GIRODIBANDA
This dramatized concert is a result of strenous research focused on band music, which turns out to be a tool for gathering people and a medium to diffuse cultured music. Band music has shown to allow for direct and lively participation since the times when no televison or radio brought music into people’s houses. The crew is directed by Cesare Dell’Anna and comprises a band from Puglia and the group OPA CUPA, which has worked for ten years at mixing together the traditions of popular bands from Puglia and the fanfare rhythms from the Balkans.
Roberto Corradino / Reggimento Carri
- - - - - - - - - - - - - - - - - - - - - - - - -
LE MUSE ORFANE
Three sisters and their brother. An absent mother. It’s the night before Easter and she is not at home. The only people there are the four siblings, Catherine, Martine, Isabelle and Luc, who are waiting for her to come back. While waiting they will tear each other into pieces. Theatre is emotional. I’m going to deal with three sisters and a brother who are waiting for their mother on the night before Easter. Catherine, Martine, Isabelle and Luc will tear each other apart while
waiting for their mother. She will eventually show herself back, as evoked during a session, in a way her children would never expect her. It is the Resurrection day and their mum is back. As la mamma è sempre la mamma. Roberto Corradino, author, actor and director, lead out working with Mimmo Cuticchio, Maria Maglietta, Pippo Delbono, Federico Tiezzi, Teatro KismetO.pe.rA. In 2000 he established the group Reggimento Carri; his last interpreted and directed works are Piaccainocchio, finalist in 2003 at Premio Scenario, Perché ora affondo nel mio petto
in 2004, La commedia al sangue in 2005 in co-production with the Festival Castel dei Mondi from Andria, and the recent Conferenza/Nudo e in semplice anarchia in 2007/08 inspired by Shakespeare’s Richard II, in co-production with Festival Es. Terni 2008.
Rotozaza
- - - - - - - - - - - - - - - - - - - - - - - - -
ETIQUETTE
Etiquette is a half-hour experience for two people in a public space. There is no-one watching - other people in the cafe or bar are not aware of it. You wear headphones which tell you what to say to each other, or to use one of the objects positioned to the side. There is a kind of magic involved - for it to work you just need to listen and respond accordingly. Some say it’s good to do this with someone you know, someone to share this with. Others say it works well with a stranger.
Etiquette exposes human communication at both its rawest and most delicate and explores the difficulty of turning our thoughts into words we can trust. A young girl and an old man lead the participants into several micro-situations, often borrowed from film or theatre, wherein the private worlds shared between two people split and reform incessantly. We’d recommend anyone thinking of experiencing it to watch this great 10 minute excerpt from Godard’s VIVRE SA VIE, though
it’s not essential. Alongside their innovative stage works (Doublethink, Five in the Morning) involving instructions to unrehearsed performers, Rotozaza here invite the audience to try it themselves. Etiquette offers the fantasy of speaking with someone without having to plan what you say, and the resulting thrill of disowning responsibility in a performance situation. Conversation is shown to be a kind of theatre whereby ‘audience’ and ‘actor’ roles are imperceptibly assumed and exchanged.
Sandro Lombardi
- - - - - - - - - - - - - - - - - - - - - - - - -
IL RIFORMATORE DEL MONDO
The show has been produced by demand of the National Museum of the Bargello, alongside the exhibition I Marmi vivi. Bernini e la nascita del ritratto barocco held in Florence from April 3rd to July 12th 2009. Bernhard’s play, picked up by Sandro Lombardi, dates back to 1979. Among the several characters in Bernhard’s drama, old, lonely, desperate, sarcastic, evil, nagging, needful figures, tormentors and victims at the same time, the Riformatore is the one that brushes more
to the limit of folly. While the protagonist is writing a treatise on the possibility of recreating the world, he spends his life torn between the sadistic behaviour towards his wife, who shares his loneliness, the bitter memories of unknown humilations suffered and the vanity with the honoris causa degree he is going to get. Depicting this extraordinary character, Bernhard gives us once more a terrifying mirror of the torments and depths of pain of the contemporary man. Sandro Lombardi reverts to an author which in the past has given him the opportunity for one of his best performances in L’apparenza inganna.
Fibre Parallele
- - - - - - - - - - - - - - - - - - - - - - - - -
2 (DUE)
Selected at the EXTRA contest, promoted by the GAI (Giovani Artisti Italiani) association, this show is a noir monologue held in aseptic, white surroundings, which together with the voice of the protagonist suggest a dimension of folly. The monologue tells the end of a loving relationship, an ordinary but extreme experience. Fibre Parallele chooses to dramatize the stereotype, violently aggravating the emotional content. The company Fibre Parallele Teatro was established in November 2005. Licia Lanera and Riccardo Spagnulo went up their artistical path together in 2003 with the CUT in Bari. The first seminars attended with Enzo Moscato, Marco Sgrosso, Massimo Verdastro, Francesca Della Monica, Luca Scarlini, Living Theatre, Odin Theatret, were followed by
more significant experiences with the director Carlo Formigoni and with the Ricci/Forte duo. Their play “Mangiami l’anima e poi sputala” reached the semifinal of Premio Scenario in 2007.
Gaetano Ventriglia
- - - - - - - - - - - - - - - - - - - - - - - - -
OTELLO, ALZATI E CAMMINA!
“My theatre is not an intellectual game. I merely try to turn true characters into life. There is not any emptying of meaning, as it is in fashion to say. There is already enough emptying in the world: what have I got to do with this? No: herein, under these lights, we are not in the emptyness of what is around us. I’m not interested in describing nothingness, talking about nothing; the beauty is there and it is not possible to pretend otherwise.” Gaetano Ventriglia is an author and actor who won several awards and critical acknowledgements. His distinctive feature is a detailed and dreamlike theatre. He started his work in 1988 with the one-act-play Schifo, followed, among others, by Discarica, Detriti and Serrature. In 1998, together with Ascanio Celestini, he produced Cicoria – in fondo al mondo, that represents a foundation text for narrative
theatre, a very popular genre nowadays. In 2003, together with the author and actress Silvia Garbuggino, he started a group called Malasemenza with whom he carried out an ambitious trilogy on Dostoevskij’s work, tracing L’idiota, I fratelli Karamazov and Memorie dal sottosuolo (2007).
In April 2005 he produced kitè mmùrt (Hamlet act V scene II), which is a reading of Shakespeare’s tragedy suspended between the surreal and the grotesque.
Cantieri Teatrali Koreja
- - - - - - - - - - - - - - - - - - - - - - - - -
PALADINI DI FRANCIA
“I feel like I am in the puppet theatre where Pasolini made Totò, Ninetto Davoli, Franco e Ciccio tell the sad story of Otello, Iago and Desdemona. With those same puppets, I would like to tell of Rinaldo, Astolfo, Angelica, Bradamante, Fiordiligi, Orlando and finally the Roncisvalle massacre which was an absurd bloody ground where all those men died and their corpses were abandoned, with their eyes upwards to the sky wondering about what the clouds are.” (Francesco Niccolini)
Inspired by the Puppet Theatre magnified by memories, the show is a touching tribute to Pasolini’s movie Che cosa sono le nuvole? The show is tailored to young boys and girls aged 10 to 15. It turns out to be an overall cultured experience , meta-teathrical and packed full of
quotations.
La Luna nel Letto
- - - - - - - - - - - - - - - - - - - - - - - - -
I MAMMASANTISSIMA IN AMMERIKA
On the stage there is a concert which turns into a show. It becomes the mirror of the reality of southern Italy which still finds it hard to change. It resembles the different southern lands of the world, having old roots and old vices, old flaws and old values. Baffled with doubts, six young musicians from a fictitious village in Puglia called Cefalicchio dream about following in the footsteps of the great 50’s italian jazz masters, playing and covering famous pieces by Buscaglione and Carosone. But their real dream is to break America. The theatrical search by Michelangelo Campanale and the acting company La Luna nel Letto has for a long time been committed to experiment new types of dramatic languages which can speak to a general audience, as was the case in the past with popular performances. Since their former production Pinocchio a Sud, they have attempted to restore the ritual function of theatre, which they believe to be a medium for passing on values in society.
Ricci/Forte
- - - - - - - - - - - - - - - - - - - - - - - - -
MACADAMIA NUT BRITTLE
The recurrent theme is the nightime waiting of four individuals fond of Haagen Dasz Macadamia Nut Brittle ice cream. First in a hospital, then on a plane, then in a playhouse in a tree. The waiting is embodied in a dream-like tamagotchi which detaches from reality.Life offers a snuff movie in which everyone is protagonist, both victims and executioners. Everybody seeking love in a difficult world is the main character and agrees that Nature, as themselves, is always an unfaithful bitch. After Troia’s Discount, Metamorphotel, Wunderkammer, 100%furioso, the Ricci/Forte duo is back at Castel dei Mondi, with an intense and disturbing work inspired by Dennis Cooper’s lysergic universe. This work has been presented to the homosexual theatre festival Garofano Verde.
Teatro Minimo
- - - - - - - - - - - - - - - - - - - - - - - - -
SEQUESTRO ALL'ITALIANA
“We are dramatizing a kidnapping which is carried out the Italian way. The couple of guys in this plot decide to be the protagonists of this remarkable news story: they hold hostage a class of school children in their classroom. The problem is that this is a farce. There appears to be some feature determined by their DNA which makes Italian people unable to take seriously even the tragedies. If this is either a wrong way to die without consciousness or a right way for an easy survival it is a judgment we will leave to the spectator. After the work carried out on Murgia (cartolina di un paesaggio lungo un quarto), Teatro Minimo goes back to the attempt of depicting their own native ground.
La Santa Rodilla
- - - - - - - - - - - - - - - - - - - - - - - - -
MANOLOGIAS
With bare hands, puppeteers bring to life appealing characters from their own bodies and souls. They tell us stories inspired by their personal life, dreams and frustrations, while staying attached to the body that animates them. Since 2004 the group La Santa Rodilla, established by Hugo Suarez, Renato Curci, Roberto White and Ana Santacruz, has been passionately devoted to creating short stories by means of a new poetic and comic language made by gestures rather than words. This language is a fusion of mime, figurative theatre and vocal sounds.
The Forman Brothers’ Theatre
- - - - - - - - - - - - - - - - - - - - - - - - -
OBLUDARIUM LA CASA DEI MOSTRI
Some people are blessed with beauty, charm and radiance that life, fate or perhaps God bestowed upon them. So equipped, these people often influence and control our taste.Those with less gracious fate, on the other hand, have become the freaks of nature that must struggle to earn our respect. Some die in their sadness or take their life away. Others, however, decide to challenge their fate and they succeed in gaining respect and admiration. They are ugly and sometime even
monstrous. Children are afraid of them and adults avoid them. It is easy to recognize their weak points because they can’t be hidden and they must carry them forever. They irritate us with their monstrosity and difference. We don’t want to see them and yet, when face to face with them, we can’t take our eyes away from them. They provoke our senses; they take away our calm and illusion that the world is beautiful because they remind us that despair and weakness exist in it
too. We are afraid of them, which is perhaps why we also hurt them, although we enjoy being moved by their fate. This evening is dedicated to them. Theatre is based on a loose string of different acts, graphically and theatrically impressive moments and short stories united by a common theme, cabaret atmosphere and unconventional space. The performance is composed of various parts and we are attracted by the freedom to oscillate between a shallow genre and what is often times seriously and nobly called the theatre art. TheFreakShow epitomizes our desire to draw inspiration for our stage performances from anything that can challenge today´s commerciality, namely, from FUN. While the fun can be of the crudest form, it must be based on unconcealed emotions and respect for simple, human and worldly things, as well as on our awe with those phenomena and events that escape our understanding and excite our mind by their mystery. In order to at least partially present the image of the world that people are usually afraid to enter, we find our heroes in cabarets, nightclubs, circuses, among wandering comedians, puppeteers, bardancers, cheeky fair criers, in silent film grotesques, old comedies but also among people stigmatized by various abnormalities and deformations. In a nutshell, in the souls of all those whose strange world, at least for a short while, satisfied their hidden desire to achieve success, respect or just a sense of meaning fulness. We are fascinated by the often sad and moving fates of these people and on the basis of these we try to assemble, with concern and
passion, a mosaic of our own performance. The evening culminates by the spectacularly majestic arrival and opening of the bar. The staff at the bar consists of the theatre director, actors and dancers. There is beer, wine, mustached women, mineral water, singing and lemonade on the menu… The evening goes on… It’s open till the departure of the last theater goer.
MusicArteatro
- - - - - - - - - - - - - - - - - - - - - - - - -
CALIGARI - CINECONCERTO
During the movie Il gabinetto del Dott. Caligari by Robert Wiene, the group Supershock plays live music especially composed to interact withthe images. The audience is carried away in the atmosphere of silentmovies, when a screening was accompanied by an orchestra playing livemusic. Here, the orchestra is replaced by a band which highlights theimages with suggestive music. The main character in this noir visualnovel is Dr. Caligaris, a traveling entertainer who takes his showfrom town to town.The Supershock, Paolo Cipriano and Valentina Mitola, are a rock band,established in Turin in 2002. They have variegated artisticalexperience: they compose and play music, collaborate in directingtheatrical works, lead a cultural society which deals with thecontemporary link between image and sound. They have an intenseconcert schedule and participate in several national and internationalfestivals.
Gianfranco Berardi
- - - - - - - - - - - - - - - - - - - - - - - - -
LAND LOVER (viaggio per amore)
The concept for this show was born from our desire to compare different thoughts and feelings about the theme of traveling.Following the route, traced by Briganti (May 2003), which saw the laststage in Popeye s.r.l. (June 2007), we are still working with thissame subject, taking into account perspectives which have not beenseen yet.Land Lover is a journey, it is a physical displacement towards adestination and at the same time it is a metaphore for a steady andunstoppable development of consciousness.In the rush for building relationships, in the rush of running awayfrom themselves, each soul’s motion is debased, the great archetypesfrom tragedy become comical expedients as used in soap operas. Thefeelings at the foundations of life are impoverished by theconsumption of emotions: the search for love turns into buying aticket to fly further away to live a summer affair; the search forsalvation turns into a well-paid consultation for any kind of spell;human relationships turn into sordid plots.”
Manifattura Scalza
- - - - - - - - - - - - - - - - - - - - - - - - -
GIANNA
Gianna performs solo. It is a glimpse into the daily life of a personwho lives engulfed in a self-tailored reality, unique and absolute.She detaches herself from the outside world. She is afraid ofrejection.This play depicts Gianna’s last day of voluntary captivity.The borders of her prison are represented by a shut door, beyond whichthere is the truth of others. The truths that she would not like tohear, but that exert some fascination.Gianna knows her state is temporary and she will escape one day.. Thatday is today.In January 2006 Paola Fresa, Luca Marengo, Ivano Pantaleoand Alice Leonardi established Manifattura Scalza. The truth we bringonto the stage is naked like bare feet. We interpret only some of theinfinite episodes of human history, those we will choose to tell.
Filippo Timi / Santo Rocco e Garrincha
- - - - - - - - - - - - - - - - - - - - - - - - -
IL POPOLO NON HA IL PANE? DIAMOGLI LE BRIOCHE
Here it is one night, a furious image directed straight at my heart.If I were aware of the world... If I had the neat perception that whathappens is a continuous rerun... I would laugh, I would love with thesame shallowness of he who tramples on a flower... I would kill withthe same frivolity... I would rape with indifference... but... theconsequences of my actions bounce back to my heart and to my flesh andto my soul... and here it is the abyss coming to my throat. FilippoTimi brings on the stage a surrealistic Hamlet. He feels tired of thesame old performances, fed up with acting the same old drama everynight... For once he would like to make people laugh, to actdifferently, to stay with his girls...
Babilonia Teatri
- - - - - - - - - - - - - - - - - - - - - - - - -
POP STAR
Pop star is an entanglement to untangle. It is the idea of a commonand unstoppable fate. It is a labirynth with no ways out. It is themodern Titanic on its way to the iceberg. It is waiting for the PrinceCharming who will never arrive.It is like a man who keeps running as he doesn’t want to know what heleft behind.He doesn’t want to know what there is around.A run to success.The dream of the arrival.It is blood, sweat and dust which slips on the road.The screams, the laughs, the tears of he who has nothing to lose.Who has nothing to fear and wants to run the risk.Who makes the most of everything, regardless.For the first time we started from a play, a story. We started withthe will to make it our way. Pop star is a deliberatley easy-goingshow, which has been decided not to be dramatic to narrate a deeplydramatic truth. It is based onto a both consistent and delirious playwhich conjugates formal rigours and narrative folly.
Cerchio di Gesso
- - - - - - - - - - - - - - - - - - - - - - - - -
UN AMORE DELL’ALTRO MONDO
Homer Boda Alienson is a child that has grown up without love, whobuilds up a paradoxical life without sleep, surrounded by spaceshipsand old sci-fi movies.He meets Kurt during a sleepless night and adopts a remedy againstinsomnia which may lead to the love he longs for. Who is this child?What has he got to do with the 90s rock idol Kurt Cobain? Where willthat white powder he calls a remedy lead him?The novel which inspiredthis show has been written by Pincio in 2002 and describes a crosssection of the 90s through the point of view of Boda, Kurt Cobain’simaginary friend, as named in his diaries and biographies. The show ishard and strong, played in the shadow of Nirvana music and of theirleader’s fragile life. It offers a view of the 90s close to that ofthe twenty-year-old youth.
Mario Perrotta
- - - - - - - - - - - - - - - - - - - - - - - - -
IL MISANTROPO
The show Misantropo is the first of a trilogy of plays dealing withthe social attitudes of individuals. It comprises of studies onMoliére, Aristofane and Flaubert characters. In Misantropo, Perrottaapproaches the theme of social power, analyzing the most anti-socialof attitudes that is misanthropy, which rejects any form of sociality.It also rejects loving relationships that embody an unevendistribution of power. Eventually, the Misantropo becomes a modern DonQuixote, unable to settle down with the system as he struggles againstunbeatable enemies. To some extent, this is a story about the modernman.
