF ĂŠ UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF

VIDEO

194.9 MHz digital video, 5'23'', 2006

camera riccardo struchil, suono /sound giuseppe ielasi, photo marcello medici, montaggio / video editing cristian dondi, GSBODFTDB HSJMMJ GB QBSUF EFM QSPHFUUP mFT GBDUPSZ GSBODFTDB HSJMMJ JT QBSU PG UIF mFT GBDUPSZ QSPKFDU Video nato dal desiderio di trovare una connessione con i miei famigliari. Questo progetto mette in scena la relazione tra QBESF F mHMJB JM QBESF SBDDPOUB MB TUPSJB EFMMB TVB JOGBO[JB DPODFOUSBOEPTJ TV VO FQJTPEJP TJHOJmDBUJWP MFHBUP BMMB UPUBMF impossibilitĂ di ascolto radiofonico, dovuto ad un lutto famigliare.

5IJT WJEFP DPNFT GSPN NZ XJTI UP mOE B DPOOFDUJPO XJUI NZ QBSFOUT BOE SFMBUJWFT 5IJT QSPKFDU TIPXT UIF SFMBUJPOTIJQ CFUXFFO B GBUIFS BOE IJTEBVHIUFS 5IF GBUIFS UFMMT BCPVU UIF TUPSZ PG IJT DIJMEIPPE DPODFOUSBUJOH PO B TJHOJmDBOU FQJTPEF XIFO IF XBT GPSCJEEFO CZ IJT NPUIFS GSPN MJTUFOJOH NVTJD

LA QUARTA CONVERSAZIONE 7’, 2008 WJEFP EJ CZ GSBODFTDB HSJMMJ DPO XJUI SPNJMEB EBOFTJ WBOOJOB WJUBMF NBSJB NBOVFMB TDBWP MBVSB EJ HJPJB BTTJTUFOUF alla direzione / assistant director alfonso marrazzo, regista in lis / lis director romilda danesi , camera riccardo struchil EJSFUUPSF EFMMB GPUPHSBmB EJSFDUPS PG QIPUPHSBQIZ NBTTJNP TDIJBWPO JOUFSQSFUF JOUFSQSFUFS FMFPOPSB EF GB[JP TVPOP sound sergio ricciardone, francesca grilli, direzione /editing france- sca grilli, produzione / production francesca grilli, mFT GBDUPSZ DPQSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT JO DPMMBCPSB[JPOF DPO JO DPMMBCPSBUJPO XJUI SJKLTBLBEFNJF WBO CFFMEFOEF LVOTUFO BNTUFSEBN OM DPO JM TPTUFHOP EJ TVQQPSUFE CZ GVKJ mMN SPNF JU GSBODFTDB HSJMMJ GB QBSUF EFM QSPHFUUP mFT GBDUPSZ GSBODFTDB HSJMMJ JT QBSU PG UIF mFT GBDUPSZ QSPKFDU 3FTQJSBSF F TUBSF JO TJMFO[JP TJ EFmOJTDPOP QSPQSJBNFOUF OPO VUJMJ[[BOEP MB QBSPMB i4PHOP VOB OVPWB TPTUBO[B un’inesplicabile manifestazione dell’invisibile. La manifestazione può sembrare accadere per un’associazione, ma ha un’aura magica e a volte appare come un miracolo. Prestando atten- zione a questa manifestazione, la parola diventa incanto. Miracoli quotidiani. Rubo un linguaggio silenzioso, un metodo, cerco di investigare la realtà rivelandone l’ordinario e il fantastico. La comunicazione sarà tra natura e persone, tra quello che possiamo percepire e quello che non possiamo. Tra tempi differenti, pianeti EJWFSTJ USB JM WJTJCJMF F M JOWJTJCJMF USB MB mO[JPOF F M FTQFSJFO[B -BTDJBOEP TFNQSF MB QPTTJCJMJUË DIF MF DPTF OPO TJBOP cosÏ tranquille e silenziose come sembrino. #SFBUIJOH BOE CFJOH TJMFOU BSF QSPQFSMZ EFmOFE XJUIPVU VTJOH BOZ XPSE i* ESFBN BCPVU B OFX TVCTUBODF JOFYQMJDBCMF NBOJGFTUBUJPO PG JOWJTJCMF 5IF NBOJGFTUBUJPO DBO TFFN UP IBQQFO GSPN BO BTTPDJBUJPO PG UIJOHT CVU JU IBT B NBHJDBM BVSB BSPVOE BOE BQQFBST BT B NJSBDMF 'PDVTJOH PO UIF NBOJGFTUBUJPO UIF XPSE CFDPNFT BVDUJPO %BJMZ NJSBDMFT w * TUFBM B TJMFOU MBOHVBHF B NFUIPE * USZ UP JOWFTUJHBUF UIF SFBMJUZ SFWFBMJOH UIF PSEJOBSZ BOE UIF GBCVMPVT 5IF DPNNVOJDBUJPO XJMM CF CFUXFFO QFPQMF BOE TPVOE CFUXFFO XIBU XF DBO GFFM BOE XIBU XF DBOOPU #FUXFFO EJGGFSFOU UJNF EJGGFSFOU QMBDFT CFUXFFO WJTJCMF BOE JOWJTJCMF mDUJPO BOE FYQFSJFODF -FBWJOH UIF DIBODF UP UIJOHT OPU UP CF BT RVJFU BOE TJMFOU BT BMXBZT TFFN

GORDON film 16 mm, colour 7’07�, 2007 DBNFSB SJDDBSEP TUSVDIJM GPUPHSBmB QIPUPHSBQIZ GSBODFTDP DBSJOJ TVPOP TPVOE HJVTFQQF JFMBTJ QSPEPUUP EB QSPEVDUJPO SJKLTBLBEFNJF WBO CFFMEFOEF LVOTUFO BNTUFSEBN UIBOLT UP GVKJ mMN JU MPSFUUB NVSB UPSJ HJPSHJB QPMJ SJDDBSEP TUSVDIJM DJSDPMP USJHBSJ CPMPHOB GSBODFTDB HSJMMJ GB QBSUF EFM QSPHFUUP mFT GBDUPSZ GSBODFTDB HSJMMJ JT QBSU PG UIF mFT GBDUPSZ QSPKFDU - JOUFOUP EJ RVFTUP MBWPSP Ò VOB SJnFTTJPOF TVMM FSFEJUË M JEFOUJmDB[JPOF TFHSFUB F MB EJTUBO[B EFJ SBQQPSUJ VNBOJ $IJFEFrò perciò a mio nonno, Giordano Bruno di 87 anni, di giocare a bocce con me, attività che lui compie quotidianamente, NB DBNCJBOEP MF SFHPMF UFOFOEP TFHSFUP JM WJODJUPSF F NBTDIFSBOEP JM DPMPSF EFM HJPDP VTBOEP VOB RVBOUJUË JOmOJUB EJ bocce e possibilità .

5IF BJN PG UIJT XPSL JT UP DPOTJEFS IFSJUBHF TFDSFU JEFOUJmDBUJPO BOE EJTUBODF JO UIF IVNBO SFMBUJPOTIJQT * BTL NZ HSBOE GBUIFS (JPSEBOP #SVOP B NBO PG FJHIUZ TFWFO ZFBST UP QMBZ CPDDF CPXMT XJUI NF BO BDUJWJUZ UIBU IF QMBZT FWFSZ EBZ XF QMBZ XJUI OFX SVMFT LFFQJOH UIF XJOOFS BOE UIF DPMPVS PG UIF QMBZ VOLOPXO VTJOH NBOZ CPXMT BOE QPTTJCJMJUJFT

ĂŠ JWB BM TDIFEB UFDOJDB ĂŠ UFDIOJDBM SJEFS

m

MARTA CUSCUNA’

È BELLO VIVERE LIBERI! Ispirato alla biografia di / Inspired by the biography of ONDINA PETEANI Prima Staffetta Partigiana d'Italia / First partisan dispatcher in Italy Deportata ad Auschwitz N. 81 672 /Auschwitz deportee N. 81 672 ideazione, drammaturgia, regia e interpretazione / created, written, directed and performed by marta cuscunà costruzione degli oggetti di scena / objects builder belinda de vito luci e audio / sounds and lighting marco rogante disegno luci / lights design claudio parrino coproduzione / coproduced by operaestate festival veneto con il sostegno di comitato provinciale per la promozione dei valori della resistenza e della costituzione repubblicana di gorizia, a.n.p.i. comitato provinciale di gorizia, a.n.p.i. sezione di ronchi dei legionari, centro di aggregazione giovanile del comune di monfalcone, biblioteca comunale sandro pertini di ronchi dei legionari, comune di san vito al tagliamento assessorato ai beni e alle attività culturali, ente regionale teatrale del friuli venezia giulia, polo di aggregazione giovanile toti del comune di trieste, comitato permanente ondina peteani. premio scenario per ustica 2009 / winner premio scenario per ustica 2009 NBSUB DVTDVOË GB QBSUF EFM QSPHFUUP mFT GBDUPSZ

Un progetto di teatro civile per un'attrice, 5 burattini e un pupazzo. È bello vivere liberi! è uno spettacolo per riappropriaci della gioia, delle risate, delle speranze dei partigiani che sono state soffocate dallo sterile nozionismo. È uno spettacolo per riscoprire l'atmosfera vitale e vertiginosa di quel periodo della nostra storia in cui tutto sembrava possibile.

A project of civil theatre for an actress, 5 puppets and a doll. t’s nice to live free! is a performance with the goal of freeing Resistance from the greyness of rhetoric.

To restore the idea of anti-fascism with the original light and the enthusiasm that were always present, even JO UIF NPTU EJGmDVMU NPNFOUTþ 5P UBLF CBDL UIF KPZ UIF MBVHIUFST UIF IPQFT PG QBSUJTBOT TVGGPDBUFE CZ UIF sterile historiography of accumulation of facts!

1 replica: 2.000 euro + iva al 10% + scheda tecnica + vitto, alloggio, rimborso spese viaggio 3 persone 1 date: 2.000 € + technical rider + hotel, meals, travel expenses for 3 people

LA SEMPLICITA' INGANNATA Satira per attrice e pupazze sul lusso d'esser donne Seconda tappa del progetto sulle Resistenze femminili in Italia.

Liberamente ispirato alle opere letterarie di Arcangela Tarabotti e alla vicenda delle Clarisse di Udine

di e con /concept, with Marta CuscunĂ Co-ideazione oggetti e pupazzi /scene objects and puppets co-ideation: Belinda De Vito, Marta CuscunĂ . Progettazione oggetti e pupazzi /scene objects and puppets design: Belinda De Vito. Assistente alla regia / assistant to direction: Marco Rogante. Disegno luci / light design: Claudio “Poldoâ€? Parrino. Disegno del suono / sound design: Alessandro Sdrigotti. Tecnica di palco, delle luci e del suono / stage, lighting and sound technicians: Marco Rogante, Alessandro 4ESJHPUUJ 3FBMJ[[B[JPOJ TDFOPHSBmDIF TFU %FMUB 4UVEJPT &MJTBCFUUB 'FSSBOEJOP *EFB[JPOF DPTUVNJ DPTUVNFT DPODFQU #FMJOEB %F 7JUP 3FBMJ[[B[JPOF DPTUVNJ DPTUVNFT SFBMJ[BUJPO "OUPOFMMB (VHMJFMNJ $P QSPEV[JPOF DP QSPEVDUJPO $FOUSBMF 'JFT 0QFSBFTUBUF 'FTUJWBM 7FOFUP $PO JM TPTUFHOP EJ XJUI UIF TVQQPSU PG 3FHJPOF "VUPOPNB 5SFOUJOP "MUP "EJHF 4Ă EUJSPM $PNJUBUP 1SPWJODJBMF QFS MB QSPNP[JPOF EFJ WBMPSJ EFMMB 3FTJTUFO[B F EFMMB $PTUJUV[JPOF SFQVCCMJDBOB EJ (PSJ[JB " / 1 * $PNJUBUP 1SPWJODJBMF EJ (PSJ[JB "TTFTTPSBUP BMMB DVMUVSB EFM $PNVOF EJ 3PODIJ EFJ -FHJPOBSJ #JCMJPUFDB 4BOESP 1FSUJOJ EJ 3PODIJ EFJ -FHJPOBSJ "TTFTTPSBUP BMMF 1BSJ 0QQPSUVOJUĂ‹ EFM $PNVOF EJ .POGBMDPOF $MBVEJP F 4JNPOF EFM $FOUSP EJ "HHSFHB[JPOF (JPWBOJMF EJ .POGBMDPOF & J QBSUFDJQBOUJ BM QSPHFUUP EJ .JDSPDSFEJUP UFBUSBMF BOE UIF QBSUJDJQBOUT UP Ă˝.JDSPDSFEJUP UFBUSBMFĂ˝ QSPKFDU "TTFNCMFB 5FBUSBMF .BSBOFTF .BSBOP -BHVOBSF 6% 'FEFSJDP 5POJ -BCPSBUPSJP 5FBUSBMF 3F /VEP 5FBUSJ *OWJTJCJMJ /PUUFOFSB $PNVOJUĂ‹@-JOHVBHHJ@5FSSJUPSJP #POBXFOUVSB 5FBUSP .JFMB 5SJFTUF 4QB[JP 'FSSBNFOUB 5SBDDF EJ 5FBUSP Eh"VUPSF "TTPDJB[JPOF -h"UUPTDVSP 5FBUSP -JCFSBNFOUF JTQJSBUP B 'SFFMZ JOTQJSFE CZ IJTUPSJD FTTBZ -P TQB[JP EFM TJMFO[JP EJ (JPWBOOB 1BPMJO &E #JCMJPUFDB EFMMh*NNBHJOF

/FM h BWFSF VOB mHMJB GFNNJOB FSB VO QSPCMFNB BHMJ PDDIJ EFM QBESF FSB VOB QBSUF EFM QBUSJNPOJP FDPOPNJDP DIF BOEBWB JO GVNP BM NPNFOUP EFM NBUSJNPOJP "WFSF VOB mHMJB GFNNJOB FRVJWBMFWB BE VOB QFSEJUB FDPOPNJDB $FSUBNFOUF VOB mHMJB CFMMB FSB FDPOPNJDBNFOUF WBOUBHHJPTB QFSDIĂ? QPUFWB FTTFSF BDDBTBUB DPO VOB EPUF NPEFTUB NFOUSF VOB mHMJB DPO RVBMDIF EJGFUUP mTJDP QSFWFEFWB OFDFTTBSJBNFOUF FTCPSTJ QJĂĄ TBMBUJ 1VSUSPQQP QFSĂ› JO UFNQJ EJ DSJTJ FDPOPNJDB JM NFSDBUP NBUSJNPOJBMF TVCĂ– VO DSPMMP F TJ EPWFUUF DFSDBSF VOB TPMV[JPOF BMUFSOBUJWB QFS TJTUFNBSF MF mHMJF MB NPOBDB[JPOF GPS[BUB -B TFNQMJDJUĂ‹ JOHBOOBUB SBDDPOUB MF SJWFOEJDB[JPOJ EFMMF EPOOF OFM h OFM UFOUBUJWP EJ SJEBSF TMBODJP B VOB SJWPMV[JPOF EJ DVJ OPO TFOUJBNP QJĂĄ JM CJTPHOP F GPSTF OPO QFS VO DBTP GPSUVJUP NB QFS VOB QSFDJTB TUSBUFHJB DIF DPO NPEJ EJWFSTJ DJ TDIJBDDJB BODPSB TPUUP MP TUSBQPUFSF NBTDIJMF -JCFSBNFOUF JTQJSBUP BMMF PQFSF EJ "SDBOHFMB 5BSBCPUUJ F BMMF WJDFOEF EFMMF $MBSJTTF EJ 6EJOF In the sixteenth century, having a daughter was problematic: from the father's point of view, it was an economic loss.

Certainly, a beautiful daughter was economically advantageous as she could be married with a modest dowry, whereas a daughter with blemishes required a large payout. Unfortunately, in times of economic crisis, the marriage market CSPLF EPXO BOE JU XBT OFDFTTBSZ UP mOE BO BMUFSOBUJWF TPMVUJPO GPSDFE NPOBTUJDJTN -B TFNQMJDJUË JOHBOOBUB UFMMT UIF stories of women in the sixteenth century in an attempt to revive a revolution even if we don’t feel the need to do so and, perhaps not by accident but with a clear intent, it treads on the male abuse of power in various ways. Freely inspired by the Arcangela Tarabotti’s writings and the Poor Clares’s events in Udine.

1 replica: 2.000 euro + iva al 10% + scheda tecnica + vitto, alloggio, rimborso spese viaggio 3 persone 1 date: 2.000 â‚Ź + technical rider + hotel, meals, travel expenses for 3 people

p PATHOSFORMEL

1 replica: 1.800 € + iva al 10% + scheda tecnica + vitto, viaggio e alloggio per 4 persone 1 date: 1.800 € + technical rider + hotel, meals, travel expenses for 4 people

LA TIMIDEZZA DELLE OSSA 2007, 20’ di / by daniel blanga gubbay, francesca bucciero, paola villani e con la collaborazione di / in collaboration with milo adami QSPEV[JPOF QSPEVDFE CZQBUIPTGPSNFM mFT GBDUPSZ in collaborazione con / in collaboration with sezione autonoma – teatro comandini. cesena segnalazione speciale – premio scenario 2007 / special mention – scenario award 2007 premio ubu 2008 / ubu prize 2008 QBUIPTGPSNFM GB QBSUF EFM QSPHFUUP mFT GBDUPSZ QBUIPTGPSNFM JT QBSU PG UIF mFT GBDUPSZ QSPKFDU 4VMMB TVQFSmDJF CJBODB SJBGmPSBOP RVFMMJ DIF TFNCSBOP FTTFSF SFTUJ VNBOJ P SFQFSUJ EJ VOB DJWJMUË TFQPMUB GSBNNFOUJ DIF TJ BGGFSNBOP JO SJMJFWP DIF TFNCSBOP TCPDDJBSF EB RVFTUB NBUFSJB MBUUFB QFS HFOFSBSF VO CBTTPSJlievo in continuo movimento. Setto nasale, femore, nocche e scapole sono scomposti ed esposti attraverso VO FQJEFSNJEF UBMNFOUF TPUUJMF EB OPO SJVTDJSF QJá B DFMBSF OVMMB TPOP BQQBSJ[JPOJ DIF QSJWJMFHJBOP HMJ TQJHPMJ EFMMF PTTB F DPNQSJNPOP MB GPSNB EFMMB DBSOF NPEJmDBOEP MB QFSDF[JPOF EFM DPSQP mOP B DSFBSF VOB TPSUB EJ EBO[B SBEJPHSBmDB Eerily impressed into the surface of a large, luminous white screen, the outline of bones and skeletal forms BQQFBS 1FSIBQT UIF EFCSJT PG CVSJFE DJWJMJ[BUJPOT GSBHNFOUT CVJME UP GPSN B nPBUJOH GSJF[F BOE mOBMMZ B CPEZ that evokes an unimaginably distant and mysterious past. Nose, thigh bone, knuckles and shoulder blade are broken up and shown through a thin epidermis that reveals everything and that allows a radiographic dance PS B nPBUJOH CBTT SFMJFG UP FNFSHF

SFQMJDB é JWB BM TDIFEB UFDOJDB WJUUP WJBHHJP BMMPHHJP SJNCPSTP TQFTF WJBHHJP QFSTPOF OPMFHHJP GVSHPOF QFS JM USBTQPSUP EFMMB TDFOPHSBmB EBUF é JWB BM UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF WBO UP CF SFOUFE GPS UIF TFU USBOTQPSU

1 replica: 1.800 â‚Ź + iva al 10% + scheda tecnica + vitto, viaggio e alloggio per 4 persone 1 date: 1.800 â‚Ź + technical rider + hotel, meals, travel expenses for 4 people

LA PIU' PICCOLA DISTANZA 2008, 30’ di / by daniel blanga gubbay, paola villani e con / with danilo morbidoni, alberto napoli QSPEV[JPOF QSPEVDUJPO QBUIPTGPSNFM mFT GBDUPSZ DPQSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT con il sostegno di / with the support of santarcangelo festival 2008 / 38^ edizione, l’arboreto – teatro dimora di mondaino premio ubu speciale 2008 / ubu prize 2008 premio iceberg 2009 teatri del tempo presente, l’eti ente teatrale italiano, per le nuove creativitĂ QBUIPTGPSNFM GB QBSUF EFM QSPHFUUP mFT GBDUPSZ QBUIPTGPSNFM JT QBSU PG UIF mFT GBDUPSZ QSPKFDU Ăˆ come allontanarsi o sollevarsi d’improvviso, e riuscire a guardare una piazza da molto lontano: possiamo vedere solo dei piccoli puntini anonimi scorrere nelle differenti direzioni, punti di cui non possiamo piĂš distinHVFSF OVMMB OFJ RVBMJ PHOJ mTJPOPNJB P FTQSFTTJPOF Ă’ TUBUB BOOVMMBUB EBMMB TUFTTB EJTUBO[B 3JDPOPTDJBNP VO improvviso rallentamento dopo essersi incrociati, un gruppo di punti che avanza compatto, o la fretta collettiWB EJ BMDVOF PSF EFM NBUUJOP Ăˆ un paesaggio astratto; eppure, proprio in questa perdita del corpo nasce per noi la possibilitĂ di ricostruire BODPSB JOmOJUF JNNBHJOJ VNBOF P QJĂĄ TFNQMJDFNFOUF EJ BCCBOEPOBSTJ BMMB QPTTJCJMJUĂ‹ EJ JOWFOUBSOF EJ OVPWF BE PHOJ JTUBOUF " mSTU TRVBSF KPJOT UIF TDFOF TMJEJOH PO B TZTUFN PG QBSBMMFM DBCMFT GPMMPXFE CZ UIF MJWF TPVOE P GBO IBSNPOJVN BOE B WJPMJO " TQBDF mMMT PG UIJO DPMPSFE TRVBSFT XIJDI TFFN UP HSB[F POF BHBJOTU UIF PUIFS BT XBMLJOH NFO JO B DSPXEFE QVCMJD TRVBSF "T JO B NBHJDBM UBMF CPEJFT IBWF CFFO USBOTGPSNFE JO BOPOZNPVT TIBQFT XBJUJOH UP CF SFDPOTUSVDUVSFE CZ UIF TQFDUBUPS T FZF BT IVNBO QSFTFODFT

SFQMJDB ĂŠ JWB BM TDIFEB UFDOJDB WJUUP BMMPHHJP SJNCPSTP TQFTF WJBHHJP QFSTPOF OPMFHHJP GVSHPOF QFS JM USBTQPSUP EFMMB TDFOPHSBmB EBUF ĂŠ UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF WBO UP CF SFOUFE GPS UIF TFU USBOTQPSU

LA PRIMA PERIFERIA/ THE FIRST OUTSKIRT 2010, 40’ EBOJFM CMBOHB HVCCBZ QBPMB WJMMBOJø F DPO BOE XJUI TJNPOF CBTBOJ HJPWBOOJ NBSPDDP ø QSPEV[JPOF QBUIPTGPSNFM mFT GBDUPSZ POFø DPQSPEV[JPOF DPQSPEVDFE CZ DFOUSBMF mFT operaestate festival veneto, uovo performing arts festival DPO JM DPOUSJCVUP EJ XJUI UIF DPOUSJCVUJPO PG VGmDJP QSPNP[JPOF HJPWBOJ BSUJTUJ DPNVOF EJ CPMPHOBø DPO JM TPTUFHOP EJ XJUI UIF TVQQPSU PG UFBUSP EJ GPOEBNFOUB OVPWF WFOF[JB ø JO DPMMBCPSB[JPOF DPO JO DPMMBCPSBUJPO XJUI UFBUSP GSBODP QBSFOUJ QSPHFUUP SFTJEFO[Fø UFBUSJ EFM UFNQP QSFTFOUF M FUJ FOUF UFBUSBMF JUBMJBOPøQFS MF OVPWF DSFBUJWJUËø QBUIPTGPSNFM GB QBSUF EFM QSPHFUUP mFT GBDUPSZ QBUIPTGPSNFM JT QBSU PG UIF mFT GBDUPSZ QSPKFDU 5SF DPSQJ NPOPDSPNJ QSJWBUJ EJ PHOJ mTJPOPNJB P FTQSFTTJPOF GBDDJBMF USF NPEFMMJ BOBUPNJDJ DIF IBOOP BCEJDB UP B PHOJ JNQVMTP F TJ BCCBOEPOBOP BE FTTFSF NPEFMMBUJ EBMM FTUFSOP ø Le mie braccia ne accompagnano ora i movimenti, scolpendone continuamente i gesti; le mie dita guidano le TVF OFM UFOUBUJWP EJ TmPSBSTJ JM DPMMP JM NJP CVTUP JOTJTUF MJFWFNFOUF DPOUSP JM TVP QFS EJTFHOBSF VO FTQSFTTJPOF OFMMB TVB TFNQMJDF JODMJOB[JPOF ø È un corpo quasi inerme, che – come un parassita – si nutre impassibile dei miei movimenti.

Three anatomical bodies have abdicated every impulse to be visibly modeled by the outside: my arms follow his movements, carving every single gesture; my chest slightly insists against his, to drawn an expression in JUT TJNQMF JODMJOBUJPO *U T BMNPTU BO VOBSNFE CPEZ XIJDI o BT B QBSBTJUF o GFFET IJNTFMG XJUI NZ NPWFNFOUT ø Ecce homo: here is the man, a matter moved from the outside, in which every expression is made out of technical precision; in which even the simplest gesture is always helped by thousand muscles.

SFQMJDB é JWB BM TDIFEB UFDOJDB WJUUP BMMPHHJP SJNCPSTP TQFTF WJBHHJP QFSTPOF OPMFHHJP GVSHPOF QFS JM USBTQPSUP EFMMB TDFOPHSBmB 1 date: 2.500 € +technical rider + hotel, meals, travel expenses for 5 people + van to be rented for the set transport

CONCERTO PER HARMONIUM E CITTA' 2009, 30’ di / by daniel blanga gubbay, paola villani e con / with lorenzo senni QSPEV[JPOF QSPEVDUJPO QBUIPTGPSNFMN mFT GBDUPSZ QBUIPTGPSNFM GB QBSUF EFM QSHFUUP mFT GBDUPSZ QBUIPTGPSNFM JT QBSU PG UIF mFT GBDUPSZ QSPKFDU

6OB DBSUPHSBmB JO NPWJNFOUP DIF HVJEB F BDDPNQBHOB MP TWJMVQQP EFMMB NVTJDB VOB DJUUË GBUUB EJ MJOFF DIF scorrono e si rincorrono come macchie d’inchiostro su un tessuto; che si moltiplicano e s’incrociano creando e dissolvendo continuamente l’immagine bidimensionale di questa mappa instabile. La musica diviene come VOB QBTTFHHJBUB VSCBOB DPNF TF JM TFNQMJDF GBUUP EJ HJSBSF B EFTUSB P B TJOJTUSB DPTUJUVJTTF HJË VO BUUP FTTFOzialmente poetico.

A city observed through its noises and sounds, since the awakening hours till the twilight; the video projection of a moving cartography shapes a city made of lines that run and run after each other, creating and dissolving the bidimensional image of this urban map, and the music follows the map as in a promenade.

SFQMJDB é JWB BM TDIFEB UFDOJDB WJUUP BMMPHHJP SJNCPSTP TQFTF WJBHHJP QFSTPOF EBUF é UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF

ALCUNE PRIMAVERE CADONO D'INVERNO 2011, 40’ di / by daniel blanga gubbay, paola villani con / with stefano leone musiche originali live / original music port-royal collaborazione alla realizzazione tecnica collaboration to the tecnical realization mara cugusi produzione / production pathosformel DP QSPEV[JPOF DPQSPEVDUJPO GPOEB[JPOF NVTJDB QFS SPNB DFOUSBMF mFT QBUIPTGPSNFM GB QBSUF EFM QSPHFUUP mFT GBDUPSZø pathosformel fa parte dell’apap network con il supporto del programma di cultura dell’unione europea/ QBUIPTGPSNFM JT QBSU PG UIF mFT GBDUPSZ QSPKFDU BOE BQBQ OFUXPSL Concedersi un’apparente immobilitĂ per scoprire come nella casualitĂ del vento siano rintracciabili quelli che QPUSFNNP JNNBHJOBSF DPNF JOmOJUJ HFTUJ P JM QJĂĄ mUUP EFJ EJTDPSTJ JO VOB MJOHVB DIF GPSTF OPO DPOPTDJBNP NB che ci scopriamo lentamente in grado di decifrare. Ăˆ l’incanto di una realtĂ atmosferica che ruota attorno a un corpo che ha abbandonato qualsiasi intenzione: DPNF VO WFDDIJP VPNP DIF JOmOF BNNVUPMJTDF QFS DPNJODJBSF B NFUUFSTJ JO BTDPMUP $PNF VO EJSFUUPSF d’orchestra, che ripone la bacchetta lasciando che la musica continui a scorrere al suo intorno.

"O BQQBSFOU TUJMMOFTT PG UIF CPEZ UP mOE PVU IPX JO UIF SBOEPNOFTT PG UIF NPWFNFOUT PG UIF XJOE POF DBO TFF XIBU DPVME CF TFFO BT UIF UIJDLFTU PG UIF TQFFDIFT JO B MBOHVBHF XF NJHIU OPU LOPX CVU UIBU XF TMPXMZ mOE PVSTFMWFT BCMF UP EFDJQIFS *U JT UIF BUNPTQIFSF PG B SFBMJUZ UIBU SFWPMWFT BSPVOE B CPEZ UIBU IBT BCBOEPOFE BOZ JOUFOUJPO BT BO PME NBO XIP mOBMMZ GBMMT TJMFOU UP TUBSU MJTUFOJOH "T B DPOEVDUPS XIP QVUT IJT XBOE BXBZ UP MFU UIF NVTJD nP BSPVOE IJN

1 giorno premontaggio SFQMJDB JWB BM TDIFEB UFDOJDB WJUUP WJBHHJP F BMMPHHJP QFS QFSTPOF OPMFHHJP GVSHPOF QFS JM USBTQPSUP EFMMB TDFOPHSBmB 1 day of set-up before the performance 1 date: 3.000 +technical rider + hotel, meals, travel expenses for 6 people + van to be rented for the set transpor

AN AFTERNOON LOVE 2011, 20’ di / by daniel blanga gubbay, paola villani con / with joseph kusendila con la collaborazione di / with the collaboration of andrea corsi produzione / production pathosformel DPQSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT XPSLTQBDF CSVTTFMT in collaborazione con/ in collaboration with contemporanea festival / teatro metastasio della toscana residenze artistiche / artistic residencies kaaitheater (brussels), les brigittines (brussels) con il supporto di / with the support of apap network – culture programme of the european union QBUIPTGPSNFM GB QBSUF EFM QSPHFUUP mFT GBDUPSZø QBUIPTGPSNFM JT QBSU PG UIF mFT GBDUPSZ QSPKFDU TJ SJOHSB[JB DBOHP DBOUJFSJ HPMEPOFUUB mSFO[F UIBOLT UP DBOHP DBOUJFSJ HPMEPOFUUB mSFO[F Non si tratta di un manuale: non vi dirà come comportarvi nÊ che cosa fare per togliervi dall’affanno e dall’ingombro di un abbandono. Non ha trama, se non quella dell’indagine dei movimenti amorosi. (Pier Vittorio Tondelli sui Frammenti di un discorso amoroso di Roland Barthes).

Un allenamento di basket ininterrotto e serrato; un rapporto a due che, lasciando lo sguardo scavare dietro M JNNBHJOF EJ BUMFUJTNP F BHPOJTNP QVÛ BODPSB TVHHFSJSF M JOmOJUË EFJ SBQQPSUJ DIF FTJTUPOP BM TVP JOUFSOP *M rapporto tra un uomo e il proprio oggetto ha la stessa complessità relazionale che c’è tra due uomini? Sembra un combattimento feroce con l’oggetto ma diviene la piÚ persuasiva delle conquiste; si carica di un vissuto VNBOP QFS UPSOBSF BE FTTFSF JNQSPWWJTBNFOUF TPMP BMMFOBNFOUP Ò RVBTJ VOB DPSFPHSBmB B EVF DIF EJTFHOB JM SBQQPSUP TFNQSF JO NPWJNFOUP DIF BCCJBNP DPO M BMUSP ø An unbroken basketball training that, behind the image of athleticism and competition, let the eye perceive the world of relationships and intimacy existing among it. The relation between a man and his object has the same DPNQMFYJUZ PG UIF POF CFUXFFO UXP NFO *U MPPLT MJLF B mFSDF CBUUMF XJUI UIF PCKFDU CVU CFDPNFT UIF NPTU persuasive of conquests; it assume the nuances of human life to return suddenly to be just a training: it is a duo choreography with just one man, who sketches the relationship in motion we always have one each other.

1 giorno premontaggio ĂŠ JWB BM TDIFEB UFDOJDB WJUUP WJBHHJP F BMMPHHJP QFS QFSTPOF OPMFHHJP GVSHPOF QFS JM USBTQPSUP EFMMB TDFOPHSBmB 1 day of set-up before the performance 4.000 â‚Ź + technical rider + hotel, meals, travel expenses for 7 people + van to be rented for the set transport

t

TEATRO SOTTERRANEO

POST-IT 2007, 55’ creazione collettiva / collective creation teatro sotterraneo scrittura / dramaturgy daniele villa in scena / performers sara bonaventura, iacopo braca, matteo ceccarelli, claudio cirri assistenza tecnica/ technical assistance cleto matteotti, alessandro ricciarelli, marco santambrogio realizzazione scene / scenes realization camilla garofano, giovanna moroni co-produzione / coprPEVDUJPO DFOUSBMF mFT in collaborazione con / in collaboration with teatro della limonaia col sostegno di / with the support of teatro studio di scandicci - scandicci cultura teatro sotterraneo fa parte del prPHFUUP mFT GBDUPry/teatro sotterraneo is parU PG UIF mFT GBDUPry project Un volume cubico neutro, metri 5x5.øUna guaina di teli neri.øQuattro performers che aggrediscono la scatola teatrale da tagli e aperture. Partendo dalla formula “svelare occultandoâ€? Teatro Sotterraneo imposta un funerale consapevole di stare sulla scena, una catena di montaggio che va dalla produzione all’imballaggio mOP allo smaltimento, presentazione scenica che offrF F QPJ SJNVPWF JNQBDDIFUUB NFUUF WJB DPTF F QFSTPOF ø Post-it agisce per sottrazione: l’azione all’azione, il parlato al parlato, le cose alle cose, un sistema di frammentazioni entro cui i corpi agiscono in modo costretto – dagli spazi, dai materiali, dall’obiettivo di togliersi.

Post-it è un recesso, un dimenticatoio dove cercare e WFSJmDBre ogni possibile Fine: nel consumo di oggetti, nell’esaurirsi di un discorso o di una partitura, nell’assenza che prelude sempre e comunque al ritorno.

5X5 neutral cubic metres, wrapped in black plastic. Four actors tackling the theatre box through cracks.The project is aimed at ‘revealing by concealing’ – it is a consciously performed funeral, an assembly line from production to packaging, to waste disposal. A performance made up of giving and taking, packing, disposing of things and people. Post-it takes place by getting away from the stage. Hence, moves, words, things are meaningful in themselves – it’s all broken down into smaller pieces within a system whereby body movements are DPOmOFE by space, materials, and the will to escape. Post-it is a far-away place where things fall into oblivion, where every possible End needs to be checked and seeked – when things are eaten away, a speech or a score wears out, in an absence presaging a comeback.

1 replica: 2.500 â‚Ź + iva al 10% + scheda tecnica + vitto, viaggio e alloggio per 6 persone 1 date: 2.500 â‚Ź + technical rider + hotel, meals, travel expenses for 6 people

LA COSA 1 2008, 55’ creazione collettiva / collective creation teatro sotterraneo in scena / performers sara bonaventura, iacopo braca, matteo ceccarelli, claudio cirri scrittura / dramaturgy daniele villa disegno luci / light design roberto cafaggini costumi / costumes lydia sonderegger montaggio audio / sound editing lea landucci produzione / production teatrP TPUUFSSBOFP mFT GBDUPry one co-produzione / co-prPEVDUJPO DFOUSBMF mFT fondazione pontedera teatro – 4 cantieri per fabbrica europa, festival armunia costa degli etruschi, festival es.terni 2008 – progetto dimora fragile, teatri del tempo presente, l’eti ente teatrale italiano per le nuove creatività teatro sotterrano fa parte del prPHFUUP mFT GBDUPry / teatro sotterraneo is parU PG UIF mFT GBDUPry project Lo spazio cosÏ com’è, privo di accessori. Uno svuotamento.

Un atletismo che si espande e si ritrae, investe i luoghi. Un’invasione. .POUBHHJP EJ NJOJNJ DPNVOJ EFOPNJOBUPSJ EFMMF CJPHSBmF EJ PHOVOo. Il trailer di una vita.

Si accendono le luci. Ha inizio il movimento, qualsiasi movimento, tutto purchÊ qualcuno faccia qualcosa – una messa alla prova continua di muscoli e nervi, un corpo precario che dà tutto anche quando non ne ha piÚ, inscena il fare per fare, fare2, fare3, lo strafare, lo stroppiare, una presentazione d’iperattività che va dalla culla all’apocalisse. Per voi. La Cosa 1 è l’evento, ma anche il momento subito dopo, quando ci si ferma, stanchi, saturi: La Cosa 1 invece continua, insiste, riparte a muoversi, correre, fare: la mOF sostituita dal sequel: si vive una volta sola.

The space as it is: a removal. Continuous physical activity which expands and contracts.

It’s about mOEJOH the lowest common denominator of each and everyone’s live. -JHIUT are up. It CFHJOT BOZUIJOH HPFT as MPOH as everyone’s EPJOH TPNFUIJOH – the body is HJWJOH everZUIJOH perforNJOH for the sake of EPJOH JU overEPJOH JU to the extreme. This one’s for you. La Cosa1 is the CJH FWFOU but also the moment after when you stop in your USBDLT exhausted: La Cosa 1 DPOUJOVFT insists: the end replaced by a TFRVFM ZPV POMZ MJWF PODF UJrFE FYIBVTUFE o -B $PTB DPOUJOVFT rFQFBUT JOTJTUT SVOOJOH EPJOH

1 replica: 2.700 â‚Ź + iva al 10% + scheda tecnica + vitto, viaggio e alloggio per 5 persone 1 date: 2.700 â‚Ź + technical rider + hotel, meals, travel expenses for 5 people

DIES IRAE _ 5 EPISODI INTORNO ALLA FINE DELLA SPECIE/DIES IRAE / _ 5 EPISODES ABOUT THE END OF THE SPECIES Dittico sulla specie (parte 1)/Diptych on the species (part 1) 2009, 60’ DSFB[JPOF DPMMFUUJWB DPMMFDUJWF DSFBUJPO UFBUSP TPUUFSSBOFPø in scena/ performers sara bonaventura, iacopo braca, matteo ceccarelli, claudio cirri TDSJUUVSB ESBNBUVSHZ EBOJFMF WJMMBø MVDJ MJHIU EFTJHO SPCFSUP DBGBHHJOJø DPTUVNJ DPTUVNFT MZEJB TPOEFSFHHFSø graphic design costumi / graphic design costumes claudio paganini sartoria / tailoring laura dondoli DPMMBCPSB[JPOF UFDOJDB UFDIOJDBM BEWJDF FNJMJBOP DVSË MPSJT HJBODPMBø QSPEV[JPOF QSPEVDUJPO UFBUSP TPUUFSSBOFP mFT GBDUPSZ POFø DPQSPEV[JPOF DPQSPEVDUJPO DFOUSBMF mFT BSFB PQFSBFTUBUF GFTUJWBM WFOFUPø JO DPMMBCPSB[JPOF DPO JO DPMMBCPSBUJPO XJUI JOUFBUSP TDFOBSJ EBO[B BNBU SFHJPOF NBSDIF col sostegno di/ with the support of teatri del tempo presente - l’eti ente teatrale italiano per le nuove DSFBUJWJUË SFHJPOF UPTDBOB DPNVOF EJ mSFO[F BTTFTTPSBUP BMMF QPMJUJDIF HJPWBOJMJ SFTJEFO[F BSUJTUJDIF BSUJTUJD SFTJEFODJFT ESP DFOUSBMF mFT JTPMB EFM MJSJ BSFB QPMWFSJHJ JOUFBUSP TDFOBSJ EBO[B QBSNB UFBUSP EFMMF CSJDJPMF TPMBSFT GPOEB[JPOF EFMMF BSUJ NJMBOP QJN TQB[JP TDFOJDP TDBOEJDDJ TDBOEJDDJ DVMUVSB QFTBSP TQB[JP IBOHBSU TFTUP mPSFOUJOP UFBUSP EFMMB MJNPOBJB settignano/laboratorio nove.

UFBUSP TPUUFSSBOFP GB QBSUF EFM QSPHFUUP mFT GBDUPSZ UFBUSP TPUUFSSBOFP JT QBSU PG UIF mFT GBDUPSZ QSPKFDU /PO QPUSBJ NBJ DBNNJOBSF B mBODP EJ VO OFBOEFSUBMJBOP /PO QPUSBJ NBJ OFNNFOP QBSMBSF DPO VO NFTPQPUBmico oppure osservare il cielo con un maya. Non vedrai l’arrivo di una delegazione aliena sul maxischermo e non vedrai il sole diventare supernova. In realtà non ti sei visto nascere e non ti vedrai nemmeno morire. Il presente è un tempo storico. Il presente è una convenzione. Il presente è soprattutto un perimetro d’azione.

Per colonizzare passato e futuro possiamo immaginare due archeologie opposte: una che dissotterri il passato e una che sotterri il presente in attesa di un dissotterramento futuro. Abbiamo sempre seguito delle tracce e non potremo non lasciarne di nuove. Ognuno viva e canti il suo tempo e poi torni alla polvere.

Alleluia.

You'll never have the chance to walk by a Neanderthalian's side. You'll neither have the chance to speak with a Mesopotamian nor observe the sky with a Maya. You'll never see the arrival of an alien delegation on a movie screen and you'll never see the sun turning into a supernova. Actually, you haven't seen your birth and you won't see your death. The present is a historical tense. The present is a convention. The present is above all space of action. In order to colonize the past and the future, we may think of two opposing types of archaePMPHZ UIF mSTU POF EJHHJOH VQ UIF QBTU BOE UIF TFDPOE POF CVSZJOH UIF QSFTFOU JO UIF XBJU GPS B GVUVSF EJTJOterment. We've always been leaving signs and we'll keep leaving them. Let's live and celebrate our times and then be back to dust. Hallelujah.

1 giorno premontaggio SFQMJDB JWB BM TDIFEB UFDOJDB WJUUP WJBHHJP F BMMPHHJP QFS QFSTPOF 1 day of set-up before the performance EBUF ĂŠ UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF

l'origine delle specie / the origin of species dittico sulla specie (parte 2 )/ diptych on the species (part 2) 2010, 60’ DSFB[JPOF DPMMFUUJWB DPMMFDUJWF DSFBUJPO UFBUSP TPUUFSSBOFPø in scena/ on stage sara bonaventura, iacopo braca, claudio cirri TDSJUUVSB F USBEV[JPOF UFYUT BOE USBOTMBUJPO EBOJFMF WJMMBø luci / light designer roberto cafaggini TVPOP TPVOE EFTJHOFS GSBODFTDP DBOBWFTFø costumi / costumes lydia sonderegger BOJNB[JPOF WJEFP WJEFP BOJNBUJPO NBSDP TNBDDIJBø TVQFSWJTJPOF WJEFP WJEFP TVQFSWJTPO KBDPQP NBSJBOJø realizzazione maschera / mask francesco givone e crea fx.

EJTFHOP F HSBmDB DBSUPMJOB DBSE EFTJHO BOE HSBQIJDT NBSDP TNBDDIJB produzione / production teatro metastasio stabile della toscana/teatro sotterraneo DPM TPTUFHOP EJ XJUI UIF TVQQPSU PG DFOUSBMF mFT mFTøGBDUPSZøPOFøF SFHJPOF UPTDBOB UFBUSP TPUUFSSBOFP GB QBSUF EFM QSPHFUUP mFT GBDUPSZ UFBUSP TPUUFSSBOFP JT QBSU PG UIF mFT GBDUPSZ QSPKFDU Non potresti assistere al Big Bang senza morire. Non potresti osservare una supernova né esplorare il brodo primordiale senza morire. Nel continuum spaziotemporale le condizioni della tua nascita coincidono con quelle della tua morte. Da quando siamo comparsi non siamo rimasti a quattro zampe, non siamo rimasti coi piedi per terra, non siamo rimasti sul nostro pianeta, ma l'origine di tutte le cose è in nostra assenza. Non ci resta che colonizzare il futuro. Scienza e immaginazione. Adattamento continuo ai mutamenti dell'habitat.

Potevi nascere nei secoli della peste. Potevi non essere nato. Potevi nascere fra mille anni. Potresti rinascere panda. L'estinzione è collettiva. L'origine è individuale, dominio della probabilità, dell'unico e irripetibile.

Ognuno ha il suo orologio biologico, ognuno scorre col proprio tempo. Amen.

You oouldn't attend the Big Bang without dying. You couldn't observe a supernova nor could you explore the primordial soup without dying. In the spatial temporal continuum the circumstances of your birth match with those of your death. Since our appearance, we haven't got stuck on all fours, we haven't got stuck down to earth, we haven't got stuck in our planet, but the origin of everything occurs without us. Colonizing the future is the only thing we can do. Science and imagination. Never-ending adaptation to the changes of the environment. You might have been born during the plague. You might have never been born. You might have been born in a thousand years. You might be reborn as a panda. Extinction is collective. Origin is individual, dominated by chance, by what is unique and unrepeatable. We all have our biological watch, we all go by our time. Amen.

1 replica: 3.000 € + iva al 10% + scheda tecnica + vitto, viaggio e alloggio per 5 persone 1 date: 3.000 € + technical rider + hotel, meals, travel expenses for 5 people

HOMO RIDENS 2011, 40’ creazione collettiva / collective creation teatro sotterraneo JO TDFOB QFSGPSNFSTøTBSB CPOBWFOUVSB JBDPQP CSBDB NBUUFP DFDDBSFMMJ DMBVEJP DJSSJ TDSJUUVSB ESBNBUVSHZøEBOJFMF WJMMB DPOTVMFO[B DPTUVNJ DPTUVNF BEWJDF MBVSB EPOEPMJ TPmB WBOOJOJ QSPEV[JPOF QSPEVDUJPO UFBUSP TPUUFSSBOFP DPQSPEV[JPOF DPQSPEVDUJPOøBSNVOJB DFOUSBMF mFT DPO JM TPTUFHOP EJ XJUI UIF TVQQPSU PG DPNVOF EJ mSFO[F BTTFTTPSBUP BMMB DVMUVSB F BMMB DPOUFNQPSBOFJUË MF NVSBUF TVD TQB[J VSCBOJ DPOUFNQPSBOFJ

JO DPMMBCPSB[JPOF DPO JO DPMMBCPSBUJPO XJUI TBOUBSDBOHFMP UFBUSP TPUUFSSBOFP GB QBSUF EFM QSPHFUUP mFT GBDUPSZ UFBUSP TPUUFSSBOFP JT QBSU PG UIF mFT GBDUPSZ QSPKFDU )PNP SJEFOT Ò VOB QFSGPSNBODF QFOTBUB DPNF FTQFSJNFOUP TV DBNQJPOF VO UFTU TVM QVCCMJDP DBWJB DIJB NBUP B SFBHJSF B EFUFSNJOBUJ TUJNPMJ DIF BUUFOHPOP BM SJTP F BJ TVPJ NFDDBOJTNJ *M QSPHFUUP SJWFEF F BHHJPSOB J SJTVMUBUJ EFMMF QSPQSJF SJDFSDIF JO PHOJ DJUUË F EJ DPOTFHVFO[B OF QSFOEF JM OPNF - JOUFOUP Ò RVFMMP E JOEBHBSF M BUUJUVEJOF VNBOB BMMB SJTBUB NJTVSBOEPOF J MJNJUJ F MB DPNQMFTTJUË /FM SJTP SJOVODJBNP BMMB GVO[JPOF WJUBMF EFM SFTQJSP OFM SJTP Ò MB QBSUF BHHSFTTJWB EJ OPJ DIF DJ GB EJHSJHOBSF J EFOUJ OFM SJTP Ò M JOUSBUUFOJNFOUP EFM QPUFSF NB BODIF MB SJWPMUB QPQPMBSF 4BQQJBNP DIF MB DPTDJFO[B EJ TÏ QFSNFUUF BMM VPNP EJ WFEFSTJ EBMM FTUFSOP 4BQQJBNP DIF MB DPTDJFO[B EJ TÏ SFOEF M VPNP DPOTBQFWPMF EFMMB NPSUF .B DPTB D Ò EB SJEFSF Homo ridens is a performance conceived as an experiment on a sample, as a test the audience is put throuHI ø5IF AHVJOFB QJH BVEJFODF JT BTLFE UP SFBDU UP B HJWFO TUJNVMVT SFHBSEJOH MBVHI BOE JUT ESJWJOH NFDIBOJTNT 5IF QSPKFDU DIFDLT BOE VQEBUFT JUT SFTFBSDI SFTVMUT JO FBDI UPXO UIBU T XIZ UIF UJUMF JODMVEFT UIF UPXO T OBNF 5IF NBJO QVSQPTF JT UP BOBMZT IVNBO BQQSPBDI UP MBVHI NFBTVSJOH JUT MJNJUT BOE DPNQMFYJUZ 8IFO XF MBVHI XF HJWF VQ UIF WJUBM GVODUJPO PG CSFBUIJOH XIFO XF MBVHI PVS BHHSFTTJWFOFTT DPNFT PVU BOE XF HSJOE PVS UFFUI -BVHIUFS JT VTFE CPUI CZ UIF QPXFS UP FOUFSUBJO VT BOE CZ UIF QFPQMF UP SFCFM 8F LOPX UIBU TFMG DPOTDJPVTOFTT HJWFT NFO UIF DIBODF UP TFF UIFNTFMWFT GSPN PVUTJEF 8F LOPX UIBU TFMG DPOTDJPVTOFTT NBLFT NFO BXBSF PG EFBUI 5IFO XIZ BSF XF MBVHIJOH

SFQMJDB é JWB BM TDIFEB UFDOJDB WJUUP WJBHHJP F BMMPHHJP QFS QFSTPOF EBUF é UFDIOJDBM SJEFS IPUFM NFBMT USBWFM FYQFOTFT GPS QFPQMF

THE FIES FACTORY

THE FIES FACTORY C/O CENTRALE FIES_Ambienti per la produzione di performing art Loc. Fies 1, 38074, Dro, Tn Produzione | Production and management Office + 39 0464 504700 Produzione@centralefies.it