Massimiliano Briarava. WORKS 1997-2013 by Massimiliano Briarava

MASSIMILIANO BRIARAVA

WORKS 1997/2013 AN INTERACTIVE PORTFOLIO

MASSIMILIANO BRIARAVA

INDEX

WORKS 1997/2013

A for AUTHOR … … … … … … … … … … … … … .................… .… ...… 3 WORKSHOPS, UNIVERSITY, DIRECTING

AN INTERACTIVE PORTFOLIO

B for BOOKS… … … … … ...… … … … … … … … ..… … … … ...........… 27 ESSAYS, EDITING, PUBLICATIONS, CONVENTIONS

WITH W E B L I N K S

TO EXCERPTS FROM

PERFORMANCES AND PUBLICATIONS

C C

for OLLABORATIONS… … … … … … … … … … ..… .… ... 36 ASSISTANT DIRECTOR, ACTOR, SCREENWRITER

D for DOCUMENTS… … … … … … … … … … .… ..................... 44 ID CERTIFICATION, DEGREES, CONTRACTS, LETTERS

(INTERNET CONNECTION REQUIRED)

E for EXTRA + EXTERNAL LINKS........................ 70 EXTRA + URL TO PRESS REVIEW AND ALL WEB MATERIALS

FOR ANY COMMUNICATION: MASSIMILIANO.BRIARAVA@GMAIL.COM

(cover drawings by Giovanni de Francesco for the project 6 cartoni animati per Anfitrione di Heinrich von Kleist, 2008)

A AUTHOR WORKSHOPS, CLASSES AND SEMINARS IN UNIVERSITY, DIRECTING THEATRE 22. 2013 – Teacher in dramaturgy and directing for “Steps Ahead, Junior Coaching Academy”, in Florence; part of the international project Roots and Routes 21. 2011 – Theatre workshop in the Female Section of the Prison of Bologna + production of the game-book ALICE IN WONDERWOMEN’S LAND, + production of the video WW25 + production of DEI SOGNI, diary of a theatre workshop in prison 20. 2011 – Workshop-class on performance for Dams/Unibo. Title: Say/See 19. 2011 – Workshop-class on performance for Erasmus Mundus Master Program, Unibo + workshow H.D. (HARD DIALOGUE), from Lewis Carroll, Through the looking-glass, chapter 6: Humpty Dumpty 18. 2010 – Workshop-class on performance for Dams/Unibo. Title: Alice. Io, il tempo, lo spazio, le parole + production of a game-book and performance WONDERLAND LOOKINGLASS, from Lewis Carroll 17. 2010 – Workshop-class on performance for Erasmus Mundus Master Program, Unibo + performance: A.L.I.C.E. (Atlante Letterario Incendiato Compagnia Erasmus), from Lewis Carroll, Ray Bradbury, Aby Warburg 16. 2009 – Theatre workshop in the High Surveillance section of the Prison of Bologna + performance POLIGRAF – MOLTE SCRITTURE, from M. Bulgakov’s “Heart of a dog”, with the participation prisoners and Unibo students 15. 2009 – Workshop-class on performance for Dams/Unibo. Title: The perfect human + rehearsal for twinning with prisoners’ workshop on Poligraf – Molte scritture 14. 2009 – Workshop-class on performance for Erasmus Mundus Master Program, Unibo + performance: STUDI GRAMMATICALI PER UCCELLINI AZZURRI, from the play “L’oiseau Bleu” by M. Maeterlinck and the film “The Blue Bird” by M. Tourner 13. 2008 – Theatre workshop in the High Surveillance section of the Prison of Bologna + performance: 6 CARTONI ANIMATI PER ANFITRIONE, from H.V. Kleist’s “Amphytrion”

12. 2008 – Workshop-class on performance for Dams/Unibo. Title: Strada Maggiore 49, Via Fondazza 36. Environments for Arcangeli, Morandi by Roberto Roversi 11. 2007 – Workshop-class on performance for Dams/Unibo. Title: La bambola iena + performance: LA IENA DI SAN GIORGIO, by Arnaldo Picchi on the text by G. Niemen 10. 2006 – Workshop-class on performance for Dams/Unibo. Title: Soundtracks and virtual spaces 9. 2006 – Agreement Unibo+Teatro Comunale+Fine Arts Academy+Music Conservatory of Bologna. Directing of PAOLO E FRANCESCA, opera with music by L. Mancinelli 8. 2005 – Agreement Unibo+Teatro Comunale+Fine Arts Academy+Music Conservatory of Bologna. Directing of MALOMBRA, opera with music by M.E. Bossi 7. 2004 – Agreement Unibo+Teatro Comunale+Fine Arts Academy+Music Conservatory of Bologna. Directing of RE ENZO, opera with music by Ottorino Respighi 6. 2004 – Directing of DOGOD, video installation and performance on Bulgakov’s “Heart of a dog” 5. 2003 – Theatre workshop with adolescents for Ert + performance JEKYLLHYDE, from R.L. Stevenson 4. 2002 – Directing of MORìA, from Volpone, or The fox by Ben Jonson 3. 2002 – Theatre workshop with adolescents for Ert + performance ORAZI E CURIAZI, by B. Brecht 2. 1998 – Ucla. Directing of ENDGAME, by Samuel Beckett 1. 1997 – Ucla. Writing and directing of THE SMOKE SELLER, from the novel “Drowning” by Anton Chekov

22 2013. TEACHER AND TRAINER IN DRAMATURGY AND DIRECTING FOR THE INTERNATIONAL PROJECT ROOTS AND ROUTES duration: two weeks intensive partecipants: 10 artists

“”

Workshop

STEPS AHEAD ACADEMY a project on Junior Coaches Education Florence, Vivaio del Malcantone September 2nd-13th, 2013 ROOTS & ROUTES was developed as a concept to involve young talents from multicultural neighbourhoods at the EU Cultural Capital activities in Rotterdam 2001. Following the success in Rotterdam, further projects were organised in major Dutch cities. The common principle: To use young artists' diverse cultural backgrounds – “ROOTS” – and their creative expressions to show them “ROUTES” that lead to the established culture scene. Today ROOTS & ROUTES is an international network for the promotion of cultural and social diversity in contemporary performing arts and media. ROOTS & ROUTES members offer educational activities, mobility programmes and stage performances for young music, dance and media talents in 10+ European countries: Arts and media as tools for integration in the social and cultural life and as first step into an artistic career. The academy projects train young talents to become Junior Coaches. ROOTS & ROUTES Junior Coaches are young dance, music and media talents who are educated to coach other students of similar or younger age. The Academy seminars contain creative, cultural, social and entrepreneurship content.

ROOTS AND ROUTES WEBSITE

21 2011 THEATRE WORKSHOP IN THE FEMALE SECTION OF THE PRISON OF BOLOGNA duration: 9 months, participants: 10 prisoners OUTCOMES: 1 . a game-book

ALICE IN WONDERWOMEN’S LAND a catalogue of superwomen, meeting Alice Tales and drawings by the prisoners: Melania Carnevali, Maria di Mastrochicco, Julia Marta Guadalupe, Paola Manzali, Vanna Marchi, Elhana Prendi, Sonia Palla, Irina Plotnikova, Gabriella Sassetti

“This is our praise to the dream. Our homeworks, our Excercises on the style of Nel blu dipinto di blu…”

READ THE BOOK 2 . a one-long-take short film

WW 25 Wonder Women at the bus-stops of line 25 from Rizzoli downtown to Carcere

How far is this world form the other? Only 5 kilometers. How can I get there? Take the line 25, direction Carcere How long does it take? 20 minutes.

SEE THE VIDEO

3. diary of a theatre workshop in prison

DEI SOGNI handbook about intentions, possibilities, accidents, patience, good excercises, while playing with theatre into a prison

READ THE BOOK All projects created and directed by Massimiliano Briarava Drawing classes by Karin Andersen Storytelling classes by Gianluca di Dio Poetry classes by Giacomo Mannironi Rhythm and movement classes by Katie Seynaeve and Sara dal Corso Produced with the financial aid of Fondazione del Monte in Bologna

20 SAMPLE TRACK

SEE THE PROGRAM ON UNIBO ONLINE 2011 WORKSHOP-CLASS ON PERFORMANCE, FOR DAMS (Dept. of Art, Music and Performance), UNIBO duration: 30 hours, participants: 30 students

SAY/SEE Radio-dramatizing Alice Workshop-class directed by Massimiliano Briarava

Noises e voices, objects and subjects, tell me Wonderland, in the dark, with sounds and voices, just. Bibliography: Lewis Carroll, The adventures of Alice in Wonderland Valere Novarina, Allâ&#x20AC;&#x2122;attore Stefano Bartezzaghi, Lessons in enigmatography Frank Kermode, The genesis of Secrecy: on the interpretation of narrative Jan Svankmayer, Alice (film)

drawings by Saiman Chow

2011 WORKSHOP-CLASS ON PERFORMANCE, FOR ERASMUS MUNDUS MASTER PROGRAM, UNIBO duration: 30 hours, participants: 30 students OUTCOMES: workshow

H.D. (HARD DIALOGUE) An anti-grammatical feat against Lewis Carroll

after Through the looking glass, chapter VI, Humpty Dumpty and the Artaud’s translation and adaptation of the chapter Workshop-class and performance directed by Massimiliano Briarava February 18th 2011, Via Centotrecento, Bologna

Rewrite and tell the tale with all the idioms you can. Today Humpty Dumpty will be played by the very Antonin Artaud… with Fulvia Balestrieri, Anastasia Belousova, Mengchao Cui, Patrizia Dellea, Maria Teresa De Palma, Andrea Guiducci, David Esteban Herrera Serna, Annalisa Lombardi, Silvia Luca’, Francesco Manca, Sara Meschiari, Mihaila Petricic, Marta Pierri, Gemma Prandoni, Gabriella Quadrato, Jasmina Radojicic, Paola Ravasio, Bruno Ribeiro De Lima, Shirine Salameh, Nan Shao, Maria Slezakova, Simao Valente, Emina Zuna, Ema Gjica

However, huevo deveniva piú e piú grande e mais e mais humano: occhi e naso e bocca tenía ella viú quando gli fu vicino. Estando ao lado ha visto claro que era Lui-stesso.

It can’t be que Lui-stesso! Sono così serta disso

as if son name estuviera scritto in faccia Tal vez pudesse starci scritto a hundred veces fácilmente en su enormosa faccia. Lui-stesso estaba seduto con las gambas cruzadas like un Turcomanno no topo da parede così estreicho que Alice taba parva como podría keepar su balanço. Y como sus ojos guardaban estedilmente fixados nell’oposita dirección y no tenía noticias de ella, lei pensava che fosse una boneca estufada after all.

Qué huevo! pronta con le mani ad acchiapparlo, espectando que fallasse every moment. (long pause)

…»

18 18 2010 WORKSHOP-CLASS ON PERFORMANCE, DAMS, UNIBO Title: ALICE. IO, IL TEMPO, LO SPAZIO, LE PAROLE duration: 30 hours, participants: 33 students OUTCOMES: workshow and game-book

WONDERLAND LOOKINGLASS

after all Alice’s Adventures (in Wonderland and Through the looking glass, by Lewis Carroll) Workshop-class and performance directed by Massimiliano Briarava December 9th 2011, Dams Lab, Bologna

In every Adventure there’s a secret meaning. You need the key to see all the words hidden in things, and the alphabet flying. It’s like reading dreams. “Rebus”, a game of names hidden in things and actions. Its name comes from latin. “Res” is: the “Thing”. Puzzlers: Alice Bortoloso, Francesco Moledda, Valentina Anzani, Nicholas Paoli, Giulia Apicella, Dina Caball Olivet, Veronika Trebesh, Magdalena Klesczc, Laura Guhl, Riccardo Frati, Gaëlle Mignot, Gianluca Nicoli, Johanna Weigmann, Francesco Matteo Dalla Via, Letizia Lombardi, Andrea Lazzari, Efisia Puca, Sonia Galluzzo, Eleonora Innocenti Sedili, Eleonora Tulli, Martina Alessandrello, Marco Roma, Sara Pasquino, Massimiliano Briarava Cossati, Giuseppe Fabio Arcifa, Marta Bassetto, Denise Rita Dacquì, Nicola Giovannelli, Gaia Petozzi, Micaela Francesca Comasini, Maria Francesca Colletti, Elizabeth Perez Meja

READ THE BOOK

SEE THE PROGRAM ON UNIBO ONLINE

17 2010 WORKSHOP-CLASS ON PERFORMANCE, FOR ERASMUS MUNDUS MASTER PROGRAM, UNIBO duration: 30 hours, participants: 33 students OUTCOMES: performance

A.L.I.C.E. (Atlante Letterario Incendiato Compagnia Erasmus) (Blazing Literary Atlas Erasmus Company) after Lewis Carroll, Ray Bradbury, Aby Warburg Workshop-class and performance directed by Massimiliano Briarava January 23rd, 2010, Spazio Binario, Zola Predosa, (Bologna) – Mnemosyne Festival Bibliography: The adventures of Alice in Wonderland and Through the looking-glass by Lewis Carroll Fahrenheit 451 by Ray Bradbury Atlas of Mnemosyne by Aby Warburg

Carroll – Bradbury – Warburg. An Atlas of memory and oblivion. Know by heart, apprendre par coeur, is the actors’ work of art. Memory is our luxury, the subtance of dream and history. Today we’ll burn, like books in wartime. THE BOOK-PEOPLE Alessandra Dolce, Ana Kliman, Anna Balducci, Beiyuan Yu, Caterina Sansoni, Celeste Bronzetti, Chiara Carlino, Davide Colasanto, Diana Aguilar Trejo, Dimitra Bock, Eliane Diniz Campos, Federico Forlani, Francesca Ciardullo, Gian Paolo Ilari, Hannah Splitt, Jia Xu, Johanna Delsante, Laura Weikel, Mahan Saatchi, Mame Birame Diouf, Marco Veneziale, Massimiliano Briarava Cossati, Mengru Wu, Meriem Khelifi, Milisava Petkovic, Olga Vasilevich, Ricardo Perez Martinez, Silvio Jose Bolano Robledo, Tanja Gavrilovic, Thu Phuong Quynh Le, Tilahun Zellelew HAVE MEMORIZED Albert Camus, Apocalisse di Giovanni, Bei Dao, Bertolt Brecht, Birago Diop, Calderon de la Barca, Carlo Collodi, Catullo, Charles Baudelaire, Charles Dickens, Dante Alighieri, Edgar Allan Poe, Edgar Lee Masters, Eraclito, Erasmo da Rotterdam, E.T.A. Hoffmann, Farid al-Din Attar, Fedor Dostoevskij, Fernando Pessoa, Franz Kafka, Gabriel Garcia Marquez, Galileo Galilei, Gustave Flaubert, Guy de Maupassant, Hans Christian Andersen, Herman Melville, I-Ching, Italo Calvino, Jacob e Wilhelm Grimm, James Joyce, Jean de la Fontaine, João Guimarães Rosa, Jorge Luis Borges, Lao Tze, Le Mille e una notte, Leonardo da Vinci, Lev Tolstoj, Ludovico Ariosto, Marcel Proust, Michail Bulgakov, Michel de Montaigne, Miguel de Cervantes, Milan Kundera, Nicolò Machiavelli, Omero, Ovidio, Paul Celan, Pier Paolo Pasolini, Platone, Rainer Maria Rilke, Samuel Beckett, Thomas Mann, Thomas S. Eliot, Virginia Woolf, Vladimir Nabokov, Voltaire, William Shakespeare, Wolfgang Goethe

SEE THE VIDEO

16 2009 THEATRE WORKSHOP IN THE HIGH SURVEILLANCE SECTION OF THE PRISON OF BOLOGNA duration: 9 months, participants: 11 prisoners + 16 students OUTCOMES: performance

POLIGRAF. Molte scritture (So many writings) after Heart of a dog by M. Bulgakov with the participation of students of UNIBO Workshop and performance directed by Massimiliano Briarava June 25th 2009, Cinema Hall of the Prison of Bologna

This is a very difficult performance. It is about education. About training, taming, “treatment” – that’s how they call it, here, where they teach you how to live. Difficult performance, made of questions, prohibitions, permissions. And senses: a man knows; a dog’s nose. What’s a dog made of words? A political, ideological, theatrical animal, he learn the lines, lies. He picks a name: Poligraf. Because Poligraf means: so many writings, so many meanings. God and Dog, together. Poligraf is a theatre, a karaoke evening, a cartoon, a dance piece, an impro match, an action painting, our vain attempt not to misbehave. Drawings by di Karin Andersen / Choir music by Paolo V. Montanari / Movements by Sara dal Corso / Video art by Ana Ticak / New tongues by Giacomo Mannironi / Produced with the financial aid of Fondazione del Monte di Bologna e Ravenna Actors: Antonio Antonucci, Simone Becchimanzi, Giuseppe Celentano, Dario Caruana, Giuseppe Gemito, Giovanni Lentini, Giuseppe Malena, Giuseppe Martena, Alexander Alejo Perez, Aldo Primavera, Claudio Virgilio; and the students: Lorenzo Chelini, Alessia Corbelli, Rosanna D’Agostino, Ilaria Debbi, Elena Fammilume, Loreley Franchina, Sena Lippi, Irene Manara, Anastasia Passerotti, Anna Laura Penna, Nele Reial, Licia Simoni, Riccardo Tabilio, Vito Verna, Christina Ourania Zoidi

SEE THE VIDEO

READ THE SCRIPT

15 SEE THE PROGRAM ON UNIBO ONLINE 2009 WORKSHOP-CLASS ON PERFORMANCE, FOR DAMS, UNIBO duration: 30 hours, participants: 25 students

THE PERFECT HUMAN excercises on the verge of the representable Workshop-class directed by Massimiliano Briarava

When truth is in the fall, the crash, the flip over; stupidity, astonishment, misunderstanding. Crisis of words, gender, classes and categories. Contemporary performance always plays with its own medium, aiming to be invisible and everywhere, to get rid of any worries about reality. So comic and so holy, together. From Jan Fabre’s experimental playwriting; Andy Kaufman’s schizophrenic approach to reality on TV; Von Trier’s “5 obstructions” on the “The perfect human”, a short film by Jorgen Leth; Bulgakov’s “Heart od a dog”. With these ingredients we’ll develop excercises and workshows on the verge of the representable. Bibliography: Jan Fabre, The emperor of Loss Antonin Artaud, Theatre and its double Lars Von Trier, The five obstuctions (film) Jorgen Leth, The perfect human (short film) Michail Bulgakov, Heart of a dog Sketches and TV broadcasts by Andy Kaufman OUTCOMES: The workshop has been included in the project Poligraf, and the students have rehearsed and performed together with Prisoners of the Prison of Bologna.

14 2009 WORKSHOP-CLASS ON PERFORMANCE, FOR ERASMUS MUNDUS MASTER PROGRAM, UNIBO duration: 30 hours, participants: 10 students OUTCOMES: performance

STUDI GRAMMATICALI PER UCCELLINI AZZURRI after the play L’oiseau Bleu by M. Maeterlinck (1909) and the silent movieThe Blue Bird by M. Tourner (1918) Workshop-class and performance directed by Massimiliano Briarava February 6th 2009, Spazio Binario, Zola Predosa (BO) - Live playback of the silent movie, with new soundtrack and inserts

I tried to catch the very moment when I get into sleep. The only result was to delay that moment, uselessly. Now I want to focus on the precision and clearness of images. But, while I focus, the image changes. If I’m surprised then I have to start over again, cause it means I woke up. But if I’m overpowered by the new image, then the dream is on! I’m not there anymore, I’m ready for the search of the Blue Bird of happiness. With Michael Brown, Djurdjina Bulatovic, Paola Giumarra, Robert Hackett, Jovana Karanikik,Dina Mardiana, Gorana Prodanovic, Emanuele Riva, Maria Paz Rodriguez, Gessica Stella, Alessia Zocca

SEE THE VIDEO

13 2008 THEATRE WORKSHOP IN THE HIGH SURVEILLANCE SECTION OF THE PRISON OF BOLOGNA duration: 9 months, participants: 10 prisoners OUTCOMES: performance

6 CARTONI ANIMATI PER ANFITRIONE (6 cartoons for Amphytrion) after “Amphytrion” by H.V. Kleist Workshop and performance directed by Massimiliano Briarava Cossati June 20th 2008, Cinema Hall of the Prison of Bologna

6 characters, 6 masks and all the possible permutations between god, man, master, servant, male and female. “Ciò che 6” (“What you are”; 6 in italian is “sei”, both the number and the verb “You are”). 6 the games to win, 6 the faces of the dice. Roll it, that’s the only way to know who’s wrong, who’s right, and who you are. 6 characters with no answers: if every face of the dice is a constellation, then the answers are in the sky. On this hemisphere men are cardboard silouhettes, women are pottery dolls, gods are bad, quite bad imitators. The earth is flat, it’s a bunch of sand on a table, and the sky on the backgorund is the draw of destinies, black and white, no shades of grey. Enough for a modest, comic, Nativity scene. We call destiny what we have made with our own hands, one day, and we don’t recognize anymore, now.

Dolls, puppets, drawings: Giovanni de Francesco Backdrop video: Tommaso Arosio Produced with the financial aid of Fondazione del Monte Actors: Raffaele Catapano, Giuseppe Celentano, Giuseppe Gemito, Francesco Gumari, Giovanni Lentini, Michele Pontolillo, Aldo Primavera, Claudio Giuseppe Virgilio

SEE THE VIDEO

SEE THE BACKDROP DRAWINGS

12 SEE THE PROGRAM ON UNIBO ONLINE

2008 WORKSHOP-CLASS ON PERFORMANCE, FOR DAMS, UNIBO duration: 30 hours, participants: 20 students

STRADA MAGGIORE 49, VIA FONDAZZA 36 Environments for Arcangeli, Morandi, a play by Roberto Roversi Workshop-class directed by Massimiliano Briarava Cossati

Bologna, 1960. Giorgio Morandi, from Bologna, is a painter of intimacy, misterious and solemn objects, set for a ritual of perspective. Francesco Arcangeli, from Bologna, is an art critic and professor, a poet, passionate voice for Morandi’s enchanted space, whose “way of life” he describes in a rich monography. But Morandi rejects Archangeli’s recognition: while the critic brings those paintings at the root of contemporary art, groundbreaking for Pollock’s abstract expressionism, the painter sees himself out of time, like to say “immortal”. The frendship is broken, and Arcangeli’s voice and mental balance are compromised. Open questions: who’s the owner of the meaning of a work of art? Is there any autonomy of the comment in front of a piece of art? As directing theatre can be meant as an elaborate way to comment, how to stage, with “rightness”, my comment on a painted image, on a “light out of time”? Bologna, 2007. Roberto Roversi, from Bologna, is a poet and playwright who composes this true story of a broken friendship, and opens questions into a stereoscopic drama. A moral little opera, with transient return of images. Moving around the city, as a guardian for the visions of these three men from and for Bologna, you’ll recognize the space, the actors, the story, the materials, the light they talk about. And you can add your comment. Bibliography: Francesco Arcangeli, Giorgio Morandi and Dal Romanticismo all’Informale. Lezioni Accademiche 1970-71 Roland Barthes, Camera Lucida – Reflections on photography A visit to Museo Morandi in Bologna A personal research on the artistic groups Arte Povera or Fluxus

GIORGIO MORANDI’S HOUSE. PHOTOS BY DUANE MICHALS

11 SEE THE PROGRAM ON UNIBO ONLINE 2007 WORKSHOP-CLASS ON PERFORMANCE, FOR DAMS, UNIBO duration: 30 hours, participants: 25 students title: LA BAMBOLA IENA OUTCOMES: performance

LA IENA DI SAN GIORGIO by Arnaldo Picchi, after the canovaccio for puppets by G. Niemen workshop and 1st workshow: June 28th, 2006, directed by Arnaldo Picchi workshop and 2nd workshow: May 31th, 2007, directed by Massimiliano Briarava Cossati Bibliography: Rainer Maria Rilke, Dolls; Charles Baudelaire, A philosophy of toys; Heinrich Von Kleist, Marionettentheatre

A comment, a midrash, urges wherever we find an unexpected word. So the adaptation of this old scenario for puppets is enriched by several “intarsi” (inlays), secret, alternative, parallel interpretations of the story and the characters, useful to the actors-puppeteers, to deal with to the ungovernable power of their own puppets. This is a job for actors who are puppeteers and the puppets they build, putting together what they found in a rubbish dump. Opposition between the child-like vitality of this men and the demon-like malice of dolls; they push everything into a story of blood and fear – the real story of a village in Piemonte in 1833, where Giorgio Orsolano, “La iena”, killed two girls and made sausage out of them, to be served at San Giorgio’s fair. A blasphemous communion. Dolls are invincible, immortal, but they can’t move; and they detest to depend on humans, such temporaty creatures. Look at the actor’s effort, then, moving his deadly dolls; but the two are tied one another. Hand and tool: it means to work by-way-of, by way of another, maybe a friend, an enemy, a killer - dance with the killer, the sweetness of the killer, the tenderness of the wolf, the butcher / lover. And doubt: that evil, deceiver, is your own soul. Together the hand that moves and the head that flees. When the fight against the puppets comes to its edge, puppeteers wear masks, welder’s helmets and glasses, iron skulls. More and more resembling their rivals. The soul penetrates the hand, the hand penetrates the soul. Actors of the first workshow, directed by A. Picchi: Azzurra Spirito, Riccardo Rivi, Massimo Conti, Giovanni Marandola, Eva Beriatu, Gregory Cohen Frumin, Fulvia Lionetti, Irene Lentini. Actors of the second workshow, directed by M. Briarava: Azzurra Spirito, Piermario Salerno, Massimo Conti, Giovanni Marandola, Eva Beriatu, Tommaso Arosio, Fulvia Lionetti, Irene Lentini + 30 new students

Sentence to death for Giorgio Orsolano; Giorgio Orsolano’s head, Museum of criminal antropology, Torino

10 SEE THE PROGRAM ON UNIBO ONLINE

2006 WORKSHOP-CLASS ON PERFORMANCE, FOR DAMS, UNIBO duration: 30 hours, participants: 15 students

SOUNDTRACKS AND VIRTUAL SPACES Workshop-class directed by Massimiliano Briarava Cossati

A theatrical use of iconography. An attempt to consider a painting as a stage action. Recognize the story, the style, the iconographical sequence the piece is part of; dramatize it, consider sound and music, inhabit it. An iconographical use of theatre. An attempt to plan the theatre section of the living museum for theatre. To recognize visitors as actors, put them into a game of choices â&#x20AC;&#x201C; like in a real play â&#x20AC;&#x201C;, and a visual space of noises. Suggest them ways to discover, inhabit, their city like a living museum. Bibliography: Erwin Panofsky, Iconography and Iconology Georges Didi-Huberman, Devant le temps George Kubler, The shape of time Peter Burke, Eyewitnessing Maurizio Ciampa, Nine crosses. Images of passion

Beato Angelico, fake marbles as decoration of the Sacra Conversazione in the S. Marco Monastery in Florence.

9 2006 AGREEMENT UNIBO + TEATRO COMUNALE + FINE ARTS ACADEMY + MUSIC CONSERVATORY OF BOLOGNA. STUDENTS AND TUTORS FOR THE PRODUTION OF AN OPERA OUTCOMES:

PAOLO E FRANCESCA Libretto by Arturo Colautti Music by Luigi Mancinelli Teatro Comunale of Bologna, October 10th, 12th, 14th 2006 For the first time on stage Conductor: Massimo Donadello Directed by Massimiliano Briarava Cossati Chorus master: Roberto Parmeggiani Orchestra and chorus of the Conservatory “Giovan Battista Martini” in Bologna Video art by Tommaso Arosio / Light design: Giovanni Marandola / Scene design: Andrea de Micheli, Assunta Schiappapietra / Costumes: Simona Cosentini Francesca, soprano Gianciotto, baritono Paolo, tenore Il Matto, tenore

Elena Rapita Sung Woo Bu / Akitomo Goda Giancarlo Monsalve Enea Scala

Actors: Nicolò Bertozzo, Lavinia Chiappone, Massimo Conti, Francesco Izzo Vegliante, Fulvia Lionetti, Noemi Rzewski, Manuela Micciantuono, Alberto Sarti

Rilke writes on Angels: «Who, if I cried out, would hear me among the angels' hierarchies? And even if one of them pressed me suddenly against his heart: I would be consumed in that overwhelming existence. For beauty is nothing but the beginning of terror». Beauty as Love. Love, as strong as death (in The song of songs). Instinct, piacer sì forte, inexplicable, even painful, and scary as the extraordinary feeling that sticks Paolo and Francesca together, belle persone, described in Dante’s Inferno, Fifth Chant. Stronger than men is the love they feel, so there are angels right there, to bind their hearts, prevent their explosion. That’s why I see of Paolo and Francesca as animals (in italian “anima” means “soul”); they speak of an inexplicable felling, a magic insanity. Love is the wound that’s indispensable for breathing; the cuts on fontana’s canvas (our backdrops), are passages for air, hits of a sword, passages for the wind, that pulls and pushes Paolo and Francesca in their underworld. They fall and raise, they are still embraced.

SEE THE VIDEO

8 2005 AGREEMENT UNIBO + TEATRO COMUNALE + FINE ARTS ACADEMY + MUSIC CONSERVATORY OF BOLOGNA. STUDENTS AND TUTORS FOR THE PRODUTION OF AN OPERA OUTCOMES:

MALOMBRA

Opera in three acts and a prologue From the novel by Antonio Fogazzaro, 1881 Music by Marco Enrico Bossi, libretto by Renato Simoni and Luigi Orsini Teatro Comunale di Bologna, September 19th, 21st, 23rd 2005 For the first time on stage Conductor: Massimo Donadello Directed by Massimiliano Briarava Cossati Orchestra and chorus of the Conservatory “Giovan Battista Martini” in Bologna Backdrop video: Tommaso Arosio Marina di Malombra, soprano: Lydia Easley / Corrado Silla, tenore: Masamitsu Fujimaki / Cesare d’Ormengo, baritono: Federico Longhi / Steinegge, baritono: Giuseppe di Paola / Nepo, tenore: Ja-Hune Koo / La Contessa Fosca, mezzosoprano: Katarina Nikolic / Il Notaio, baritono: Antonio Marani / Il frate medico, basso: Ziyan Atfen / L’Ombra di Cecilia, messosoprano: Mariantonia Marolda / La fantesca Giovanna, messosoprano: Roberta de Iuliis / La fantesca Fanny, soprano: Scilla Cristiano / Il barcaiolo Rico, tenore: Gohei Kohashi

In the epilogue of Fogazzaro’s novel – the day after Marina killed her lover, Corrado Silla, and desappeared fleeing on the lake by a little boat– rumors involve the crime and the characters: love, perversion, assassination, insanity, demons, allucinations, all what’s visible from the outside, resembling maybe some Shakespeare, some Hamlet. Besides, the novel has a structure similar to James’ Turn of the screw. For every gesture, every word, we can perceive two possible reasons, staggered and linked together. Laborious, perhaps, but a little more dinamic. And, without changing a single word, counting on what’s visible, we can develop the moves of a theatrical version, of a comprehension. Like on a rocking chair: sometimes the face is in the shadow, sometimes in the light. The orchestra and all the other characters, the villa on the lake, and the garden full of statues, all surrounds Marina like a bogus package, papier-mâché, whose visible meaning is obvious, quite comic. But suddenly it all takes the opposite direction: the villa is now a palace at the bottom of the lake, multiplying shadows, like a magic lantern. Tapestries, and their romantic stories of ladies in imperial-style clothes, all wave like seaweeds, and Marina walks through, appears and desappers like a ghost, a mimic reptile, and runs from an admirer she doesn’t love and falls in the arms of a lover who dreams a dream that’s completely different from hers. She appears, desappears.

7 2004 AGREEMENT UNIBO + TEATRO COMUNALE + FINE ARTS ACADEMY + MUSIC CONSERVATORY OF BOLOGNA. STUDENTS AND TUTORS FOR THE PRODUTION OF AN OPERA SEE THE VIDEO OUTCOMES:

RE ENZO

opera comica by Alberto Donini, Music by Ottorino Respighi Teatro Comunale di Bologna, September 21st , 23rd, 24th 2004 First modern staging Conductor: Luigi Pagliarini Directed by Massimiliano Briarava Cossati Orchestra and chorus of the Conservatory “Giovan Battista Martini” in Bologna Backdrop on Klee’s paintings: Tommaso Arosio Enzo, tenore lirico: Cristiano Cremonini / Lauretta, soprano: Yoon Bin Jung Isabella, mezzosoprano: Filomena Pericoli / Podestà, basso comico: Giuseppe di Paola Gigione, tenore: Maurizio Amadori / Cucuberna, tenore: Davide Paltretti Leonzio de Ghisilieri, baritono: Vittorio Prato Actors: Tommaso Arosio, Licia Amendola, Massimiliano Briarava Cossati, Daniele Casari, Fedra Boscaro,Tommaso Fortunato, Mauro Murgano

As history and legend both tell, after the battle of Fossalta, in 1249, young re Enzo, son in law of Frederick II, is brought to Bologna, prisoner of war and symbol of the city’s supremacy on the empire. The citizens celebrate the event with a palio. Year after year the anniversary is remembered with bullfights, naumachie, allegorical representations and dances. They keep on celebrating re Enzo, the king of Bologna, prisoner in the palace on the main square of the city, for over 25 years, all his life. In 1905 a group of students, and among them is the young Respighi, re-ivent this piece of history in a burlesque style: Respighi’s librettist, Alberto Donini, treats the myth with irreverence. Once the young and beautiful king is imprisoned, the city's women create a League for Enzo’s freedom, while husbands create a League of resistance; Enzo refuses to be redeemed by his father’s money because, he says, only love redeems. His legendary attempt to escape, arranged by women, hiding into a basket of laundresses, is immediately thwarted by the watchful eyes of Cucuberna, jealous husband. Serenades and melancholy final chant of the King, back in jail, happy to stay because of his love for Lauretta. Three acts, with masses of people, the whole city. Everyone’s crazy for this King. Respighi composes more of a Singspiel than an opera: various musical numbers within a dramatic narration, with no dialogues but long and detailed captions. Having to develop a script for such a paraphernalia of images and appearances, we preferred to follow the spectacularity of the Singspiel. The narration of the fact is assigned to the director himself, on stage with his helpers, all involved in the preparation of the anniversary, the “feast”. A trick: King Enzo, an actor, is prisoner in his palace, and the celebration (the very Donini’s parody, all around town, with another Enzo, played by a singer) is his occasion for a new escape. Between music and theatre, singers and musicians, in the heart of the celebration, our king prisoner finally finds his way out.

6 SEE THE VIDEO

2004 PERFORMANCE

GODOG Bodies of evidence on the case of the citizen P.P. Pallini after Bulgakov’s Heart of a dog

Directed by Massimiliano Briarava Cossati Nuovo e Utile, Festival of Creativity, may 19th 2004 Firenze, Teatro Lorenese, h. 13-16-18

First survey on virtual bodies for Bulgakov: 16 minutes, 6 actors, 4 microphones, 2 projectors, 1 gun 1 bell, knives and fire. Tears of a dog on a man’s face. Clothes of a man on a dog’s heart. Words: Giacomo Mannironi Drawings: Karin Andersen Cinema: Tommaso Arosio, Giovanni Marandola Sound: Luca Spinogatti Actions: Ilenia Caleo, Emanuela de Marco, Fabio Irrera, Mauro Murgano, Riccardo Rivi, MonaLisa Verhoven

5 2003 THEATRE WORKSHOP WITH ADOLESCENTS FOR ERT (EMILIA ROMAGNA TEATRO) PARTICIPANTS: 15 STUDENTS, 12-13 Y.O. OUTCOMES: performance

JEKYLLHYDE

after Stevenson’s The strange case of Doctor Jekyll and Mr. Hyde, and the poems by Andrea Cotti Workshop and performance directed by Massimiliano Briarava Cossati Teatro Gonzaga, Bagnolo in Piano (RE), May 5th, 6th 2003 Beyond a certain sound, it’s impossible to hear. Unless it is a crack on the surface of your heart. (Andrea Cotti, Da quale fuoco)

An immor(t)al tale, with no way out. A tale on human nature, as the impossibility to decide once and for all, beyond morality, beyond the moment, what’s good and what’s evil. Jekyllhyde (Je-kill-hide; I kill, in shadows) makes one of the two characters, and is performed in two opposite styles. On one side in the shadows, in silence, the solitary deliberation of a man, who decides to break the rule, kill and die. His report is: a load of faces, changing expression with the slightest change of light, ordinary domestic tools becoming dangerous, ordinary gestures becoming definitive. A pure interior theatre. On the other side, in full light of chandeliers, on a dinner with many guests, they laugh with no reason, they eat with no satisfaction, life is told and never lived. A pure exterior theatre. The adolescent actors, fourth sex, misunderstood bodies, mutants, wear elegant outfits, evening dresses, stolen from their parents’ wardrobe, and they sink in those masks. No children nor men. Living monsters. With the students of the Istituto Comprensivo “Comparoni”, Bagnolo in Piano (RE) Debora Calzolari Michele Giugliano Chiara Cacciani, Daniele Mazzali Stefano Masia, Carmen Maiorano, Pasquale Matichecchia, Martina Iotti, Francesca Tosi, Marika Castagnetti, Marco Dodi

4 2002 PERFORMANCE

MORìA

after Volpone, or the Fox by Ben Jonson, and Dialogues of the dead by Luciano di Samosata Adapted and directed by Massimiliano Briarava Cossati Aula Magna dell’Accademia di Belle Arti, Bologna, July 15th, 16th , 2002 Ora si dimostrerà la vita di ognuno (Now everybody’s life will be demostrated)

Torquato Accetto, in his famous essay On honest dissimulation defines it like a veil, to cover an object or a subject, and to leave all the rest clear and visible; simulation, instead, is fog, covering everything, and so it’s impossible to define the borderlines of hypocrisy. On this stage the vicious Venice is summarized in a Turkish Bath, all steam, curtains, covers, dark corners; bathtubes on wheels as gondolas, and a bathtube is also Caronte’s barge, to carry all the “hypocrites” to the stage, were they are now naked in front of the audience, the judge at the doors of after-life. They re-act the script, like actors on the rope between simulation and dissimulation; they show their sins, to be assigned to the appropriate circle: lust, gluttony, greed, anger, violence, fraude, treachery. And Mosca, the servant, traitor of all those traitors, right into Lucifer’s mouth. Ora si giudicherà la vita di ognuno (Now everybody’s life will be valued) With Laura Alessandrino, Marco Azzani, Andrea Bettaglio, Massimiliano Briarava Cossati, Marta Caja, Erminia Congiu, Emanuela De Marco, Fabio Irrera, Giacomo Mannironi, Mauro Murgano, Sara Panazza, Marco Picello, Mirko Pizzigallo, Stefania Prandi Original songs by Nicoletta Zuccheri / Coreography consultant Maelia Carera / Costumes Eleonora Loprete Assistants Cristiano Maugeri, Michele Maurizi, Eva Petralia, Fabrizio Salerno, Anna Carminati / Sound design Tommaso Arosio On the floor: projection of Francis Bacon’s paintings

SEE THE VIDEO

3 2001 THEATRE WORKSHOP WITH ADOLESCENTS FOR ERT (EMILIA ROMAGNA TEATRO) PARTICIPANTS: 15 STUDENTS, 12-13 Y.O. OUTCOMES: performance

ORAZI E CURIAZI by Bertolt Brecht

Workshop and performance directed by Massimiliano Briarava Cossati Teatro Gonzaga, Bagnolo in Piano (RE), May 5th, 6th 2003 with the students of the Istituto Comprensivo “Comparoni”, Bagnolo (RE) (from the script) The audience enters, 20 at a time. All along the corridors, lying bodies of boys and girls, to climb over, to reach the seats. Darkness. Drums. Shiny blue lights on the audience. Suddenly the soldiers stand up and march along the perimeter of the seatings (6 clockwise, 6 anti-clockwise). Their names pass from mouth to mouth, names exchanged, loudly, mixed and charged with tension. When it reaches the top, everybody jumps on the stage, crawl beyond the curtain; the conquer of the stage, the curtain opens. On stage, a floating sky: 15 maps of Europe, each representing a different politic era, from the Romans to the present day. On the floor, scotch tape signs a whole path of lines, crosses, passages. On the sides, lines of school desks. The soldiers wear school pinafores, with white collar and socks, a red pocket on the chest. The soldiers push on stage the school desks, noise, preparing the barricades, marking the space, the separation, so to play the game of Horaces (white tissues) against Curiaces (red tissues). Everybody’s on the borderline. End of drums. First part: a scream “Battle Array!”… CURIAZI: ANDREA BOCEDI, velite MICHELE GIUGLIANO, arciere LUCA RIGHI, oplita GLORIA TEDESCHI, chorus- wife GIORGIA PICCININI, chorus- wife MARIANNA GRAZIOLI, chorus- wife ORAZI: FRANCESCO CAMPOSANO, velite ANTONIO CAPUTO, oplita DAVIDE FOLLONI, arciere CHIARA CORRADINI, chorus- wife DEBORA CALZOLARI, chorus- wife ANTONIO CAPUTO, chorus

2 1998 UCLA, DEPT. OF THEATRE, FILM AND TELEVISION MASTER CLASS IN DIRECTING THEATRE, INDIPENDENT STUDY. PROF. MEL SHAPIRO Performance:

ENDGAME

by Samuel Beckett Directed by Massimiliano Briarava Cossati June 7th, 8th, 10th 1998, MacGowan Hall, UCLA, Los Angeles Scenes and artworks: Adelaide Cioni Original music and live piano: Edward Moldavskij Light design: Nick Keslake / Directing assistant: Aaron Fienstein Cast: Hamm: Claudio Raygoza / Clov: Jonathan Wysocki / Nagg: Ian Stevens / Nell: Les Miller / The boy: Edward Moldavsky

1. In "Godot" somebody must come. In "Endgame" somebody must leave. 2. It is a play about the end of a relationship that seems already ended at the beginning of the play. 3. The stage box recalls the brain box and both they recall the trash-can. 4. Dianoetic laughter: it is the laughter that laughs of unhappiness. Dianoia is the progressive awareness of the human destiny. 5. The curtain is opposite to the sun: when the curtain raises it is dark. When the curtain falls it is light. 6. Help the actor to be there as less as he can, at the limit of silence and stillness; this was Beckett’s approach. But as we are playing, we should “play” with this approach too. The effort of Hamm and Clov is "to be there" too. 7. Verfremdung effekt: A. to show a man that B. shows himself as an actor that C. is acting a character. What in Brecht stops at the third phase, in Beckett goes on forever. Every element – man, actor, character – recalls the other in an infinite possible permutation. 8. Humans are the only animals to represents themself; by this mean they fulfill the major point of their human condition: the beckettian character is a character-actor and by this mean the author illustrates the difficulty of humans to represent themselves. 9. Meaning is fearful. So we stage the constant approach to meaning, tangible through laughter, commotion, anger or any other feeling the actors develop while working on the characters. When the feeling – and so the meaning – is almost accomplished, and the audience is just one step from reaction, the mood must be inverted, switched into the feeling of its contrary. Commotion is ridiculous, and what’s ridiculous falls into indifference.

1 1997 UCLA, DEPT. OF THEATRE, FILM AND TELEVISION, MASTER CLASS IN DIRECTING THEATRE, PROF. MICHEAL MCLAIN

DROWNING (The smoke seller) a vicious circus after Anton Chekhov’s short novel Drowning and inspired by Pilate’s chapters in Bulgakov’s The Master and Margarita November 15th 1997, MacGowan Hall, UCLA, Los Angeles Written and directed by Massimiliano Briarava Cossati

...venditore di fumo (smoke seller), Italian idiom that means: humbug, illusionist, joker... So Judas must betray, and die. Only by this mean the divine design will be accomplished. The beggar: «My compliments, sir merchant! Most feelingly. My compliments! Evviva! How would you like to see a drowned man, Your Worship? Actually there is no drowned man… but I can impersonate him, for you. A leap into the water, and a drowning man perishes before your eyes.

The tableau is not tragic. It is ironic, in view of its comic features… Allow me to perform for you, sir… Milord, your poorest brother is offering you his modest services… One leap into the water, and there is a tableau here for you. Considerations of a material nature trouble you as it seems they do? I hasten to reassure you… For you the fee will be a small one…thirty rubles. Well. Thirty rubles for drowning myself with my crown. Twenty rubles, without it....» Actors and characters: Nathan Baesel black clown Michael Biscotti white pierrot Jake Bern red lion’s tamer

(the beggar) (the one on the bench) (the one who arrives)

(judas) (christ) (satan)

B BOOKS ESSAYS, EDITING, PUBLICATIONS, CONVENTIONS 2013 9. - Notes, editing and introduction for the text: Glossario di regia teatrale ( Directing a performance. Glossary ) , by A. Picchi 8. - Notes, editing and introduction for the text: Lezioni di Iconografia teatrale . ( Iconography for performance. Lectures ) by A. Picchi 7. - Notes, editing and introduction for the text: Teatro. testo e studi (Theatre. Texts and studies) by A. Picchi 6. - Notes, editing and introduction for the text: Apologia Poetarum. Scritture ( Apologia Poetarum. Writings ) by A. Picchi 2012 5. – Notes, editing and introduction for the text: Enzo Re. Dalla pagina alla scena ( Enzo re. From page to stage ), by A. Picchi, ed. Quaderni del Battello Ebbro, Porretta Terme (BO), 2012 2009 4. - Senza fine, racconto ( Without an end, tale ), in “Culture Teatrali”, n. 17, fall 2007, ed. Quaderni del Battello Ebbro, Porretta Terme (BO) 3. - Arnaldo Picchi – Note di Biografia, ( Arnaldo Picchi – Biographical note ) in “Culture Teatrali” n. 17, fall 2007, ed. Quaderni del Battello Ebbro, Porretta T. (BO) CONVENTIONS 2. 2007 Coordinator and chairman for the Giornata di Studi per Arnaldo Picchi, Bologna, Auditurium Laboratori Dams, 7.12.2007. 1. 2012 Lecturer for the Giornata di Studi su Re Enzo in the program of the Festival della Storia, ninth edition, Bologna, Palazzo Re Enzo, 23.12.2012.

2013 forthcoming publication

Directing a performance. Glossary by Arnaldo Picchi edited, commented and introduced by Massimiliano Briarava Pages: 395 approx. Evidence of three decades of academic and artistic career, the Directing a performance. Glossary is developed and edited in view of its use in university theatre classes. The text explores history, tecniques, and secrets of theatre directing, always with an active and transdisciplinar approach – inviting the reader to create his own personal itinerary into the subjects: from the analysis of texts and sources to the work with actors, in workshops as well as on rehearsals, from stage tecniques up to the ethic principles supporting any theatrical moment, all is synthesized in a series of key words composing a versatile glossary, both conceptual and practical. The thought on directing is nourished by a strong dialectical exchange between theoritical and historical legacies and practical issues every director deals with. The language reveals a strong involvement in the matters of discussion: the author – theatre director and professor – talks of his own experience and justifies his choices, providing suggestions, useful tools for anybody: both students and professionists, specialists and beginners. Picchi configures a personal but easy to share “system of thought”, contextualized in theatre history and in history overall. The Glossary is assembled, commented and introduced with an essay by Massimiliano Briarava. Main Entries: Adaptation, Archetipe/tragic, Actor, Art, Biography, Character’s charm, Coherency, Commission, Découpage, Description of characters, Distorsion, Double, Dramaturg, Effect, Epiphets/thesaurus, Identification, Improvisation, Inlay work, King, Liberty vs. happiness, Loyalty, Misunderstanding, Myth, Models/stage techinques, Multiple playwriting, Dramatic focus, Pain, Paradigms, Paintings of History, Play, Poetry, Preachings, Preliminaries, Points of oddity, Rightness, Stage-Scritp, Soundtracks, Space, Representation, Tale, Theatreteque, Time, Tipicality, Tradition, Verisimilitude, Verse

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2013 forthcoming publication

Iconography for performance. Lectures by Arnaldo Picchi edited, commented and introduced by Massimiliano Briarava Pages: 454 approx.

Iconography for performance. Lectures is a collection of notes, articles, fragments, trascriptions from tape recordings, all dedicated to the creation and development of an extraordinary and unique use of iconography, iconology and their methods on service of theater and performance. The volume presents both lectures and exercises, integrated with technical and historical notes on the different approaches on the matter of images and their power, from Ripa to Warburg, from Benjamin to Didi-Hubermann. Picchi offers a completely new crossover approach, between Art History, Iconography and live performance. Iconographical analysis is based on the classification of images according to themes, subjects and treatments; iconology developes further implications, dipping images into their own cultural environment, exploring the artists reasons and all the influences driving the transfiguration of archetypes. The approach to both these two disciplines is based, in Picchi’s approach, on a cross-over strategy where form and substance, evidence and interpretation, are synthetized and offered as a support to the preparation of a live performance project, to the necessary collection of information and materials. Similar to the setting of Warburg’s Menmosyne, Picchi’s method exposes any kind of document to iconographical analysis: images, literature, music, events, ordinary moments, gestures, transcending the hierarchies of “masterpiece” “art”, the labels of style, etc. In the moment of live performance all languages are necessary and contemporary. In Picchi’s approach, iconography and iconology are theatrical, not as they deal with theatrical images, but as they offer a useful system of control on the fluctuation of meanings, on that web of connections (archetypes, pathosformeln) which grants, to theatrical communication, coherency as well as misteriousness, immediacy as well as immortality. The volume opens with an essay dedicatedin to Picchi’s approach on iconography and to his historical references, written by Massimiliano Briarava, editor of the whole book.

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2013 forthcoming publication

Theatre. Texts and studies by Arnaldo Picchi edited, commented and introduced by Massimiliano Briarava Pages: 500 approx. The volume collects eight among the most significant texts written by Arnaldo Picchi for the theatre. Dramatic writing is what’s written for the stage, with lines and captions; but – for this author – it is also the philological research which precedes and sustain every stage-work; not only original texts but adaptations and collages enriched by sidenotes, comments, inlays, and turned into hypertexts, vibrating with the contribution of generations of sources and the present/presence of performers. For this reasons the volume includes very different natures of text: original plays, adaptations, supplied with studies, essays, articles. Four texts make up the first part of the volume: “The workshop (20061986)”; these materials have been produced within the permanent workshop on Directing theatre, held by Picchi all along his academic career and attended by thousands of students. These texts are chosen as the more representative of a specific pedagogical priority. Four other texts make up the second part of the volume: “Il Gruppo Libero (1983-1968)” and have been produced for the experimental theatre company held by Picchi in the Seventies, one of the most committed companies on the scene, both on the political and the artistic point of view, a company who never rejected the text as a main support for any theatrical exchange. The volume is introduced by Con la sola propria parola (Only by their own word), an essay on Picchi’s double profile – pedagogical and political – by Massimiliano Briarava, who also edits and comments the whole volume.

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2013 forthcoming publication

Apologia Poetarum. Writings by Arnaldo Picchi edited and introduced by Massimiliano Briarava Pages: 300 approx.

Apologia Poetarum. Writings includes the tales of the collection “Advices for the younger friend”; some other unpublished tales; a religious play dedicated to Michael the archangel, poems for the actors, the work-in-progress novel which gives the title to the whole text. The opus infectum “Apologia poetarum” represents the source of all the author’s visionary world, c his house of games, where to experiment abandon and resistance through poetry, and painting his own streams of consciusness. The volume is edited by Massimiliano Briarava, and introduced by his essay, Kinderbuchland, an overview on Picchi’s literary production.

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5 2012 Published with editor I quaderni del Battello Ebbro, Porretta Terme (BO)

Re Enzo. From page to stage by Roberto Roversi and Arnaldo Picchi edited, commented and introduced by Massimiliano Briarava with Tommaso Arosio, Giovanni Marandola, Luca G. Pappalardo Pages: 200 + 350 + DVD

Enzo Re. From page to stage reports on an extraordinary cultural event involving, between 1997 and 1998, the whole city of Bologna, institutions, citizens and students, the Carisbo Foundation and many theatre artists, to prove the effectiveness of an utopic project. Enzo Re. From page to stage tells the story of the first and only public performance of Enzo re, a kolossal-play by Roberto Roversi: a story documented by the rich material included in a slipcase: two volumes and a DVD: •

• •

the reprint of Enzo re (1974) the chronicle play dedicated to one of the founding myths of Bologna, the prisoner-king, son of Frederick the II. c The play is written by Roberto Roversi, Bologna’s most committed poet, and edited by Arnaldo Picchi. The Director’s diary written by Arnaldo Picchi all along the two years of rehearsal of the performance and edited by his assistant Massimiliano Briarava, with collaborators. The video DVD of the performance, staged in Piazza Santo Stefano on June 1998, with the involvement of more than a hundred students and the original soundtrack written and performed live by Lucio Dalla, one of the most celebrated songwriters in Italy. The text has a strong artistic and pedagogical imprinting; besides, telling about an extraordinary and experimental theatre project, it offers an extraordinary and experimental editorial object. The text includes Einverständnis – il laboratorio di istituzioni di regia di Arnaldo Picchi, 1968-2006 (Einverständnis – Arnaldo Picchi’s permanent theatre workshop 1968-2006), an essay by Massimiliano Briarava, dedicated to the 3 decades of the permanent theatre workshop held by Arnaldo Picchi within his academic commitment, and attended by thousands of student-volunteers. A unique case in the italian university system.

READ THE TEXT SEE THE VIDEO TRAILER OF THE DVD

4/3

2009 Published with editor I quaderni del Battello Ebbro, Porretta Terme (BO) Essays by Massimiliano Briarava:

Senza fine, racconto (Without an end, tale) Arnaldo Picchi – Note di biografia (Biographical note) in periodical “Culture Teatrali”, issue n. 17, fall 2007

The periodical Culture Teatrali dedicates the 17th issue to Arnaldo Picchi. It is titled Arnaldo Picchi. Iconography of a pedagogue/director. The publication includes all the lectures c presented at the convention Giornata di studi per Arnaldo Picchi, a homage and an investigation on the multifarious aspects of Picchi’s work as a professor and man of theatre. Massimiliano Briarava, chairman of the fourth part of the convention, and coordinator of the whole event, is included in the publication with two essays: one, titled Senza fine, racconto (With no end, tale) is dedicated to the sequence of archetypes in Picchi’s choice of subjects and themes, and to an overview on his productions and academic classes, interpreted as a permanent work-in-progress; a second essay by Briarava, titled Arnaldo Picchi – Note di Biografia, ( Arnaldo Picchi – Biographical note ) is the official biographical note on the author.

READ THE TWO ESSAYS

2 2007 Convention Coordination and conduction of:

GIORNATA DI STUDI PER ARNALDO PICCHI December 10th, 2007, Alma Mater Studiorum – Università di Bologna Dept. of Music and Performance Scentific commitee: Prof. Marco de Marinis, Prof.ssa Paola Bignami, Prof. Claudio Meldolesi, Dott. Massimiliano Briarava

READ THE PROGRAM ON UNIBO WEBSITE

Lecturers: PIER UGO CALZOLARI, dean of the University of Bologna GIUSEPPE SASSATELLI, dean of the Faculty of Literature and Philosophy GIUSEPPINA LA FACE, director of the Department of Music and Performance CLAUDIO MELDOLESI, prof. in Theatre literature: Per Arnaldo e le sue esplorazioni fra pedagogia e regia CARLO QUARTUCCI, theatre director: Senza titolo, Il teatro non è la pagina GIULIANO SCABIA, prof. and playwhright: Un rigoroso cammino LUIGI SQUARZINA, theatre director: Dalla prassi alla teoria e dalla teoria alla prassi GERARDO GUCCINI, prof. in Dramatic literature: Picchi, regista innovatore LUIGI GOZZI, theatre director and prof. in Theatre criticism: Testimonianza GIANFRANCO RIMONDI, theatre director: Il Gruppo Libero GIOVANNI AZZARONI, prof. in Oriental theatres: Per A. Picchi, intellettuale organico GIUSEPPE LIOTTA, prof. in Theatre history: La recita RENZO MORSELLI, actor: “La macchina da guerra più formidabile”, 1972. c Teatro e militanza politica ENRICO MANELLI, stage designer and prof. in Stage design: Il compito dello scenografo UBALDO SODDU, playwright and critic: A. Picchi, creatore d’arte CARLA TATO’, actress: Il teatro è sempre uno stato di guerra – L’attorialità è uno stato, non una tecnica MARCO DE MARINIS, prof. in Theatre history: Introduzione RENATO BARILLI, prof. in Phenomenology of styles: I vantaggi di perdere lo specifico PAOLA BIGNAMI, prof. in History of stage design: Una ricognizione sulla rivista ‘Quindi’ SILVIA MEI, researcher: “Bella figura”. Seduzione e filologia dell'immagine PAOLA PALLOTTINO, prof. in Art history: 1989-1991: un triennio memorabile nel rapporto immagine-teatro EMANUELE SERPENTINI, researcher: Fedra e San Sebastiano: verbali di due personaggi ELISA BRILLI, student: Solitudine del personaggio. Appunti sulla poetica dell’intarsio LUCA GIOVANNI PAPPALARDO, researcher : Iconografia teatrale, un nuovo strumento per il dramaturg MASSIMILIANO BRIARAVA, Ph.D and Arnaldo Picchi’s assistant: Senza fine, racconto FULVIO OTTAIANO, director of Radio RAI: Da una tempia all'altra (tempia) GIOVANNI INFELISE, researcher: Amore, scrittura, nostos nei racconti di Arnaldo Picchi ANNALAURA TROMBETTI, prof. in Medieval History: Re Enzo nella storia e nel teatro DAVIDE MONDA, researcher: Ripensando a un amico vero GIACOMO MARTINI, editor: Un forte imbarazzo ROBERTO ROVERSI, poet: Un ricordo per Arnaldo Picchi LUCIANO NANNI, prof. in Aesthetic disciplines: lettera PAOLO PUPPA, prof. in Theatre history: Wake, ovvero l’intransitività di Arnaldo FABIO ROVERSI MONACO, previous Dean of the University of Bologna and President of Carisbo Foundation

2012 Convention

INTERNATIONAL FESTIVAL OF HISTORY October 23th 2012, Palazzo Re Enzo, Bologna RE ENZO BETWEEN MYTH AND HISTORY Convention on Re Enzo at 740 years form his death c Massimiliano Briarava lecturer for: “Arnaldo Picchi and Roberto Roversi: Enzo re. From page to stage”

Suggestions for alternative historiographical approaches: history vs memory; history according to the loser.

C COLLABORATIONS ASSISTANT DIRECTOR, ACTOR, SCREENWRITER 12. 2013 – Playwright and actor for DON GIOVANNI TRIONFANTE (Mozart/Kierkegaard), directed by Paolo V. Montanari, Festival della Filosofia, “To Love”. Modena, 2013 11. 2012 – Assistant director for LIFE IS A DREAM, opera in 3 acts, libretto by Alasdair Middleton, music by J. Dove, after the play by Calderon, directed by Graham Vick 10. 2010 – Screenplayer and actor for È STATO MORTO UN RAGAZZO, film by Filippo Vendemmiati. Winner of the BIF&ST and David di Donatello for best docu-film 9. 2005 – Second director and actor for RIC2FELIX, from Richard II by W. Shakespeare, directed by A. Picchi 8.

2004 – Chorus director for THE BIRDS, by Aristophanes, directed by A. Picchi

2003 – Actor for OXYGEN, by C. Djerassi and R. Hoffmann, directed by A. Picchi

6. 2003 – Second director and actor for WAKE, written and directed by A. Picchi 5. 2003 – Actor for THE SONG OF SONGS, from Qohèlet, directed by A. Picchi 4. 2002 – Second director and actor for GIACOBINI, from F. Zardi, P. Weiss, G. Buchner, F. Hölderlin, S. Przybyszewska, directed by A. Picchi 3. 2000 – Trainer and actor for CIMBELINE, by William Shakespeare, directed by A. Picchi 2. 1999 – Actor for AMPHYTRION, by H. v. Kleist, directed by A. Picchi 1.

1997 – Actor for ENZO RE, by Roberto Roversi, directed by A. Picchi

2013. Playwright and actor in the role of Søren Kierkegaard, for

DON GIOVANNI TRIONFANTE (Mozart/Kierkegaard)

on Don Giovanni di Mozart Don Juan di Gluck Enten Eller di Kierkegaard

directed by Paolo V. Montanari conductor Giovanni Paganelli coreography Anne Judds video Tommaso Arosio

Contradictions between ethic and esthetic. The problem of choice. Winner of the contest Prime Visioni by Fondazione Cassa di Risparmio di Modena in collaboration with Emilia Romagna Teatro Modena. Festival della Filosofia 2013. “Amare”

SEE THE SITE OF FESTIVAL DELLA FILOSOFIA

2012. Assistent director for the opera

LIFE IS A DREAM

Music by Jonathan Dove, after Calderon Directed by Graham Vick Birmingham Opera Company

SEE THE BIRMINGHAM OPERA COMPANY SITE

2010. Screenplayer and actor for

È’ STATO MORTO UN RAGAZZO a documentary film by Filippo Vendemmiati on the true story of Federico Aldrovandi, 18, killed by 4 police agents. Winner of the BIF&ST and the David di Donatello for best docu-film.

SEE THE TRAILER OF THE FILM

2005. Second director and actor in the role of Richard II for

RIC2FELIX

Passage into Richard II by W. Shakespeare directed by Arnaldo Picchi

The Crown, the Clown, the imitation of Christ

2004. Chorus director for

THE BIRDS

by Aristophanes directed by Arnaldo Picchi

Two tramps in search for democracy

2003. Actor in the role of Lavoiser for

OXYGEN

by Carl Djerassi and Rohald Hoffmann for 11 voices. Directed by Arnaldo Picchi

Historical coincidences. Who first discovered the properties of Oxygen? Lavoiser? Piestley? Scheele? Which one of these men deserves a Nobel Prize in memory of the most revolutionary moment in the history of chemistry?

2003. Second director and actor in the role of the Father for

WAKE

written and directed by Arnaldo Picchi

A father, a daughter, some guests. Or ghosts. Dedicated to Veronica, a girl whoâ&#x20AC;&#x2122;s gone, and to Jerusalem, a place for resurrection.

SEE THE VIDEO

2003. Actor for

THE SONGOF SONGS

SEE THE VIDEO

directed by Arnaldo Picchi The woman: Monica Guerritore The man: Massimiliano Briarava Cossati Performance included in the Program Three Infinities. God, Soul, Love Festival Because the Classics

4 2002. Second director and actor in the role of Robespierre for

GIACOBINI

texts from F. Zardi, I Giacobini Peter Weiss, Marat-Sade George Buchner, Danton’s death Stanislawa Przybyszewska, L’affaire Danton Friedrich Hölderlin, Notebooks Directed by Arnaldo Picchi

Last days of the French Revolutionists

SEE THE VIDEO

2000. Trainer and actor in the role of Cimbeline for

CIMBELINE

by W. Shakespeare directed by Arnaldo Picchi

Excercises on Proppâ&#x20AC;&#x2122;s Morphoplogy of the folk tale

1999. Actor in the role of Sosia for

AMPHYTRION by Heinrich Von Kleist directed by Arnaldo Picchi

How destiny likes to play tricks

1 1997. Actor in the role of Salimbene de Adam and others, for

ENZO RE. Tempo viene chi sale e chi discende (Time comes who raises who falls) by Roberto Roversi directed by Arnaldo Picchi

Bolognaâ&#x20AC;&#x2122;s pride and history, a King-prisoner

D DOCUMENTS 1. Recent letters of presentation (2012, with translation in english) Letter of presentation by Prof. Marco de Marinis, UNIBO Letter of presentation by Prof. Anna Soncini, UNIBO Letter of presentation by Prof. Paola Bignami, UNIBO

2. Identity certification ID Card + Certification of exact registry office information (change of last name, 2010)

3. Degrees, scholarships Declaration of autenticity of UCLA degree, by Italian Consulate Certification of the academic year at UCLA UCLA career record UNIBO, career records Certification of additional courses in Art History Certification of Master Degree in Art, Music and Theatre, 110 cum laude Certification of Phd (doctorate in Theatrical and cinematographic studies) Acceptance form for post-Ph.D scholarship 2007/08, 2008/09, 2009/10

4. Contracts with Universities Contract as professor with UNIBO for theatre seminar, Erasmus Mundus, 2011, 2010, 2009

5. Letters of assignement Theatre teacher for high school student, two contracts with ERT 2002 Theatre teacher for a drugs rehab center, contract with USL Reggio Emilia 2001 Theatre teacher for high school student, contract with ERT 2001 Contract as professor for UCLA Summer Session 1998

6. Letters of references Reference of service as Teacher for prisoners 2010/11, Prison of Bologna, Teatment area Reference of service as Teacher for prisoners 2007/08, Prison of Bologna, Teatment area Reference of service as Teacher for prisoners 2002/06, Bologna Social Service office Letter of presentation by Prof. Sandra Caruso, UCLA, 1998

7. Contracts with Teatro Comunale di Bologna Contract for directing the opera Re Enzo, 2004 Contract for directing the opera Malombra, 2005 Contract for directing the opera Paolo e Francesca, 2006

8. Letters of Sponsorships Sponsorships for permanent theatre workshop in prison, Fondazione del Monte. 2007, 2008, 2009 Sponsorships for the Picchi Archive Project, Fondazione Carisbo, 2008, 2009, 2010

Letter of presentation by Marco de Marinis, Supervisor of Theatre Section at the Dept. of Visual, Musical and Performative arts University of Bologna

1 TRANSLATION. PROF. MARCO DE MARINIS To whom it may concern With this letter I would like to bring to your attention some of the activities Dr. Massimiliano Briarava (former Cossati) has coordinated in the last years, within DARVIPEM (Department of Visual, Performative and Musical Arts of the Faculty of Letters and Philosophy of the University of Bologna). Briarava’s specific inclination for a permanent crossbreeding between performance theory and practice, stage-writing and criticism, is fully expressed in his academic carreer within our Department, where I hold the role of Supervisor of the Theater Section. Massimiliano started collaborating with us in 1999, back from a useful year at UCLA, where he got the chance to explore the connection between theatre history and practice, studying and experimenting different directing techniques. Thanks to this experience, Briarava got his first teaching contract, for Summer Sessions at UCLA, at the age of 27. In the same year Briarava starts a long-lasting collaboration with Arnaldo Picchi, professor in Theatre Directing and Theatre Iconography for our Department: this bond represents Briarava’s commitment for pedagogy and experimentation, both in studying and practicing performance arts: he works with Picchi as his assistant in class, workshops and performances, until the sudden death of the Professor, in 2006. Picchi is one of the founding fathers of the Department, since its birth in 1970: strong defender of an active approach to studies, as a result of collective experiences, of history at the service of the immediate present, of the generosity of each student, scholar and citizen: in his thirty-years-long academic career, Picchi achieved this aims thanks to his teachings and his permanent workshop, open to all students (singular exception in the Italian University): thousands of them involved, through the years, in theatre research and productions, with great artistic and pedagogical quality. Massimiliano Briarava graduates cum laude in 2001, with a thesis dedicated to links between theatre improvisation and psychopedagogy, actor and child’s “playfulness”; in 2006 he achieves a PhD in theatrical and cinematographic studies, with a thesis on the feasibility of a permanent experimental theatre in Italy. In all these achievements Briarava is supervised by Arnaldo Picchi. After Picchi’s demise in 2006, Briarava gets a post PhD 3 years scholarship in order to coordinate a large project dedicated to the conservation and development of his teacher’s innovative working sistem. The program involves: 1. prosecution of practical activities, undeniable support to a complete academic curriculum for any Art student. Between 2007 and 2011 he performs 6 different workshop-classs for our Department, in Performance Acting and Directing; 2. organization of a convention dedicated to Arnaldo Picchi, on December 7, 2007 involving academics, artists, students, historians. The convention is documented by the publication of all contributions, including two large

articles by Briarava, on a monographical number of the periodical “Culture Teatrali”, which I direct; 3. disclosure, after an accurate editing process, of the unpublished diaries, essays, novels by Arnaldo Picchi, to preserve and offer to all universities and new generations, statements and proof of his unique approach to art, history and ethics. Focusing on the last point of the project, accomplished through the financial aid granted by Carisbo Foundation and, I can attest – as consultant for these publications – the effort and the accuracy put by Massimiliano in all the works. The first volume, Enzo Re. From page to stage, is now available in bookstores. It represents a unique experiment in both the fileds of publishing and academic activities: it is actually a slipcase containing the script Enzo re by Roberto Roversi, the rich director diary by Arnaldo Picchi, and the DVD of the site-specific event, that took place in Piazza Santo Stefano in Bologna, involving hundreds of students. The second volume, Glossary on directing theatre, describes Picchi’s thought about directing: the structure of the volume allows the reader to personally choose the subjects and the paths to follow, through the issues any theatre director has to face, keeping balance between ethics and aesthetics. Theatre Iconography. Lectures collects Picchi’s research throughout all Art History (visual art, literature, performance, music) and beyond, in order to offer to theater makers a useful system to choose, gather and organize their documents and research. Picchi was a pioneer in developing a common language between theatre and iconography, and the volume is the first handbook dedicated to such subject, in an operative perspective. Briarava inserts Picchi on the path of that special vision on art and culture developed by revolutionary thinkers such as Aby Warburg, Walter Benjamin and, more recently, Georges Didi-Huberman. The fourth volume edited by Briarava, Theatre. Texts and studies, is a collection of Picchi’s plays, adaptations, rehearsal diaries, supported by an extensive critical apparatus. It contains works written between 1970 and 2006, both for his theatre company and for his workshop within the university. A new chance to enlight the constant pedagogical vision of the author. In the last volume, Apologia Poetarum. Writings, Briarava brings back and analyzes Picchi’s novels and poems, in order to give a complete view on the author’s vision and personality, perfectly engraved in Briarava’s knowledge. The four unpublished volumes are scheduled to be available in spring 2013. Overall, I believe Massimiliano Briarava’s theoretical and practical experiences, as a teacher, performer and theatre director, scholar, can provide provocative and stimulating contributions in any academic and artistic context. I therefore wish he’ll have the chance to share his knoledge and passion with many people, and enrich it by embracing different contexts and cultures. In witness whereof, Bologna, december 11th, 2012 Prof. Marco de Marinis

1 Letter of presentation by Anna Soncini, Professor Coordinator of Erasmus Mundus Master Program University of Bologna

1 TRANSLATION. PROF. ANNA SONCINI Bologna, December 13th, 2012 The Erasmus Mundus Masters Program for European Literary Cultures, which I coordinate, is a program for academic cooperation and mobility. It aims to enhance the quality of higher education and promote dialogue and understanding between people and cultures. Among the activities of the program we have included a theatre seminar: for three consecutive years, from 2009 to 2011, Massimiliano Briarava was assigned the lead of this class. Theatrical activity has been included in the program by virtue of its dialectic qualities, stimulating social dialogue and flexibility of thought: the purpose of this teamwork activity was also the production of a final event with the participation of all students. During these years, Briarava has promoted original and complex projects, captivating students, teachers and researchers in unheard activities, innovative approaches to literature and art: this allowed, on one hand, to establish a common language, new to everyone and, on the other hand, to enlight the different social and cultural values brought into the team by each member. Briaravaâ&#x20AC;&#x2122;s projects brought to light the cultural richness and variety Erasmus Mundus program offers by its very own nature, stimulating the exchange of experiences and knowledge, and structuring flexible dramaturgical projects, open to every contribution. . In 2008/09 academic year, I myself proposed an investigation on the text The Blue Bird by Maurice Maeterlinck: the subject was developed by Briarava and the ten seminar participants into a live radio drama, synchronized to the screening of the film The Blue Bird (1918) by Maurice Tourner. The title of the performance is Grammatical studies for blue birds. In 2009/10, the large number of participants (more than 30) and the consequent increase of both obstacles and possibilities of dialogue, persuaded Briarava to use two very popular texts, Alice in Wonderland and Through the Looking Glass, by Lewis Carroll, as the common ground for an intercultural meeting; then every student add to the bibliography of the course two texts (chosen among their favorites), to compose a sample (60 books) of a Universal Library. Mixed with Carrollâ&#x20AC;&#x2122;s characters and with the novel Fahrenheit 451 by R. Bradbury, the literary choices of the students produced the performance and video installation called A.L.I.C.E. (Atlante Letterario Incendiato Compagnia Erasmus) (Blazing Literary Atlas. Erasmus Company). In 2010/11 Briarava proposed, to a large and heterogeneous group of students, an original analysis of the sixth chapter of Through the looking glass by Lewis Carroll, dedicated to the character of Humpty Dumpty. In the final performance the character's capricious approach to linguistics intersects with the different idioms of the participants and the peculiar translation of the chapter made by Antonin Artaud, as an act of self-therapy, celebration and liberation of a universal language.

In every single seminar process and outcoming performance performed by Briarava, the various native languages of the participants have been exalted up to the point of reaching a common theatrical language, which transcends national borders and is clear and open to anybody. For the originality of his pedagogical and artistic approach, combined with his ability to engage very different personalities in fruitful teamworks, I think Massimiliano Briarava can give an important contribution within higher education institutions in Italy and abroad. In witness whereof, Prof.ssa Anna Soncini

Letter of presentation by Paola Bignami Stella, Professor Coordinator of Interniship programs at the Dept. of Visual, Musical and Performative arts University of Bologna

1 TRANSLATION. PROF. PAOLA BIGNAMI Massimiliano Briarava (former Cossati) has been working for several years in the Department of Arts, Music and Performance of the University of Bologna. He contributed in a moltitude of ways, as a student and then as teacher and director: after his graduation and during his PhD he assisted Professor and Director Arnaldo Picchi in his classes and tests, and took part to his productions. I can vividly remember his work as main character and director’s assistant for: Anfitrione by H.v. Kleist, nel 1999; Giacobini, a stage project dedicated to the french revolution in 2001 e 2002; Wake a stage project produced for Thespis – University theatre festival, in Jerusalem in 2003; Ric2felix from Richard II by Shakespeare, in 2005. I would also like to stress the skills Briarava acquired in the development and coordination of complex stage project, as those expected in operas; between 2004 and 2006, thanks to an agreement between the University, the Music Conservatory and the Accademia di Belle Arti di Bologna, he directed three rarely or never before staged operas (Re Enzo, music by O. Respighi; Malombra, music by M.E. Bossi; Paolo and Francesca, music by L. Mancinelli), staged at the Teatro Comunale of Bologna.

dedicated to language sciences, enigmatography, and dramaturgy of the human voice, all inspired by Alice in Wonderland by Lewis Carroll. Coupling this intense program of activities with the theorical essays edited by Briarava for the publication of a collection of unpublished works by Picchi, and the different workshops held for other departments, I can sincerely grant for Massimiliano’s skills and knowledge, always unique but rigorously classic, both from the scientific and the artistic point of view. Prof. Paola BIGNAMI in Stella Full time professor Scenografia: elementi, teoria e storia Presso il Corso di Laurea DAMS – e di Storia del costume presso il Corso di Laurea Magistrale in Discipline dello Spettacolo dal Vivo Scuola di Lettere e Beni culturali – Università di Bologna Bologna, December 9th, 2012

In these years Briarava has developed a strong pedagogical approach and a vision of performance as a vehicle for social cohesion, partecipation and commitment. Out of the academic context, he coordinated several theatre workshops and social projects, mainly focusing on educational programs for inmates convicted in the prison of Bologna. Briarava’s pedagogical strategy involved artists, scholars, student, who joined him in a permanent exchange between the “outside” and the “inside” world. With the inmates of the High Surveillance section of the prison of Bologna and the collaboration of musicians, writers, dancers, visual and video artists, he directed several workshops and stage projects: in 2002, The exception and the rule, by Brecht; in 2008, 6 cartoons for Amphitryon by H.v. Kleist; in 2009 Poligraf, from the novel "Heart of a dog" by M. Bulgakov. In 2011, with the inmates of the Female Section, Briarava put together the gamebook Alice in Wonderwomen's Land, inspired by Lewis Carroll's stories. This constant search for a theater that’s urgent and “necessary”, open up to a variety of languages and influences, has been delivered to University students too, through several workshop-classes Briarava performs between 2007 and 2011, in order to pursue and develop Arnaldo Picchi’s ethic and aesthetic guidelines, based on the permanent production, without ongoing solution, of thoughts and actions. In 2007, he holds two classes: one mainly focused on the use of soundtracks, virtual stage design, site specific events and installations; the second one consisting in rehearsal and production of La Iena di San Giorgio, a performance focused on ready-made puppets, as medium between the actor and the character. In 2008 Briarava offers a workshop-class to analyze the connections between art and criticism, on the model of the dramatic contrast between Giorgio Morandi, painter, and Francesco Arcangeli, art critic and historian. In 2009 he directed a workshop-class focused on exploring the limits of the representable; this search ends with an interactive multimedia project, Poligraf, that involves on the same stage students and inmates of the prison of Bologna. Finally, in 2010 and 2011, two workshops-classes are

ID Card and Certification of exact registry office information (change of last name, 2010)

Declaration of autenticity of UCLA degree, by Italian Consulate Certification of the academic year at UCLA UCLA career record

UNIBO, career records

Certification of additional courses in Art History

Certification of Master Degree in Art, Music and Theatre, 110 cum laude Certification of Phd (doctorate in Theatrical and cinematographic studies)

Acceptance form for post-Ph.D scholarship 2007/08, 2008/09, 2009/10

Contract as professor with UNIBO for theatre seminar, Erasmus Mundus Program 2011

Contract as professor with UNIBO for theatre seminar, Erasmus Mundus Program 2010

Contract as professor with UNIBO for theatre seminar, Erasmus Mundus Program 2009

Theatre teacher for high school student in Argenta (FE), contract with ERT 2002 Theatre teacher for high school student in Bagnolo (RE), contract with ERT 2002

Theatre teacher for a drugs rehab center, contract with USL Reggio Emilia 2002 Theatre teacher for high school student in Bagnolo (RE), contract with ERT 2001

Contract as professor for UCLA Summer Session 1998

Reference of service as Teacher for prisoners 2007/08, Prison of Bologna, Teatment area Reference of service as Teacher for prisoners 2010/11, Prison of Bologna, Teatment area (continue)

(continue) Reference of service as Teacher for prisoners 2010/11, Prison of Bologna, Teatment area Reference of service as Teacher for prisoners 2002/06, Bologna Social Service office

Letter of presentation by Prof. Sandra Caruso, UCLA

7 Contract for directing the opera Re Enzo, 2004 Contract for directing the opera Malombra, 2005 Contract for directing the opera Paolo e Francesca, 2006

Sponsorship for permanent theatre workshop in prison 2007, Fondazione del Monte Sponsorship for permanent theatre workshop in prison 2008, Fondazione del Monte Sponsorship for permanent theatre workshop in prison 2009, Fondazione del Monte

Sponsorship for the Picchi Archive Project, Fondazione Carisbo, 2008 Sponsorship for the Picchi Archive Project, Fondazione Carisbo, 2009 Sponsorship for the Picchi Archive Project, Fondazione Carisbo, 2010

E EXTERNAL LINKS + EXTRA

ALL TEXTS AVAILABLE AT http://issuu.com/massimilianobriarava ALL VIDEOS AVAILABLE AT https://vimeo.com/poligrafpoligrafovic

PRESS REVIEW (download available) AT http://issuu.com/massimilianobriarava/docs/press1 and http://issuu.com/massimilianobriarava/docs/press2

URL OF THE LINKS INCLUDED IN THE PREVIOUS RECORDS A for AUTHOR 2013. STEPS AHEAD ACADEMY Teacher in dramaturgy and directing for Roots and Routes project http://rootsnroutes.eu

2011. ALICE IN WONDERWOMEN’S LAND Teacher/Director in Theatre permanent workshop for prisoners ALICE IN WONDERWOMEN’S LAND A game-book. Catalogue of superwomen, meeting Alice

http://issuu.com/massimilianobriarava/docs/alice_in_wonderwomen_s_land_pic

WW 25 20 min. 5 km. A one-long-take video Wonder Women at the bus-stops of line 25 from Rizzoli downtown to Carcere

http://vimeo.com/poligrafpoligrafovic/ww25

DEI SOGNI diary of a theatre workshop in prison

http://issuu.com/massimilianobriarava/docs/deisogni

2011. SEE/SAY Teacher in Workshop-class on performance for UNIBO Sample of soundtrack: http://soundcloud.com/armstrong971/see-say-il-buco Class program on the university website: http://www.lettere.unibo.it/Lettere/Didattica/Insegnamenti/dettaglio.htm?AnnoAccademico=2011&IdComponenteAF=320455&CodDocente=042520&CodMateria=32158

2010. WONDERLAND LOOKINGLASS Teacher/Director in Workshop-class on performance for UNIBO Book produced with the students: http://issuu.com/massimilianobriarava/docs/wonderlandlookinglass Class program on the university website: http://www.lettere.unibo.it/Lettere/Didattica/Insegnamenti/dettaglio.htm?AnnoAccademico=2010&IdComponenteAF=320455&CodDocente=042520&CodMateria=32158

2010. A.L.I.C.E. (Atlante Letterario Incendiato Compagnia Erasmus) Teacher/Director in Workshop-class on performance for ERASMUS MUNDUS Video installation trailer: http://vimeo.com/poligrafpoligrafovic/alice

2009. POLIGRAF. Molte scritture Teacher/Director in Theatre permanent workshop for prisoners Video trailer of visuals and original music of the performance: http://vimeo.com/poligrafpoligrafovic/moltescritture Script, score, cartoon: http://issuu.com/massimilianobriarava/docs/poligraf

2009. THE PERFECT HUMAN Teacher in Workshop-class on performance for UNIBO Class program on the university website: http://www.lettere.unibo.it/Lettere/Didattica/Insegnamenti/dettaglio.htm?AnnoAccademico=2008&IdComponenteAF=168876&CodDocente=036858&CodMateria=19184

2009. STUDI GRAMMATICALI PER UCCELLINI AZZURRI Teacher/Director in Workshop-class on performance for ERASMUS MUNDUS Video trailer of the performance: http://vimeo.com/poligrafpoligrafovic/uccellini

2008. 6 CARTONI ANIMATI PER ANFITRIONE Teacher/Director in Theatre permanent workshop for prisoners Video trailer of the performance: http://vimeo.com/poligrafpoligrafovic/anfitrione Backdrop video, sequence of drawings: http://issuu.com/massimilianobriarava/docs/sky

2008. STRADA MAGGIORE 49, VIA FONDAZZA 36 (Environments for Arcangeli, Morandi, a play by Roberto Roversi)

Teacher in Workshop-class on performance for UNIBO Class program on the university website: http://www.muspe.unibo.it/wwcat/corso/annate/07-08/teatro/labcur1.htm

2007. LA IENA DI SAN GIORGIO Teacher/Director in Workshop-class on performance for UNIBO Class program on the university website: http://www.muspe.unibo.it/wwcat/corso/annate/06-07/teatro/labcur1.htm

2006. SOUNDTRACKS AND VIRTUAL SPACES Teacher in Workshop-class on performance for UNIBO Class program on the university website: http://www.muspe.unibo.it/wwcat/corso/annate/06-07/teatro/labcur1.htm

2006. PAOLO E FRANCESCA Director of Opera

Video trailer of performance: http://vimeo.com/poligrafpoligrafovic/paoloefrancesca

2004. RE ENZO

Director of Opera

Video trailer of performance: http://vimeo.com/poligrafpoligrafovic/reenzo

2004. GODOG Theater director

Video trailer of performance: http://vimeo.com/poligrafpoligrafovic/dogod

2002. MORĂŹA

Theater director and actor

Video trailer of performance: http://vimeo.com/poligrafpoligrafovic/moria

B for BOOKS 2013. FORTHCOMING PUBLICATIONS by Arnaldo Picchi, edited and introduced by Massimiliano Briarava GLOSSARY ON DIRECTING THEATRE http://issuu.com/massimilianobriarava/docs/glossariodiregiateatrale

THEATRE ICONOGRAPHY: LECTURES http://issuu.com/massimilianobriarava/docs/iconografiateatrale

THEATRE. TEXTS AND STUDIES http://issuu.com/massimilianobriarava/docs/teatrotestiestudi

APOLOGIA POETARUM. WRITINGS http://issuu.com/massimilianobriarava/docs/apologia_poetarum

2012. RE ENZO. FROM PAGE TO STAGE by Arnaldo Picchi, edited and introduced by Massimiliano Briarava http://issuu.com/massimilianobriarava/docs/diariodienzore + Video trailer of the performance: http://vimeo.com/poligrafpoligrafovic/enzore

2009. CULTURE TEATRALI periodical, n. 17, “Arnaldo Picchi, iconography of a pedagogue-director” articles by Massimiliano Briarava: 1. Senza fine, racconto; 2. Arnaldo Picchi, Note di biografia http://issuu.com/massimilianobriarava/docs/culture_teatrali

C for COLLABORATIONS 2013. DON GIOVANNI TRIONFANTE Playwright and performer

Site of the Festival della Filosofia 2013, “Amare”: http://www.festivalfilosofia.it/2013/?mod=eventi&id=16640&key=Don+Giovanni+Trionfante+%28Mozart+%2F+Kierkegaard%29

2012. LIFE IS A DREAM

Assistant director for opera performance directed by Graham Vick

Birmingham Opera Company website: http://www.birminghamopera.org.uk/index.php?option=com_content&view=article&id=61&Itemid=10

2010. È’ STATO MORTO UN RAGAZZO Screenplayer and actor for docu-film Video trailer of the film: http://youtu.be/1ZSU-lfaHY4

2003. THE SONG OF SONGS Actor

http://vimeo.com/poligrafpoligrafovic/cantico

2003. WAKE

Second director and actor for the performance directed by A. Picchi Video trailer of rehearsals and performance: http://vimeo.com/poligrafpoligrafovic/wake

2002. GIACOBINI Second director and actor for the performance directed by A. Picchi Video trailer of performance: http://vimeo.com/poligrafpoligrafovic/giacobini

EXTRA

PRIVATE pARTS

Annamaria and Massimiliano, 1972 Giotto di Bondone, 1325

2013 Komos - gay men chorus in Bologna Musical direction: Paolo Montanari Artistic direction: Massimiliano Briarava

IT GETS BETTER subject and directing by Massimiliano Briarava videomaking by Tommaso Arosio video for the It Gets Better Project on support of the Lesbian, Gay, Bisexual and Transgender youth, victim of intolerance,

see the video visit WWW.ITGETSBETTER.ORG visit the italian site WWW. LECOSECAMBIANO.ORG

BREATH (Sunset on Mahler) 2011. min. 9.30 see the video

WUTHERING HEIGHTS 2011. min 6.20 see the video