Giulio De Leo / Compagnia Menhir Danza (IT)
When I was a child I used to go to the countryside. We used venturing in the dense wood, in order to gather firewood. It was hard but adventurous and we felt like adults. When we got to a clearing, we got free from everything in order to play, totally undisturbed. Just the hunger was able to get us home. And we were completely covered by every seeds and spur. Because of an immediate liking of Gilles Clément argument, every time he uses “garden” I feel, reading, the impulse to substitute this word with “dance”. With my great surprise, his essay reveals a coherent and radical vision of a moving body. About dance. Actually, Clément talks about the garden as a topos of human civilization. The garden is the primary place in which man exercises himself in a creative relationship with the world. In this sense, the body turns out to be an extraordinary inner garden.
di e con GIULIO DE LEO
musiche di GEORG FRIEDRICH HÄNDEL
cura della produzione MARINA PESCHETOLA
produzione Compagnia Menhir Danza
with the support of Compagnia Teatroscalo / Teatro Il Saltimbanco di Santeramo in Colle / Teatri Abitati-Residenze Teatrali in Puglia
in collaboration with Comune di Ruvo di Puglia-Assessorato alle Politiche Culturali
Giulio De Leo / Compagnia Menhir Danza (IT)
Giulio De Leo
collaborates as dancer or assistant choreographer from 1999 to 2007 with Virgilio Sieni Dance Company, Raffaella Giordano, Virginia Heinen/Blicke Company of Strasbourg, Giorgio Rossi. Since 2008 he founds Menhir Dance Company and creates the choreographies Danze di Neve, Dear Dad, Chicco Radicchio, Nina e le nuvole, Solitario,Trilogia, Ritual Quintet_01 and the special projects Le Danzatrici, Il Vangelo di Pasolini and Gesto Sospeso.
Since 2010 again he collaborates with Virgilio Sieni Dance Company as choreographer assistant in Dialoghi sul corpo, Grande Adagio Popolare_Agorà Bari, L’art du geste dans la Méditerranée – Trois Agoras Marseille and La Biennale di Venezia Danza 2013.
From 2014 to 2016 he is assistant of Virgilio Sieni artistic direction of Biennale di Venezia Danza. coordinating Biennale College Danza, and assisting Virgilio Sieni for the special project Vangelo Secondo Matteo.
Nowadays he directs the dance activities of Teatro Garibaldi of Bisceglie in collaboration with Teatro Pubblico Pugliese (Apulia Region Theatre and Dance Network)and he is artistic director of Talos Festival Choreographic Project in Ruvo di Puglia and Prospettiva Nevskij Contemporary Dance Short Festival in Bisceglie.
Park Keito (ES)
This work’s project having as a starting point began with a critical understanding of the concept of Homeostasis; The phenomenon that maintains stability within e the human body’s internal environment in response to changes in external conditions. “ The system can be defined as has a mechanism to modify and adapt certain functions of the body in relation with its environment and try to keep one you in balance.
Mi-Ru has linguist roots in Japanese as well as in Catalan. In Japanese it has several meanings; “to See”, “to Observe”, “to Witness”. And in Catalan is can mean to look.
The co-authors have a shared experience of living and working abroad over a decade. Kotomi from originally Japan and Miquel from Barcelona, have not only lived abroad but have toured and travelled intensively with their artistic practices. Sharing in their experiences their curiosity lead them to philosophical and poetic questions.
Kotomi Nishiwaki (Choreographer/ Performer)
Miquel Csaponsa (Music/ Sound)
Kahori Furukawa (Costume)
Shannon Cooney (Choreographic Assistance)
Production and Co-productions and awards
Sala Hiroshima Barcelona
Park Keito (ES)
Kotomi Nishiwaki (Japan) performer, Choreographer..Started her dance education in zurich, continued at P.A.R.T.S in Brussels and followed Butoh courses with several teachers. She worked as a dancer and performer for and with Anzu Furukawa, Joao Fiadeiro, Abraham Hurtado, Adam Linder, Francisco Camacho, Laurent Chètouane and since 2005 she is working for Meg Stuart /Damaged Goods.In 2010 she made her first piece “Off Off On” which was supported by Eira ,Lisbon and Premiered at Citemor Festival de montemor o Velha. Since then she is collaborating to work with different artists to creat Performance, Concerts and installation in a galleries and other spaces.
Miquel Casaponsa Graells (Barcelona) Studied urban interventions, interior architecture and music in Helsinki and Barcelona. Compose and improvise with guitar and field recordings. Sound for installations, stage collaborations and performances with Brendan Dougherty, Monia Montali, Ana Konjetsky, Giovanni Di Domenico, Charo Calvo. (miquelcasaponsa.wordpress.com)
On 2017 creates in Barcelona Kotomi Nishiwaki /Miquel Casaponsa built a collective named Park Keito.
HAPPY BIRTHDAY DEAR NAPOLEON
Colectivo Querido Venado (MX)
“It´s extraordinary. How long have we been here? I’ve lost sense of time, but imagine all the changes we´ve been through during this horrific eternity. Think about the hundreds of combinations of chess pieces we have been… and right at this moment we´re all in the exact position we were in that night. Or is this another hallucination?
Tell me Napoleon, tell me all of you.”
The Exterminating Angel by Luis Buñuel
Happy Birthday Dear Napoleon is a scenic investigation that exposes the process of manipulating and distorting a memory by constantly repeating it. In this work we show the memento of a diachronic party for Napoleon in which the attendees travel through fuzzy memories of the events that took place on that celebration.
Directors and choreographers: Guillermo Aguilar, Isis Piña, Sergio Valentín
performers: Guillermo Aguilar, Isis Piña, Carla Segovia, Sergio Valentín
music composition/live music: Aristóteles Benítez
lightning design: Jésica Elizondo
décor: Colectivo Querido Venado
photo: David Flores Rubio, Arturo Soto
Production: Colectivo Querido Venado
Co-production: DISECO, Chanchito Amarillo AE, The Directors
Choreographic Emergency Award for Lepanto 2013
Best music at the National Contemporary Dance Award for ROOM 2018
Colectivo Querido Venado (MX)
Querido Venado is a performing arts collective working in the field of contemporary dance. It was founded in 2013 by: Guillermo Aguilar, Isis Piña and Sergio Valentín, and since then they have positioned themselves as one of the most defiant acts in the young Mexican contemporary scene. Their aesthetic and artistic discourse is inspired by cinematic reaction as the main detonator for the process of developing a piece. Images, films and visual experiences are the elements that place them in a dynamic creative context. Their visual work is formulated by obsessed and repetitive actions brought to the point of wear. Their inspiration comes from minimal movements, obsession with symmetry, electro, pop and mainstream themes which they dislocate and turn into scene experiences. Their aim is to give the spectator aesthetic significant experiences by placing them at a space and time of contemplation.
They are influenced by auteurs in whom they find a detailed concern for storytelling through amazing visuals. They explore minimalism as a starting point towards the development of discourses that in combination with visual signs allow an amplification of reality’s possibilities.
Progetto Brockenhaus (CH)
This obsession about oneself is a waste of one’s life. It could be spent to survive, to appreciate nature, to cultivate kindness and friendship and…to dance! – Only lovers left alive – J. Jarmush
FOuR NOTHING is a performance on the crisis of values, on the loss of meaning of living, on the disappearance of the sense of things in the face of the nihilism of Western society, but it is also a performance that wants to rediscover the importance of everyday life, the simplicity of the danced gesture, the harmony of the composition. This project is inspired by the text “NOTHING” by the Danish author Janne Teller, a modern fairy tale in which the peace of mind of a group of adolescents is upset by the decision of one classmate to leave school and retire on a tree with the conviction that nothing is worthwhile. From that privileged position, where he can look at everything from above, the boy instigates his classmates to abandon the idea of becoming someone and doing something in life, even feeling emotions.
ideazione e creazione: Progetto Brockenhaus performer: Elisabetta Di Terlizzi, Francesco Manenti, Emanuel Rosemberg organizzazione: Vittoria Eugenia Lombardi
Progetto Brockenhaus (CH)
Progetto Brockenhaus is a physical theatre company, founded in 2008 in Switzerland. The collective is formed by the artists Elisabetta di Terlizzi, Piera Gianotti, Francesco Manenti and Emanuel Rosenberg, who arrive from the world of theater and dance and meet thanks to a poetic affinity. The name of the company comes from the union of the word “Project”, understood as throwing forward giving space to creativity, to the Swiss-German word “Brockenhaus”, which can be translated as “the house of the rubble”, or a second hand shop. The collective recognizes itself in this name because in all the processes of creation is fundamental the act of giving a new possibility of being to things, words, images, music, places and people projected towards a horizon yet to be discovered.
Dark Matter is lurking in the depths of space, holding it together at the same time. It has never been seen or scientifically proven, but it is out there somewhere. Dark Matter is also lurking in the depths of our selves. We do not know exactly why, but we are guilty. From the moment of our birth we are entangled in oppression and destruction. With blind eyes we dream our demise.
In their latest project the german theatre group O-Team is trying to find a way to cope with feeling guilty about the state of the world. Through Oedipus’ eyes, they cast a glance at the inhabitants of the anthropocene. In their attempt to stage a show about this “dark matter”, their technical equipment starts to develop its own mind and voice their view on who is to blame. Can they find a productive way to deal with this mess? And at what price must “the show go on”? Awkward attempts on atonement and conflicting narratives gleefuly collide to an eclectic theater event on multi-crisis, responsability, wormholes, greenwashing, dark matter and narcissism.
Welcome to the dark side
a project by and with O-Team
feat. Rivkah Tenuiflora
concept, text: O-Team
director, lights, stage design: Samuel Hof
stage and costume design: Nina Malotta
music: Rivkah Tenuiflora
dramaturgy: Antonia Beermann
sound and video design: Pedro Pinto
the stage manager: Antonia Beermann
the artist: Nina Malotta
the shaman: Rebecca Hennel
the hero: tba
Dark Matter is a production by O-Team in cooperation with Theater Rampe. The project was funded by City of Stuttgart, Department of arts and culture, and by Landesverband freier Tanz- und Theaterschaffender Baden-Württemberg e.V. aus Mitteln des Ministeriums für Wissenschaft, Forschung und Kunst des Landes Baden-Württemberg.
The independent theater group O-Team was founded in 2005 and is based in Stuttgart, Germany. It currently consist of Nina Malotta, Samuel Hof, Antonia Beermann, Folkert Dücker and Pedro Pinto. The group also collaborates with other performers, musicians and project related specialists.
We understand our work as theatrical research. Our main goal is to develop exceptional scenic states that challenge the audience to question their own position. The form of our projects evolves thematically and shifts between the areas of performance, narrative theater, puppet theater, urban action or immersive formats. For instance, a sex robot may encounter an actor, the team may camp out at the venue for weeks or a junk yard may turn into an open-air spectacle. In recent years, our projects focussed on the impact of technological development on life, society and artistic practice.
To date, more than 25 theater projects have been created, which have also been presented at numerous festivals in Germany, Portugal, Simbabwe and other countries. In 2013, the show „Ich bedanke mich für alles“ was awarded at the festival „Radikal Jung“ at the Munich Volkstheater. In 2015, the team won the Dance and Theater Prize of the City of Stuttgart and the Land of Baden-Württemberg for „Lichtung“ and 2019 for „: -Oz“.
Menchetti | Cirera | Serrano (IT Murcia ES)
RealFake is an interdisciplinary project which dramaturgy uses performative and audio /video languages to talk about reality against fiction (artifice) and media-information manipulation.
This project was born in 2016 and is inspired by the idea of Andrea Kunkl with the collaboration of Raffaella Menchetti, the projekt was about “Fake interview” in the street, in Milan and Rome. Andrea and Raffaella interviewed various person in the street, targeting the issues of the news and manipulating them to see the reaction and the opinion of the people casually met on the street.
The result was surprising, do interviewing with a camera gave complete legitimacy to the false information (up to the limits of the absurd).
After this study Raffaella Menchetti and Clara Cirera decided to continue this research and reflection on the “artifice of the Reality”.
Through residences of performative and participatory research, an installation-performance device will be created, with the aim of showing live the manipulative artifice of the media in relation to immigration.
Thanks to teatro LEAL LAV, Michelangelo Butac Coltelli, Festival In\Visible Cities – Contaminazioni Digitali , MediaEstruch.
FESTIVAL CONTAMINAZIONI DIGITALI e teatro stabile di sperimentazione Friuli Venezia Giulia CSS (UD) – Ottobre 2017 Italia
teatro LEAL.LAV LaLaguna- Novembre 2017 Tenerife
FESTIVAL CONTAMINAZIONI DIGITALI e Invisiblecities – Giugno 2018 Cormons
MediaEstruch di Sabadell -Novembre 2018
Menchetti | Cirera | Serrano (IT Murcia ES)
Raffaella Menchetti. Laureata all’Accademia di Brera, Nuove tecnologie per l’arte. Si diploma nella scuola di teatro Arsenale. Ha svolto un’ intensa attività espositiva e performativa sia in Italia che all’ estero. Collabora come videomaker per l’archivio V. Agnetti, e come performer e regista con vari artisti internazionali. Sta frequentando il master di arti performative e visive a Madrid, in collaborazione con il Museo R. Sofia e Teatros del Canal.
Clara Cirera. Attrice e regista spagnola della scena teatrale francese. La sua formazione artistica comincia in Barcellona, nella scuola Nancy Tuñón e Col.legi del Teatro e prosegue in Francia, nel Cours Florent. Come attrice e regista di teatro lavora regolarmente con la compagnia parigina Les Cri’Arts
Sara Serrano. Laureata in regia teatrale e storia dell’arte. Master in pratica teatrale con R. Bruford Università di Manchester. Realizza incursioni nel campo dell’installazione e del montaggio multimediale. Tra gli ultimi progetti la co-regia di Spanish Matchbox. Presenta i suoi lavori performativi in festival e spazi come Fringe-NY (Soledad.es),il Festival Internacional di Brisbane-Australia (Do-Do Land) o Black Box in Oslo-Norvegia.
APRÈS LA CHRONIQUE
La |SIC| (ES BE)
Après la Chronique is a performance about social isolation in our hyper-connected society.
Après la Chronique carries off the audience into a self- generated non-place where human relations are simply negated or only exist through a media channel. The initial situation is mundane: two performers, stylized as twin-figures, are sitting at a table and eat. This scenario changes gradually into an absurd, surreal charade, in which both performers are threatened to sink into their own worlds. Through meticulous precision in the staging and extremely decelerated movements by the performers a sinister atmosphere of isolation unfolds, which, through its reduction and concentration, reminds the viewer of scenes from Black mirror (the series) or nightmare-like scenes from movies by David Lynch.
Creation: Nicolas Hermansen (along with the performers)
Stage performers: Manu Montes, Jordi Font, *Local performer
Sound performer: Nicolas Hermansen
Production: Marie Abel
Stage technician: Mario Andres Gomez
Spider robot design and initial coding: Xu Yinghao
Stage, lights and props design: Nicolas Hermansen
Production: Ass. Cult. Mirando Terpsichore production ?
Created with the support of Fabra i Coats, Fàbrica de Creació and La Blanca performance art lab
La |SIC| (ES BE)
La [SIC] is a performance arts company based in Barcelona, Spain. Their works adopt a similar philosophy that the Slow Food Movement: taking the necessary time to elaborate their creations. It is an intent to create a space where the production process (I must have to do) is the result, and no the start, of a reflection process.
Nicolas Hermansen is a Belgian multidisciplinary artist working in performance, sound and visual arts. He’s the founder of la [SIC], a live performance arts company. His work, as a solo artist or with La [SIC] is often defined as on the fringe of a situation’s breaking point, in the ‘in between’.
In the last 3 years, he’s been very active on the international circuit presenting his work in many European countries and the USA. Selected festivals and events are In-Sonora Festival – Madrid (ES), a collaboration with Mischa Kuball for the piece ‘‘Res·o·nant’ – Jewish museum – Berlin (DE), Acud Theatre, Berlin (DE), Cyprus Buffer Fringe Festival and Mute Festival, Gent (BE).
TALLER DE PUBLICO PARA PÚBLICO
Raquel Ponce Hernandez (ES)
The public chooses the artist, chooses and decides what they want to see, the time they want to be in front of a creation. But who chooses the public? Can the artist choose it? In case of being able to do it, what kind of public does the artist need for each of his works? Can we “all” be public for “all” artistic works? Can you learn to be an alternative, emerging, experimental, autonomous and independent public? Is there a professional and amateur audienc? How do the spaces and architectures of culture influence to conform one type of attitude or another? How to modify the behavior of the public?
A theoretical-practical proposal about the role and importance of the public as a modifier and transformer of the artistic result. A scenic piece, which is built and takes shape in its own moment and in-situ. It is not something previously formed, but it depends on the spectators-participants themselves, who take one or the other direction. A scenic piece that takes the methodology and tools of a workshop and a talk-conference. A public workshop, for the public, in which to put into practice, deepen and transform the different postures, behaviors and acts-habits that we have as spectators.
Creazione e regia: Raquel Ponce Hernandez
Produzione: Canaria Crea
Raquel Ponce Hernandez (ES)
Raquel Ponce Hernandez Degree in History of Art. She forms and works as a dancer, actress and stage director in the Canary Islands and Madrid. Artist in residence at the Production Studios of the La Regenta Art Center. Active member and co-founder of the independent artistic collective “El Hueco”. Co-founder of the company of new scenic tendencies “Perro Verde”.
Interpreter of numerous dance and performance shows, including those performed with Gary Stevens (And), Xavier Le Roy (Extensions, Proyect), and Tino Seghal presented in different European cities (Amsterdam, Lisbon, Paris, Brussels, Berlin, Stockholm , Geneva …)
She has carried out projects of an expository character among which stand out; “BACK” presented at the CAAM and the Biennial of the Moving Image (BIM) Buenos Aires- Argentina, “Corpografías” presented at the “Area 60” space at the TEA , “Drawing” presented at the Art Biennial of Dakar (Senegal).
Her performances have been presented in different festivals among which stand out; Festival of sound research and related arts “Display” at the Cervantes Institute in Berlin, “Body to Body” performance festival at the La Regenta Art Center, “Cinemadamare” Festival in Italy, BONE performance festival in Switzerland.
Roberto Corradino (IT)
Pinocchio, by now made man, grown up, who has found a job, works, maybe at a part-time as an employee in a county office. But on the other side of the mirror, year by year, the black side of Pinocchio has grown and everything overturns: the blade of the murderers that in chapter fifteen jumps and breaks discovers its true nature as a nail and the wood of Pinocchio is the cross ’cause the cross is inside you, Pinocchio. Mastro Cherry ve said that was a trunk only good for making a table leg, wood of nothing. No fairies, no foxes no cats but mostly no stars in your eyes or no fish to fry, Pinocchio. So then History is torn, restarting always in the belly of the shark. You learn by playing. Piaccainocchio is the final confession, a blasphemous prayer as a prank to the Father.
Produzione: roberto corradino & reggimento carri | teatro
Roberto Corradino (IT)
Roberto Corradino & reggimento carri | teatro works on contemporary dramaturgy in a long-term project. We search the truth of actor, as singular or collective through the contemporary dramaturgy, trying to regain a theatre show as a collective ritual, combining tradition and new languages in a simple and popular theatre. Reported as the best actor under 30 at the 2008 Ubu prizes, in October 2000 creates reggimento carri | teatro his company and production initials. Finalist for the Scenario Award 2003 produced with reggimento carri | teatro adaptation, rewritings and original writings and workshops (such as the Census of the Actor of the South Pole) that have earned him reports and co-productions with festivals and structures of the national territory such as Gender Bender festival, Es.terni, Fit Lugano Festival, Kismet opera theatre, Castel dei Mondi Festival, Teatridivetro Festival.
Aharona Israel (IL)
Choreography for a female body, a fabric and a gaze.
In ‘Proportions’ the artist moves all covered in a large fabric, presenting to the viewer only distinct body parts – such that women are required to cover in different cultures.
She uses her body and the performative event to touch cultural mechanisms that are constructed in relation to the female body and to examine its modes of representation.
A stratified action of erasure, rupture, covering and exposure present a choreography of striking and surprising images of the body.
The female body being alienated from its familiar cultural context, presented as fragmented, a field of framed glances.
The performance accompanied by a unique sound work, a text composed out beauty advertisements, obsessively and repetitively spoken. It adds an ironic layer to the work, reflecting upon consumption world, and its ever-growing desire to the image of the female body.
Choreography, Performance, text and sound editing by Aharona Israel
Costume: Melanie Lombard
Premiered at ‘Intimadance festival’ with the support of ‘Tmuna’ theater.
Supported by a residency at ‘Re-Serach’ Natranya and at ‘Stage Center’ Tel Aviv.
Aharona Israel (IL)
Aharona Israel is a choreographer, performance artists and theater maker based in Israel.
Her work varied from physical theater, dance and ‘live art’ performances.
She carries a mixed background of dance studies, Architecture & design and nowadays she is completing her MFA in theater studies at TAU
Aharona was invited as an artist at residence in Israel and abroad and presented work on various stages, venues and festivals in Israel, Europe and around the world since 2003.
She was invited to perform in Germany (‘Tufa festival’ Trier, Societaet theater Dresden, The Stubnitz boat project), Poland (THEATROMANIA’ festival, Bytom), Canada (‘Chutzpah!’ Festival Vancouver, ‘Summerworks’ festival Toronto, M.A.I center Montreal, ‘Progress’ festival Toronto, ‘Arts Court’ Ottawa and Peterborough), The Netherlands (‘Color dance’ Festival, architecture biennale, Rotterdam ‘05, Ostade Theater, Perdu center of the arts Amsterdam, Muiderport Theater Amsterdam), Russia (Ludi festival Orel) and Israel.
Recently she created ‘Proportions’ which was premiered at ‘Intimadance’ Festival Tel Aviv on June 2018 and ‘Family’ for ‘Bat-yam festival’ 2018. Her new creation ‘Textile and Flesh’ premiered in spring 2019.
Mouvement d’Ensemble (SACRE)
Inkörper Company (CH)
With Mouvement d’ensemble (Sacre) Aurélien Dougé, Perrine Cado and Rudy Decelière are interested in the contemporary scientific, sociological and environmental upheavals that would define a new climatic period called Anthropocene. Characterized by human activities that have become the main force of transformation of the entire Earth system, the Anthropocene would sign a radical challenge towards our representations of the world, particularly reflecting on the boundaries between nature and culture, living and non-living.
For Mouvement d’ensemble (Sacre) , the artists investigate the possible interconnections between human beings and their environment. As a basis for their research, they observe the variety of natural phenomena and points of view on this very relationship. In particular, they collaborated with the Ethnographic muséum of Geneva, to draw inspiration, both for visual and sound writing, they refer to them and appropriate them.
Mouvement d’ensemble (Sacre) presents itself as an evolving installation through the action of the performer and the influence of the participating audience . In Sacre, Aurélien Dougé, engages in a physical enterprise of construction and deconstruction of the dispositif by the manipulation and organization of the elements into the space. As for the visitor, he finds himself part of a play with a moving scenario. Its presence, mobility, actions and absence influence the transformation of the work.
Conception: Aurélien Dougé, Perrine Cado
Performance: Aurélien Dougé
Set: Perrine Cado, Aurélien Dougé
Light: Perrine Cado
Sound: Rudy Decelière
Premiere: February 2018 – Festival Antigel de Genève
Production: Inkörper Company
Coproduction: Centre chorégraphique de Roubaix Nord-Pas de Calais – Ballet du nord / Olivier Dubois, Centre des Arts de Genève, Halle Nord – Espace d’Art Contemporain de Genève
Support: Ville de Genève, Fondation Nestlé pour l’Art Contemporain, Fonds mécénat SIG, Fondation Ernst Göhner, Musée d’ethnographie de Genève, Festival Antigel, Fonds d’encouragement à l’emploi des intermittents genevois (FEEIG)
Residencies: Centre chorégraphique de Roubaix Nord-Pas de Calais / Ballet du nord – Olivier Dubois, Centre des Arts École Internationale de Genève, Point Éphémère – Paris , TEEM – Quimper, Halle Nord – Espace d’Art Contemporain de Genève
Tour support: République et Canton de Genève.
Inkörper Company (CH)
Aurélien Dougé has been dancer for Dantzaz company, the Leipzig Opera Ballet, Norrdans company and The Ballet du Grand Théâtre de Genève. Since 2014, he has been independent and collaborates notably with Romero Castelluci, Cindy Van Acker or Jérôme Bel. Beside, Aurélien Dougé develops his own work. In 2014, he founded Inkörper Company. It is a production structure that tries to adapt to the different proposals, to the different tried and tested forms and those yet to come. Her practice lies in exchanging with researchers and artists from several disciplines, in meeting with audiences and territories to create objects that explore different relational organizations.
Perrine Cado is a scenographer and lighting designer gratuated from the Ecole Nationale Supérieure d’Arts et Techniques du Théâtre (ENSATT) in Lyon, France. Since 2014, Perrine has been collaborating regularly with Alexis Forestier – Compagnie les endimanchés, Franck Vigroux – Compagnie d’autres cordes and Aurélien Dougé – Inkörper Company.
OiL – Ora il Lavoro!
“OiL!” is dedicated to the relationship between identity and work dimension in contemporary social structures. It plays with the plans of reality, expanding the relationship between actors and spectators, and welcomes the possibility that the public – solicited for comparison on a moral choice – takes the floor to reconstruct the separation between stage and audience. “OiL!” delves into the work identity of the figures on stage as well as that of the spectators, proposing a comparison that refers to political assemblies, exchanges of ideas with the public imagined by Erwin Piscator, the vision of the Living Theater on Pirandello and the first works of relational art by Maria Lai.
“OiL!” reworks the intuition behind Pensaci, Giacomino! placing it in relation to the materials collected by Ateliersi during a course of interviews, assemblies and public meetings on the theme of work, and engages in the Pirandellian affair the direct experience of a real encounter that has forever changed the gaze of the authors. It represents the second stage of the in-depth study and rewriting of the work of Luigi Pirandello, started by Ateliersi in 2017 with In Your Face
Di e con: Fiorenza Menni e Andrea Mochi Sismondi
Musiche composte ed eseguite dal vivo da: Vincenzo Scorza
Produzione: Ateliersi 2018
Con il sostegno di: Comune di Bologna, Regione Emilia Romagna, MiBAC
Ateliersi is an artistic collective of artistic production recognized for scenic writing that transfigures data of the real through their poetic and musical recomposition. He deals with artistic production and the care of cultural programming of the Atelier Sì in Bologna. The creation of Ateliersi consists of theatrical works and artistic interventions in which the performative gesture enters into an organic dialogue with literature, music production and visual arts to foster communication of Thought capable of intercepting anxieties and perspectives that coalesce meaning around subversions that manifest themselves in the world.
2 Ambientes / Napoli
Rodrigo Pardo / Rosalia Wanka
A free adaptation of a dance video made in Buenos Aires. At the times it was hard for me to rent rehearsals spaces I decided to create a piece within the limitations of my own apartment. To perform this retake many years later confirms both my feeling of belonging to my roots while it nourishes from the new environment.
This dance-video was filmed in the own choreographer’s flat. It tells how the dance piece Cuadrado Negro Sobre Fondo Negro was made (created in the living room of the same apartment and put into the scene after that) and simultaneously presents the real situations that motivated the piece before mentioned. Filmed with a single camera and with a very low production budget, 2 AMBIENTES is a testimony of the artists’ universe, including Argentinean tango, suprematist painting and even a fight scene in the Batman&Robin style.
If all places are filled with the events that have taken place there, how many stories would fit into a 30m² flat?Se ogni luogo conserva una traccia di ciascun evento che vi si è svolto, quante storie possono coesistere in un appartamento di 30m²?
Rodrigo Pardo: Dancer and direction
Rosalia Wanka: Dancer
Supported by: Yamaha (we had to sell the motorbike)
« Jury prize » Dance Camera Istanbul 2007, Turkey
« Jury prize » Cinedans Festival 2006, The Netherlands
« Nomination best screen choreography » IMZ DanceScreen 2007, Switzerland
« Jury special mention » Il Coreógrafo Elettronico 2005, Italy
Rodrigo Pardo / Rosalia Wanka
Argentinean choreographer/performer and video artist, Rodrigo Pardo graduated from Dasarts-Advanced Studies in Performing Arts (Amsterdam, The Netherlands) Theater School of Bahía Blanca (Argentine) and Contemporary Dance School of Teatro General San Martín (Buenos Aires, Argentina)
His artistic work ranges from dance pieces, video and music, to site-specific projects with the utilization of mixed media. This interdisciplinary practice is characterized by a special relation with urban spaces, musical identity, and the insertion of constructed fiction in daily life as a way to open doors of awareness on how we perceive reality.
LOOK AT ME
Monamas Theatre Company (UK GR)
LOOK AT ME is a devised piece exploring issues around gender, bodies, freedom and human existence in an attempt to destroy the stereotypes about what women and men should look like, behave or act. In this work, we’ve been looking at the female body, its objectification, and its representation in the media.
In the west we are image obsessed. We are bombarded daily by a system designed to make women feel that they are never good enough.
LOOK AT ME investigates how males and females are raised differently and experience different environments throughout their lives and explores the experience of women in the 21st century who exist in a society in which their gender is exploited and objectified and the female body has become a strong and effective marketing tool.
Directed by: Chrysanthi Avloniti
Performed by Chrysanthi Avloniti & Anna Kritikou
Monamas Theatre Company (UK GR)
We are Chrysanthi and Anna, the founders of Monamas Theatre Company, and we are dreaming of a theatre that not only brings stories on stage, entertains and informs, but also educates and inspires.
We are funny, inventive, and enthusiastic – always willing to try out new forms and accept new challenges, creating art in an exciting, authentic, meaningful and powerful way.
We want through our work to raise awareness and encourage conversation around issues that matter to society, expressing the need to make the world a better place.
Ah! And we are romantic too! We love reconstructing the classics – and taking cheeky liberties – but at the same time we want to speak out our own truth and create original work.
Our theatre is about opening the space for questions and encouraging the audience to reevaluate their beliefs, values and attitudes.
Our practice blends socially engaged theatre with creativity and attempts to alter the traditional conventions of space, language, movement, theme and theatrical rules. We are always willing to try out new forms and accept new challenges.
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Antonino Talamo (IT)
Cosaltro Esperimenti Antonino Talamo
Antonino Talamo (IT)
Musician, Drummer, Live Instrumentalist and Studio Recording. His playful virtuosity mixes sounds and rhythms, improvising passionate scores through the intersection of various sources, from electronic to tribal, involving the audience in a totally amazing and unexpected present moment. His music is a crossroad for the musical languages coming from the South of the World. Collaborates with Peppe Sannino, Pietro Sinigaglia, Gloria Clemente, Kal Dos Santos,Iacopo Pellegrini, Gilson Silveira, Armanda Desidery, Rino Borriello, Galo Cadena, Roberto Lagoa, Corrado Cordoba, Nunzio Toscano, Annalisa Madonna, Fabio Gallucci, Antonio Pinto, Angelo Ricci, Michele Maione, Gianluca Campanino, Alberto Falco (MOMODUO 2010), Paolo Licastri, Giulia Capolino, Guido Schiraldi, Luca Cioffi, Francesco Manna, Duccio D’alò, DIONISO FOLK BAND, Fabrizio Alessandrini, Mario Sapia and others.
Sara Terracciano (IT)
This work was driven by the desire to know a place and the people who live it. A consequence of a fascination. And for me, the only way to capture this fascination was to pretend to be a fashion photographer.
Photography as a medium can reflect the surface of things; it can show what it is, free of judgment or verbal impositions.
In a photograph, every detail can move your imagination, a hint of a story, a small window from which every curious eye can peek. At the same time a distant look, enhanced by the serial nature of the work, shows how differences seem to disappear; the will to show yourself, reveals much more than narcissism.
Despite presenting myself as a fashion photographer, there is no intention to represent Neapolitans outside of their daily lives, this also includes their pose, which is never imposed by me. My will is to show how beautiful and confident they seem every day. The mechanism underlying the fashion image doesn’t work here, there is no tendency to offer, no model to be desired. The result is not given by the opposite, this is not an exhibition of “bad taste”. All that is shown adheres to the culture of the individual, the subject is the life itself.
Photo and concept by Sara Terracciano
Sara Terracciano (IT)
In 2016, after her bachelor degree at the Brera Academy in Milan, decides to move to Naples, looking for a life-force that Milan and the north struggle to give back.
She attends two-year specialization in Artistic photography at the Naples Academy. Here that her work moves away from the intimist and laboratory dimension of the darkroom, to include people. In spring of 2017 she starts his project in Sanità neighborhood. Which over time takes shape oscillating between fashion photography and an anthropological gaze, she graduated in March 2019 with a research thesis that, starting from his photographic practice, carries out a critical analysis of the idols of mass society, but at the same time shows how, precisely through its aesthetic obligations and its cultural entertainment products, emerges all the sweetness of people’s daily life, their dreams and their secret expectations.
Directing her investigation in the places where the human relationship and community life prevails over the dimension of individualism and personal success, she is interested in photography for its potential to play a listening role.