1 July h 9.30 pm
2 July h 6.00 pm
created & Performed by Eden Wiseman (Israel)
co-creator and composer Ori Dvir
developed in La MaMa Umbria International 2016 "Next Generations"
"When I’m stuck I open my closet and I put on my "killer suit"
When silencing us and frighten us, God forbid when we do not go with the flow - it is very dan-gerous. When lowering us down and creating a sense that what we do is worthless, meaningless and not relevant. There is no material reward, what we do is almost impossible. We have the body, the movement, we have colors and images, and we have ways to cover our opposing statement, but why? The situation is so chaotic it feels that we must speak clearly, without fil-ters, without hiding. Is this my duty? As an artist, as a woman, as a creature, I fee trap, I feel like I am in a never-ending loop, everything repeats itself, it is inevitable! as if we are insom-niacs who are trapped by events that continue to chase us relentlessly (the same mistakes, the same failures, the same routine, the same choices, the same fears, the same emotional and physical pain). This repetition makes us feel mechanical, as if we were mere machines that have been programed to repeat the same routines time and again. This is followed by the fasci-nating moment that I focus on – the moment of breach and escape, in which only extreme ac-tions can enable us to escape from the chains of despair, helplessness and distress that bind us. The main question is how this recurrence transpires? Is it external to us or situat-ed deep within our internal consciousness? How do we perceive it and how and when can the cycle be broken, if at all? Does the attempt to change require use of violence and provoca-tion, or is it compassion, acceptance and patience that is necessary? Can it simply be a powerful passion that is shapeless and impossible to imitate?
1 July h 9.30 pm
2 July h 6.00 pm
created & performed by Jadd Tank (Libano)
project FOCUS YOUNG ARAB CHOREOGRAPHERS / Italy 2017
What is freedom and why do we need it? Who do we need it from? The chase is perpetual, like a carrot on a stick. Our miniature wins are celebrated. Our flags and statues erected. But the cy-cle never ends. It is grotesque and gaudy and it makes for a beautiful performance. LIBERTÉ TOUJOURS is a feverish pursuit of freedom. If LIBERTÉ TOUJOURS means absolutely nothing to you, don’t stress. That is totes okay. It’s not for everyone. Cool, thanks.
GLOBAL PLAYERS 2017
5July h 9.30 pm
Seoul Institute of the Arts
The Seoul Institute of the Arts is one of leading and most prestigious art conservatory in Asia, a forerunner in globalization of Korean Arts and in the creation of new forms of art. It will present a production created by a group of students selected through the Global Players. At the beginning of the semester students are requested to submit a proposal for a non verbal performance, combining Korean aesthetics with live music, media and interactive art. The task is to experiment new forms and contents for the contemporary theatre and to create an interdisciplinary performance that is able to engage audiences from different languages and cultural background.
THE BOOK OF THEL
7 July h 6.00 pm and 10.00 pm
by William Blake
a lyric opera by Rolando Macrini - Primo Studio
from an idea of Peter Case
music director Claudio Scarabottini
comics by Jacopo Maran
production La MaMa Umbria Ubria International and La MaMa Experimental Theatre Club NY
The Book of Thel is a poem by William Blake dated 1789, illustrated with his own engravings and drawings, which is relatively short and easier to understand compared to his last prophetic works. William Blake, poet, engraver, painter (London 1757 - 1827), who was a rebellious and visionary spirit, considered verbal and visual means a unique expression of his prophetic genius.
The daughters of Mne Seraphim are all shepherdesses in the Vales of Har, except the youngest, Thel, who spends her time wandering on her own, trying to find the answer to the question which torments her: why does the springtime of life inevitably fade so that all things must end? She meets the Lily of the Valley who tries to comfort her, but remains uncomforted, and therefore encourages her to ask the Cloud. The Cloud explains that he is part of a natural process, and although he sometimes disappears, he is never gone forever. Thel replies that she is not like the Cloud, and when she disappears she will not return. So the Cloud suggests asking the Worm the same question. The Worm, however, is still a child, and cannot answer. Instead it is the Worm’s mother, the Clod of Clay, who answers explaining that we do not live for ourselves, but for others. She invites Thel to enter into her underground realm and see the dark prison of the dead where Tel herself will one day reside. However, the protagonist is assailed by mysterious voices asking her a whole series of yet more terrible questions about existence. Uttering a shriek, Thel flees back to her home in the Vales of Har. The pit represents sex and mortality of life, while the Vales of Har represents virginity and eternity.
Duck, Death and Tulip
La Capra Ballerina Pappet Theatre
8 July h 6 pm and 10 pm
inspired by the illustrated book "Duck, Death and Tulip" by Wolf Herlbruch
and freely adapted by Laura Bartolomei and Damiano Privitera
puppet, costumes, scenography Laura Bartolomei and James Davies
music Slawek Kwi & Slobhàn Mcdonald, Shostakovich, Stefano Trevisi, Saule, Gavin Boyars, Kronos Quartet, Twine Recorder
direction, video and music choice Damiano Privitera
with Laura Bartolomei
project developed thanks to La MaMa Umbria International Residency (Spoleto, Italy), Can Pink Y Boogie Residency (Mataro, Spain), La Terra Galleggiante (Pinerolo, Italy) Teatro Boni (Acquapendente, Italy)
Duck realizes she´s followed by a character and when she discovers that is death itself, is obvious-ly concerned. Death reassures her, explaining that it’s been nearby since she was born and that there is nothing to worry about it, it’s normal, it’s life. Time passes and the duck get used to this presence, and, indeed, they become closer and take care of each other, all the way to the last breath. A room without walls, a naked bed and a bowl of water on stage. A sick woman, a puppet duck, a death mask.
By embodying Death and narrating the story of the Duck, the sick woman can accept her own an-nounced end of life.
9 July h 4/6/9.30 pm
conception and staging Dynamis
The performance questions the use of the square meter as measuring unit, through a game with volunteer spectators. What is the boundary between human and inhumane in the declinations of our everyday life?
Starting from some cases of shipwreck in the Mediterranean, the performance is built around a proportion between surface area and people involved. The scenic sequences, developed like the rules of a game, invite people to live in this space.
The M2 participative performance pragmatically questions the unit of measure from which it takes its name, the square meter, revealing, at the end, the possible nuances at the limit between human and inhumane which it adopts every day. The audience is the very essence of the performance, the matrix of action that is arranged in a collaborative game between strangers, across simple instructions conveyed by a hostess and a steward.
Starting from estimates derived from real cases as examples, the performance develops around a scale ratio, between circumscribed surface area and people involved.
The June 2015 annual report of the United Nations High Commissioner for Refugees (Acnur) attests that around 60 million people in the last year have been obliged to forced migration to escape war scenarios. Ten years ago, there were 22 million fewer migrants than today. Of these, approximately 38.2 million are internally displaced persons, that is, people who flee from their homes, but remain within the borders of their nation. One million 800 thousand are asylum seekers, those who apply for refugee status, nearly 20 million are refugees, in the strict sense (including 5 million Palestinians).
CHIEDI CHI ERA FRANCESCO
10 and 11 July h 9.30 pm
a performance by Andrea Adriatico
dramaturgy Grazia Verasani
with Olga Durano, Francesca Mazza, Gianluca Enria, Leonardo Bianconi
scenery and costumes Andrea Barberini
stagecraft management Francesco Bonati, Michele Casale, Carlo Del Grosso, Giovanni Magaglio, Giovanni Santecchia, Carlo Strata
organizational management Saverio Peschechera, Alberto Sarti
thanks to Stefano Casi, Franca Menneas, Beppe Ramina, Enrico Scuro
production Teatri di Vita
with the support of the Comune di Bologna, Regione Emilia-Romagna, Ministero dei Beni e delle Attività Culturali e del Turismo
thanks to the presence of the Teatri di Vita in Spoleto, because sensitive and close to the problems of the earthquake population
Francis the student, Francis the militant, Francis the victim, Francis the hero, Francis the name on a gravestone.
On March 11, 1977, exactly forty years ago, Francesco Lorusso, a student and militant of Lotta Continua, was killed in Bologna by a firearm during a demonstration. The shot was fired by a Carabiniere, who was subsequently acquitted.
It was the tragic apex of the season of the 1977 Movement and the beginning of a guerrilla warfare that devastated Bologna.
This new performance directed by Andrea Adriatico is dedicated to Francesco Lorusso, to the query on his memory.
There is a need to go beyond the words on the tombstone of Via Mascarella, the need to remember and understand a traumatic event for the city and for Italy from today´s point of view, the need to open a confrontation with the complex and contradictory season of the 1977 Movement, the need to tell the story of a young man who, with his death at the age of 25, unfortunately became the icon of an era.
UNTITLED FOR THE UNKNOWN
12 and 13 July h 6 pm and 10 pm
company gruppo nanou
choreography Marco Valerio Amico, Rhuena Bracci
with Sissj Bassani, Rhuena Bracci, Marco Maretti
sound Roberto Rettura
choreography assistants Marta Bellu, Rachele Montis
produced by E / gruppo nanou
co-produced by L’Arboreto Teatro Dimora di Mondaino, Cie Twain
supported by La MaMa Umbria International, Cantieri
with the contribution of MIBACT, Regione Emilia-Romagna assessorato alla cultura
"Untitled for the unknown" is a work on the body which triggers a (molecular) disorien-tation of space. Without a state of loss of the body, without the disorientation given as an assumption, the trigger is not possible. The body deals with the space keeping it perpetually in motion, a deterritorialized motion.
The relationship among the bodies is by means of "gravitational waves": the body as-sumes the ongoing space in order to grasp it and return it. An unceasing transitive / centrifugal action which collects the existent and puts it back into circulation outside of itself. Then the body finds no hindrance, it defines the "point" as a "spiral", the suspension of the body is a reduction of volume of the action, the lines are vibratory oscillations, time becomes circular, the beginning and the end are no longer necessary.
14, 15 July h 9.30 pm
16 July h 6 pm
written and directed by Gherardo Vitali Rosati
with Elena Arvigo, Luca Tanganelli
music Tommaso Tarani
staging and lighting Andrea Narese-Brando Nencini
production Il Teatro delle Donne Centro Nazionale di Drammaturgia
in collaboration with Fondazione Istituto del Dramma Popolare di San Miniato
the show premiered for the Fondazione Istituto Dramma Popolare di San Miniato, in the summer of 2017, on the occasion of the LXXI Festa del Teatro San Miniato, Festa del Dramma Popolare, June 26-27, 2017
For Laura, work is a mission. Employed in a pharmaceutical company for a lifetime, she believes in the power of science: her total dedication to the company is not connected to personal egocentric ambitions, but to the dream of doing something useful. In this vortex she lost a husband a long time ago, and has let her two children Mathieu and Chiara, almost thirty, quietly slip away to Paris, with the excuse of studying. Right when her team finally discovers a revolutionary drug, she is diagnosed with a tumor. Thus, she begins a journey through hospitals, examinations, surgeons and oncologists that will make her wander through various cities, keeping her more and more away from her duties. But in the meantime, her children will re-appear into her life, alternating to help her. It is in a waiting room that she will also meet Marco, a Turin orchestra player afflicted with her same illness. Due to its expressive manner and the themes treated, The Cure is the second chapter of Fumo Blu/Blue Smoke, the previous work by Gherardo Vitali Rosati, produced by the Metastasio Theater and presented at the 58th Festival of Spoleto. It focuses on the daily difficulties of a young couple dealing with fascinating but rather unprofitable work which took away time and energy from the family life. If the first text cited a success by Mina in the title, here the title is a famous piece by Battiato. For the staging, the show uses projections by Stefano Fake, one of the most famous Italian video makers, which create a real digital scenography, capable of recreating real and imaginative spaces.
from 1 to 16 July
from h 4 pm to h 22.30 pm
exhibition by Paolo Liberati curated by Lorenzo Mango and Moreno Cerquetelli
dedicated to the militant critic Beppe Bartolucci and the La MaMa of N.Y. Ellen Stewart
This is a recap of my best works inspired by the magical realism of the Art and Poetry Theater as behavior transformed into paintings and drawings with my company Tradimenti Incidentali Imaginalis Teatro ( TIIT )/ Incidental Traditions Imaginalis Theater (TIIT) of the post-avant-garde third and fourth generation directed by militant critic and poet Giuseppe Bartolucci from 1975 to 1996 and widespread in International Festivals, Donations, Exhibitions and Videos like La MaMa of Avant-Garde Ellen Stewart between Spoleto and NY, set up with Moreno Cerquetelli.
from July 1 to 16
from 16:00 to 22:30