LA MAMA SPOLETO OPEN 2019

Card|Program and Information|Biographies|Pictures

CARD

by La Mama Umbria International
The Festival of 2 Worlds hosts La MaMa Spoleto Open, organized by La MaMa Umbria International, artistic residence, study and production center founded by Ellen Stewart - former founder and artistic director of La MaMa E.T.C. of New York - in Spoleto in 1990. The event, organized in collaboration with the Municipality of Spoleto, the Festival of 2Worlds and the involvement of numerous local associations and international partners, aims to give support and visibility to emerging companies in the Italian and international artistic panorama. The program of La MaMa for 2019 presents several shows, mostly interdisciplinary, with the participation of emerging artists.

PROGRAM AND INFORMATION

I AM A SEAGULL

A film by the Chekhov Project 

directed by Brian Mertes
artistic director/producer Melissa Kievman
co-director / producer Alex Harvey
executive producer Wendy vanden Heuvel
produces Julie Buck, Johnny Moreno, Samara Levenstein
story editor Stephanie Fleischmann
film editor Ian Olds
cinematographer Miklos Buk  
choreographer Jesse J Perez
puppet designer Julian Crouch
production design Deb O
sound design Daniel Kluger, Daniel Baker, Brandon Walcott 
costume design Olivera Gajic
acting company
Gabe Ebert, Didi O’Connell, Rob Campbell, Gayle Rankin, Annie Baker, Glen Berger, Joan Macintosh, T.R. Knight, Wendy Vanden Heuvel, Guy Boyd, Lynn Cohen
musicians/composers
Saskia Lane, Lila Blue, Damon Daunno, Lucas Papaelias, Phil Roebuck, Phoenix Roebuck, Gabe Ebert, Elvy Yost, Elena Moon Park, Vicky Finney, Marc Osterer, Jason Candler, Josh and James Crouch
I am a Seagull a hybrid documentary film that evokes celebrated American theatre collective, The Chekhov Project. The Project consists of an annual, immersive, open-frame performance event created by Brian Mertes and Melissa Kievman. For sixteen years running, New York. actors, designers, musicians and directors gather in mid-august for a retreat 30 miles from New York City. There, they attempt to stage a play by Anton Chekhov. The setting is an 1805 farmhouse owned by the producers that matches the bucolic country estate settings for many of Chekhov’s most famous plays. The result is an annual one-time, site-specific performance for community members that begins in the afternoon and ends after sundown, staged throughout the house, property and environs All hands and hearts come together to create a twelve-hour performance that happens over a single day.

Like the project itself, the film, I am a Seagull dissolves boundaries between audience and performer, representation and reality. Life and rehearsal blend together in this portrait of The Project’s 2014 production of The Seagull. Chekhov’s text is embodied by a handful of actors from New York City as they converge in an upstate lakeside retreat. Through juxtaposing phases of rehearsal, live performance and pure cinema this movie captures the idealism, contradictions and raw instinct that fuels theatre-making itself.

29 Giugno
18:00
Sala Frau
BIGLIETTI
ACQUISTA
unreserved seating €10,00
30 Giugno
22:00
Sala Frau
BIGLIETTI
ACQUISTA
unreserved seating €10,00

LE MILLE E UNA NOTTE - IV ORA

One thousand and one nights - 4th hour
concept, direction, dramaturgy Silvia Rigon 
direction, set design Lucia Menegazzo  
actress, performer Barbara Mattavelli  
sound design, musician, performer Federica Furlani 
producer Christina Lidegaard 

with the support of RAMI - Residenza Artistica Multidisciplinare Ilinxarium and Centro di Residenza della Toscana (Armunia Castiglioncello - CapoTrave/Kilowatt Sansepolcro) 

Can telling stories still save a life? Can a woman telling stories finally share her own?

A king, whose queen had betrayed him, takes a new wife every night and kills her the next morning. Soon worthy women are hard to find, so Shahrazàd, proposes herself for the next marriage despite protest from her sister, Dunyazàd. Determined to survive, the two sisters devise a plan: Dunyazàd asks her sister to tell the king a story before going to sleep and to make sure that the story does not end before sunrise, if the king wants to know the end of the story, he should let Shahrazàd live for one more day. With her wonderful stories, Shahrazàd breaks the chain of executions. 
The project is set in the night before the wedding of Shahrazàd. 
Five women are trying to tell a story, always the same story, their story, the story of Shahrazàd. We pose questions about “today” to discover the unexpected in everyday, rediscovering the feeling of wonder as an essential principle. They work with the creation of a character, who has always hidden herself behind her words. 
Through their characters They emphasise the complexity of the feminine, from childhood to old age, using themselves and their experiences firsthand. 
They use multiple languages to accomplish this goal: departing from literature, they apply anthropological methods, they play with a mixture of elements from puppetry (hand puppets, marionettes, shadows, body puppets, etc.) and they experiment new soundscapes. 
They materialise the wonders of the Arabian Nights in extraordinary images created by fantastic objects in their personal Wunderkammer. The cabinets of curiosities from the 1700th century were collections of objects that exemplified the richness of nature and of human activity: an exotic world where people wondered about their role in the universe, lost in contemplation, and the door to utopia and the enigmatic paradox opened. This is the emotion the performance aims to provoke in the audiences. 

Director’s note
An examination of the relationship with death. Sitting in her study, Shahrazàd is immersed in her thoughts: she is scared. She doesn’t want to be the next ring in the chain of executions. Together with her sister, she recounts the story that has set off the cycle of death in a play that consolidates live music, shadows, puppets, marionettes and the words of the Arabian Nights. With music, the two sisters animate a man (puppet) to examine the relationship with the masculine: they lose control and are forced to kill him. Resembling an anatomical study, bones surround the protagonist, referring to the search of origins and the knowledge of man. Their shadows transfer us into a transfigured world that opposes reality. Bones of anilmals form a marionette; a magical creature symbolising the memory and legacy that Shahrazàd will pass on to her sister. 
In the foyer, the audience is accompanied by a sound installation with the voices of women from all over the world. Their voices are interwoven with the ones of the performers, reproducing the relationship between the singular, dual and plural present in the Arabian language, immersing the audience in a feminine and perturbing world.

29 Giugno
22:00
Cantiere Oberdan
BIGLIETTI
ACQUISTA
unreserved seating €15,00
30 Giugno
17:00
Cantiere Oberdan
BIGLIETTI
ACQUISTA
unreserved seating €15,00

SI VIENE LA MUERTE

ENGINE group
credits Alejandro Tomas Rodriguez
Robin Jaques Marie Gentien
Pierre Lauth-Karson

Over time, ENGINE has created a unique and highly original body of performances, recordings, and film that continues to expand in both number and ambitious conception, thanks to the electrifying, imaginative, and authentic fusion of music and theater, original compositions and traditional songs, and musicality and rock energy.
02 Luglio
22:00
Cantiere Oberdan
BIGLIETTI
ACQUISTA
unreserved seating €10,00
03 Luglio
18:00
Cantiere Oberdan
BIGLIETTI
ACQUISTA
unreserved seating €10,00

OLEANNA

by David Mamet 
withFrancesco "Bolo" Rossini, Elisa Menchicchi
directed by Emiliano Bronzino
assistant director and organization Samuele Chiovoloni
The ability or capacity to do something or act in a particular way. Skill. The capacity or ability to direct or influence the behaviour, actions, thoughts, opinions of others or the course of events; capacity to attract, to put in psychological subjection esp. In a intimate relationship. Possession, control. 
David Mamet wrote “Oleanna” in 1992 during the case of Anita Hill who accused the judge Clarence Thomas of harassment. 
John is a brilliant university professor who receives in his study Carol a disappointed student, sure of her stupidity. John tries to be comprehensive and to help her. He is busy with some personal affairs and he ends up with some sentences potentially ambiguous. A normal conversation turns into a real accusation: sexism, racism, sexual harassment. The powerless professor assists to the reverse of his status, the destruction of his certainties. A student and a professor in the frame of the EDUCATION system that promotes, stops, awards, pulls back, pushes forward, judges, educates, shuts up, labels. A text that keeps stuck where the parts are always exchanged, reversed. Where the two characters are going up and down in their positions not always consciously. Thanks to a masterful use of the word, of the lie, of the personal histories David Mamet cuts in two the analysis of the power, the control. He investigates the concept of truth, of alleged facts happened in a classroom and keeps the audience concerned into a box ring where two voices seems to be in a perfect balance. By a banal episode that involves two generations, two rules, two sexes. Today this play seems to be more relevant than ever with all the current cases of harassment, violence, mobbing all around the world and inside all the levels of the society. 

Director´s notes
It is a remarkable fact that even after 25 years all the themes treated by David Mamet in “Oleanna” are worryingly current: the ethical issue of the educator towards the scholar and the consequent issue of the various forms of harassment and extortion (sexual, sexist and mobbing). Mamet do not judge the behaviour of the two characters that adapt themselves in the situation, he avoids any kind of moral reflection.  
The dialogue is syncopated and always interrupted. It shows little fragments of the story where the time ellipse and the unsaid words are often more relevant that what we are watching on stage. The text is a puzzle, a labyrinth where the audience is taken little by little and from where it´s impossible to get out. 
Working on the text some important reflections on the representation and final usage of the play are born. We must start from the conception, or maybe preconception, of the forth wall not only to redefine it in a theoretical view but also to verify the consequences in the practical staging. 
We are supposed to answer to an apparent simple question: what is the relationship between the audience and the action? If, as Mamet declares, “the aim of a theatre play is to put on stage the living soul of men” what we see is an apparent realistic apparatus with pressing rules that overcome the lines of the illusion of reality. To erase the distance between the representation and the audience means to erase a forth wall.  
Once this first membrane is melted the practice of the work asks for the elimination of any kind of technical theatre tool of illusion and fiction in order to lay bare the soul of the character/actor with no filters in front of the audience. 
03 Luglio
22:00
Sala Frau
BIGLIETTI
ACQUISTA
unreserved seating €15,00
04 Luglio
18:00
Sala Frau
BIGLIETTI
ACQUISTA
unreserved seating €15,00

CIRCE

dramaturgy Matteo Tarasco
with Teresa Timpano
direction, set design and light design Matteo Tarasco
original music Claudio Bagnato
costume design Chiara Aversano
stage manager Paolo Pannaccio
assistant set design and costume student of Accademia di Belle Arti di Reggio Calabria
coproduction Accademia di Belle Arti di Reggio Calabria and Scena Nuda - Festival Miti Contemporanei
Who is Circe? A goddess? A sorceress? A deceiver? A poisoner? Why does she live alone on a remote island in the middle of the sea? Why does she turn men into pigs? Many mysteries surround this disturbing figure. Our show is an investigation, a journey to discover a woman whose true story has not been told yet. Our Circe lives in a landfill, the dark cavern of a serial accumulator, an island of junk, an expanse of garbage bags and forgotten objects, a legacy of a ruined civilization, ours. Fumes of fires now extinguished rise tired towards the sky. The sky is always leaden. Distant thunder announcing a storm that is always lurking and never fails to unleash. An old song comes out of an abandoned radio. Always the same. In this no-man´s land we witness the end of a game that Circe has lost, like all of us.
(Matteo Tarasco)

05 Luglio
22:00
Cantiere Oberdan
BIGLIETTI
ACQUISTA
unreserved seating €15,00
06 Luglio
22:00
Cantiere Oberdan
BIGLIETTI
ACQUISTA
unreserved seating €15,00
07 Luglio
17:00
Cantiere Oberdan
BIGLIETTI
ACQUISTA
unreserved seating €15,00

IN MY HEART’S EYE

Zoukak Theatre Company (Lebanon)
Vincitore Premio Internazionale Ellen Stewart

Within the constant displacement of people and cultures and global demographic shifts, how can we create a space for connecting to each other? In today’s metropolises people cross paths continuously and rarely meet. Fear of the other, intolerance, isolation and loneliness plague our contemporary societies. Today to engage in an act of love towards a stranger is a form of resistance.  
This  performance is an investigation about love as a risk-­taking drive that  anchors us in the present moment, together. Like theatre, love takes place in the “here” and “now” and allows individuals to transform the irrevocability of their pasts and the projections of their futures into infinite possibilities in the present. A lot of our literature studies human  behavior by positing  the inevitability of death at the core of any truth, as a fatality looming in the horizon and defining human action; framing “the end of the story”. But what if we were to study the middle of the story… the apex of the adventure of life, through instances of falling in love?

Inspired by love poetry of Arab Andalucía, a melting pot of cultures and religions and in many ways a symbol of tolerance and co-existence, and departing from a broad  definition of love, we will study love as a succession of ephemeral moments  that define people’s various journeys. We aim to collect real love stories of people from different communities and cultures; especially people who have been through difficult  circumstances and who have encountered love in unexpected places, questioning how it has affected their paths and their views of the world.  
09 Luglio
22:00
Cantiere Oberdan
BIGLIETTI
ACQUISTA
unreserved seating €15,00
10 Luglio
17:00
Cantiere Oberdan
BIGLIETTI
ACQUISTA
unreserved seating €15,00
10 Luglio
22:00
Cantiere Oberdan
BIGLIETTI
ACQUISTA
unreserved seating €15,00

CAGE SHUFFLE

Production Big Dance Theatre (USA New York)
choreography Annie-B Parson
performer Paul Lazar
Cage Shuffle is a dance/theater solo. In Cage Shuffle Paul Lazar speaks a series of one-minute stories by John Cage from his 1963 score Indeterminacy, while simultaneously performing a complex choreographic score by Annie-B Parson. The stories are spoken in a random order with no predetermined relationship to the dancing, yet chance serves up its inevitable blend of uncanny connections between text and movement. Cage’s humor, intellect and iconoclasm find ideal expression in this new work which adds dance to Cage’s original performance instructions: Read stories aloud, paced so that each story takes one minute, using chance procedures or not.
12 Luglio
22:00
Cantiere Oberdan
The ticket price includes "Cage Shuffle" and "Ballet"

unreserved seating €15,00
13 Luglio
22:00
Cantiere Oberdan
The ticket price includes "Cage Shuffle" and "Ballet"

unreserved seating €15,00
14 Luglio
17:00
Cantiere Oberdan
The ticket price includes "Cage Shuffle" and "Ballet"

unreserved seating €15,00

BALLET

production Big Dance Theatre (USA New York)
created and directed by Annie-B Parson
choreography Annie-B Parson and the company
sound design by Tei Blow
performed by Elizabeth DeMent, Natasha Diamond Walker
produced by Sara Pereira da Silva
stage manager Ilana Khanin


Ballet is a duet for two women based in the imagery, the trajectory, and the materiality of ballet traditions; it was created during Parson’s Fellowship at the Center for Ballet and The Arts/ New York University in the spring of 2018. In this context, Parson was interested in making something that included the fundamental steps of ballet, the objects associated with ballet, the narrative tradition in ballet, and the radical beginnings of non-narrative ballet. Compelled to pull ballet into her own world, the choreographer speaks about it in her choreographic voice.
12 Luglio
22:00
Cantiere Oberdan
The ticket price includes "Cage Shuffle" and "Ballet"

unreserved seating €15,00
13 Luglio
22:00
Cantiere Oberdan
The ticket price includes "Cage Shuffle" and "Ballet"

unreserved seating €15,00
14 Luglio
17:00
Cantiere Oberdan
The ticket price includes "Cage Shuffle" and "Ballet"

unreserved seating €15,00

PICTURES