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07.09.2012
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07.09.2012

07.09.2012

di Chiara Boscaro e Marco Di Stefano
regia video di Antonio Simone Giansanti
un progetto La Confraternita del Chianti
una produzione Associazione Interdisciplinare delle Arti/Associazione Culturale K. con il sostegno del Ministero dei Beni e delle Attività Culturali – Boarding Pass, progetto Enforce Entertainment
in collaborazione con Ufa Fabrik (Berlino) e Festival PIIGS (Barcellona)

1° studio: 6|7.09.2019 Ufa Fabrik (Berlino)

In principio fu un matrimonio mai celebrato. Poi vennero un testo drammaturgico, un debutto internazionale in un festival dedicato alla crisi. Ora ci chiediamo se non sia un qualcosa con un linguaggio diverso, la meta finale di 07.09.2012. È un progetto aperto, che parte da una crisi personale e di coppia per allargarsi a crisi generazionali, artistiche, valoriali, economiche, identitarie, europee…
Potrebbe concretizzarsi in una performance, una installazione, una casa come la nostra, un libro aperto solo per chi sa dove guardare, e a noi piace guardare, negli armadietti del bagno soprattutto. Ora non lo sappiamo, non sappiamo quasi niente se non che la crisi si annida dentro le nostre identità, ma non fa così male. Non sempre.
07.09.2012 è stato un non giorno importante per noi. Un giorno in cui abbiamo capito che lo scarto tra realtà e finzione non è così grande, mentre infinita può essere la distanza tra ciò che succede e come lo raccontiamo, o tra due persone che credono di parlare della stessa cosa, nella stessa stanza, nello stesso tempo.
E, ovunque ci condurrà la nostra ricerca, di certo sarà teatro.

by Chiara Boscaro and Marco Di Stefano
video director Antonio Simone Giansanti
a project by La Confraternita del Chianti a production by AIDA/Ass. Cult. K.

In the beginning, it was never celebrated marriage. Then a dramaturgical text and an international debut in a festival dedicated to the crisis came. Now we wonder if the final goal of 07.09.2012 could be something with a different language. It is an open project, that starts from a personal and a couple crisis, and widens to generational, artistic, value, economic, identity, European crises…
It could take the shape of a performance, an installation, a house like ours, a book open only for those who know where to look; and we like to watch, especially in the bathroom cabinets. Now we still don’t know, we know almost nothing except that the crisis lurks within our identities, but it doesn’t not so much. Not always.
07.09.2012 was an important non-day for us. A day where we realized that the gap between reality and fiction is not so wide, while the distance between what happens and how we tell it can be infinite, infinite could be the distance between two people who think they talk about the same thing, in the same room, in the same time.
And wherever our research will lead us, it will certainly be theater.

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Il Rito 2

TEATRO MAGRO E 33 ROOMS

IL RITO È UN PENSIERO IN ATTO. È PENSIERO UMANO INCARNATO IN UN GESTO, CAPACE DI UN’INTENSA FORZA D’ESPRESSIONE COME DELLA PIÙ SQUISITA DELICATEZZA MENTALE .

–GÉRARD CALVET

Esiste una forza che fa spostare due corpi A e B nelle tre dimensioni spaziali, e nella quarta dimensione temporale, mentre scivolano insieme tra i meandri di N altri universi paralleli, più o meno simili. I due corpi si ritrovano nel punto ψ, coordinate X, Y, Z coordinate geografiche, e nel momento θ, HH:MM del giorno DD-MM-YYYY, (CET), UTC +1. Il motivo non è per forza vitale, ma è sufficientemente importante per far muovere più o meno aggraziatamente nel cosmo il corpo A e per far uscire di casa il corpo B. Non ci sono storie dietro, ci solo sono abitudini. Nel nebuloso caos elegante del cosmo, è rassicurante festeggiare un numero, celebrare feste, con infinite varianti, con infinite decadenze.

Sweet whatever baby!

Il magnetismo del qui e ora è solo un graffiare la superficie di un disco di vinile senza troppe sorprese. Quante sono le tracce ripetute di questo album screziato? Guarda nel fondo del bicchiere, tra i due coriandoli adagiati sul tavolo, nel mozzicone di sigaretta ancora caldo. Si riconosce un rigore languido, che riesce a spezzare la brutale casualità di questo universo.

Il rito è per eccellenza questa esperienza di morterigenerazione.

–CRISTINA CAMPO

Regia: Flavio Cortellazzi | con: Eleni Mara, Alessandro Pezzali | drammaturgia: Magdalena Barile | Coproduzione: Teatro Magro, 33 Rooms

Eleni Mara studia teatro, danza contemporanea, canto e recitazione in Italia, nel Regno Unito, e in Grecia. Nel 2018 studia doppiaggio presso il CTA diretto da Pino Pirovano. Collabora con diversi gruppi teatrali in Svizzera e all’estero, esibendosi al Teatro Stabile di Torino, Teatro de l’Escorxador (ES), Malta Arts Festival, Teatro Foce, Festival Trasparenze. Dal 2016 collabora con Radio Gwendalyn. Con Alan Alpenfelt crea e cura il programma “On Air b&b”, progetto di drammaturgia radiofonica contemporanea. È assistente alla regia sia per Gaddo Bagnoli con “Amore ricucito”, prodotto da Officina Teatro (CH), sia per “Nur” di Giuseppe Valenti (CH). Nel 2017 fonda il collettivo 33ROOMS con Ivan Griggio, debuttando al Performa Festival con Onironauta. Nel 2018 produce lo spettacolo Cassandra Complex, con la regia di Przemek Wasilkowski.

Alessandro Pezzali è attore teatrale e cinematografico. Ha recitato nei film “Il mestiere delle armi“ e “Centochiodi” di Ermanno Olmi. Lavora dal 2001 in qualità di attore per Agidi e Medusa-Roma. Nel 2016 ha partecipato al film “Riccardo va all’inferno“ di Roberta Torre. A seguire ricopre il ruolo del fratello di Michelangelo nel film “Il Peccato” di Andrey Konchalovskiy. Nel 2017 partecipa allo spettacolo “Peer Gynt: un preludio” con la regia di Luca Micheletti, produzione del Teatro Franco Parenti. Entra a far parte del cast del Teatro Stabile Umbro nella messa in scena de “Il Maestro e Margherita “ per la regia di Andrea Baracco, con Michele Riondino. È attore e socio fondatore di Teatro Magro, compagnia mantovana di teatro di ricerca.

Flavio Cortellazzi frequenta l’Accademia di Arte Drammatica Paolo Grassi. Nel 1988 fonda Teatro Magro insieme ad Alessandro Pezzali e Marina Visentini. È da allora che ne cura la direzione artistica e ogni produzione performativa. Nel tempo, il gruppo si costituisce formalmente e cresce, fino ad annoverare nove soci. Dal 2006 propone le ‘Performance for business’, avvicinando il teatro al mondo aziendale. Nel 2012 si aggiudica il contributo ‘Next’ per la produzione dello spettacolo ‘Senza Niente 4 – Il regista’. Nel 2013 coordina come referente artistico il progetto europeo ‘Dictat’, una riflessione sulle dittature. Dal 2015 è direttore artistico del Festival della Fiaba di Legnago (VR). Da molti anni si occupa di formazione in diversi ambiti, sia in situazioni di disagio sociale, sia in prestigiosi contesti imprenditoriali.

Magdalena Barile è diplomata nel 2002 all’Accademia d’Arte Drammatica Paolo Grassi nel corso di scrittura drammaturgica, vive a Milano dove lavora come autrice televisiva (“L’albero Azzurro” – Raidue, “Camera Cafè” – Italiauno, “Affari di famiglia” – RSI) e teatrale (“Amazzonia”, “Manuel e Miranda”, “La Maga Olga”, “In Tumulto”, (Teatro Kimset, Bari 2007), “Lait” (Teatro i, Milano, 2009), “Piombo” (Pim Off, Milano, 2009), “Fine Famiglia”, (Pim Spazio Scenico, 2010), “Piccoli Pezzi”, (CRT, Milano 2010). Dal 2013 è docente di drammaturgia all’Accademia Paolo Grassi.

info| fabiodorini@teatromagro.com | www.teatromagro.com

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PLAY

una creazione di Chiara Boscaro e Marco Di Stefano
con Valeria Sara Costantin e Marco Pezza
un progetto La Confraternita del Chianti
produzione Associazione K, Associazione Interdisciplinare delle Arti
con il sostegno del Ministero dei Beni e delle Attività Culturali – Boarding Pass, progetto Enforce Entertainment
in collaborazione con Mugmetdegoudentand (Amsterdam), Teatrul 3g (Targu Mures), Story Hub (Riga) e Compagnia Joao Garcia Miguel (Lisbona), Teatro Verdi / Teatro del Buratto (Milano)

Lo sai che tu, proprio tu, puoi proporre una legge di iniziativa popolare alla Commissione Europea? Bastano firmatari da 7 paesi europei, determinazione e una buona idea per comunicarla. L’idea ce la mettiamo noi, il resto lo facciamo insieme: scegli un tema, ascolta i pro e i contro, trova dei sostenitori, convinci il tuo Commissario Europeo e fai sentire la tua voce a Bruxelles.
PLAY è uno spettacolo.
PLAY è una performance.
PLAY è un gioco, ma non un gioco da ragazzi.
PLAY è una sfida: un’ora di tempo per decidere, pubblico e artisti, una proposta di legge popolare da presentare alla commissione Europea.
E poi, una volta tornati a casa, fare in modo che la proposta venga accettata. Perché il teatro è partecipazione e cittadinanza attiva. E non finisce con la fine dello spettacolo.

ENG

Did you know that you could call on the European Commission to make a legislative proposal through the European Citizens’ Initiative?
You just need signatories from 7 European countries, determination and a good communication strategy. We’ll plan the strategy, the rest we can do together: choose a theme, listen to the pros and cons, find supporters, persuade your European Commissioner and make your voice heard in Brussels.
PLAY is a show.
PLAY is a performance.
PLAY is a game, but not an easy one.
PLAY is a challenge: audience and artists together, a legislative proposal for the European Commission, less than an hour…
And once you’re back home, make sure the proposal gets accepted. Because theatre means participation and active citizenship. And it doesn’t end at the end of the show.

Info: www.laconfraternitadelchianti.eu

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Brief account of our experience at the Lake Studio in Berlin.

Arrivare un pomeriggio di sole al Lake Studio è stato emozionante: le stanze luminosissime, il giardino dove farsi una tisana o bere una birra mentre si discute di progetti passati e futuri, gli altri artisti internazionali in residenza sempre pronti a fermarsi per fare un discorso in più, tutto ha contribuito da subito a farmi sentire immersa in un ambiente creativamente stimolante.

Lavorare in un contesto così aperto alle mie proposte è stato facile: fin da subito con Lysandre c’è stata una grande intesa, sia nell’esporre che nell’analizzare le idee per farle fruttare al meglio, senza paura del confronto. Siamo riuscite nell’intento di progettare venti minuti di performance, arricchendoci con le nostre due diverse e spesso speculari formazioni artistiche: per me entrare in contatto col mio corpo in movimento è stata un’esperienza meravigliosa, almeno quanto cantare insieme a lei o spiegarle le strutture nascoste dietro le note che suonavo.

Non avrei potuto avere un’esperienza migliore, mi sono sentita accolta e valorizzata, ho avuto la possibilità di entrare in contatto con esperienze a me distanti, come quella della danza e dello yoga, e nel mentre ho potuto portare avanti la mia professionalità in un ambito a me più familiare come quello del deep listening e dell’improvvisazione radicale, da cui è nata, con Michael Reiley. McDermott, una bellissima idea di performance musicale.

Getting a sunny afternoon at the Lake Studio was exciting: the very bright rooms, the garden where you can get a herbal tea or have a beer while discussing past and future projects, the other international artists in residence always ready to stop for a speech in plus, everything immediately contributed to making me feel immersed in a creatively stimulating environment.

Working in a context so open to my proposals was easy: right from the start with Lysandre there was a great understanding, both in exposing and in analyzing ideas to make them pay off at best, without fear of confrontation. We succeeded in designing twenty minutes of performance, enriching ourselves with our two different and often specular artistic formations: for me, getting in touch with my body in motion was a wonderful experience, at least as much as singing with her or explaining her structures hidden behind the notes I played.

I could not have had a better experience, I felt welcomed and valued, I had the opportunity to get in touch with experiences that were distant from me, such as dance and yoga, and while I was able to continue my professionalism in a I am most familiar with that of deep listening and radical improvisation, from which she was born, with Michael Reiley. McDermott, a beautiful idea of ​​musical performance.

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Ten days of theatre in London on the trail of the Bard

by David Remondini and Mila Boeri

After a smooth journey flying from Milan Orio al Serio to London Stansted, we arrived with the bus at Liverpool street station. We decided to walk towards our Hostel Clink 78 so we could have a first look of the city passing near important buildings and cultural places we wanted to visit.

One of them was the Barbican Centre where we went to study the variety of artistic proposal and where is located the famous Guildhall School of music and drama. An inspiring cultural centre where people can sit and discuss, see a theatre show or an art exhibition, go to a concert, or simply have a cup of tea and a slice of cake while reading a book. A world-class arts and learning centre in which we learnt how it is possible to combine together in one big cultural centre all major art forms including dance, film, music, theatre and visual arts.

At the level G we experienced also several interesting hi-tech installations in the public spaces.

An other place we discovered is the amazing National Library where they provide information services to academic, business, research and scientific communities.

People can comfortably find anything they need for a research and spend the whole day through free-access workstations, reading rooms, business and IP centre, exhibitions, shops where to buy books or interesting items and games about learning and education.

Here we spent some time planning our show learning tour we would have done while proceeding with our studies.

We had the chance to meet one of the first members of this amazing reconstructed Globe Theatre, Glynn Macdonald, master of movement who took us through the building, backstage and on the stage. We did all together a special training with her coming from the inner stage, walking under the heavens (a specific point of the ceiling under this roof painted with clouds and the sky) and working in circle on the main stage. 

We experimented how an anthropometric building such is the Globe permits the actor to constantly be in contact with the audience. There are no points in which one can feel separated from it. There are no barriers nor any kind of distance. It was in fact a unique experience for David to play some of Shakespeare’s speeches in different points of the stage with people attending in the yard: the centre of the proscenium, where to speak to a group of people sitting or standing in front of you, or from where the actor can step on stage coming from the yard making his way through the people standing; the left side of the stage where the actor could speak with a small group of people or with someone in particular, maybe to tell a secret or something that worries him, or a plan; and the right side of the stage where the actor exposes the left side of his body, which means his heart. That is in fact a point where a character normally expresses his feelings. And especially this was the point in which David had a physical proof of what means to play in an anthropometric theatre. A very special and moving experience, and an important test of his skills on the Shakespearean speech.

The second part of our learning experience at the Globe was important as the first one. In fact everything we saw and experienced in the first place on stage, we then had the chance to see it happening on the other side of the theatre, as an audience during the shows. The first show we saw was The merry wives of Windsor

Performed by an absolutely marvelous cast. It has been a precious opportunity to learn from their interaction skills with the audience. There it was clear how the actor could breathe together with the people watching and gather energy from them being there. We also noticed the extreme capability of playing with a perfect rhythm flowing out of theiambic pentameter, always feeling the beat passing from one scene to the other. Each actor was specific and powerful in his role and no one was anyhow neither overacting, nor emphasizing too much the musicality of the verse, but not even suffering its structure. Everything was authentically coming to life in front of us in that moment, although one could recognize weeks of rehearsals and training. 

So what we have noticed as an audience was certainly the talent and the skills of single actors who were always playing as one orchestra with passion, dedication, humor and honesty towards the author and the audience. And the story was absolutely clear from every point of view. Even if we sometimes didn’t understand something because of the sixteenth century English spoken, the action was in all cases clear and the music given by the words highly poetic and fascinating.

What a surprise it was then to see an extremely young and international cast playing The comedy of errors. We are pretty sure most of them were younger than us. But how they were confidently acting, brilliant and sensitive! In both shows there were very few features onstage, thanks to the actors who were clever enough to create all the dynamic it was needed through the speech, their relation on stage and the interaction with the audience.

The same cast we had seen in TheComedy of Errorswe then saw performing in the Twelf night. And it was an audience choice. A special democratic theatrical experiment where it was up to us people in the audience to vote for which of these three plays we wanted to see: Pericles,Twelfth Nightor The Comedy of Errors.

The rules are simple: the loudest cheer wins. Actors call it ‘terrifying’, audiences say it’s exhilarating. So we had to scream and shout as loud as we could for the play we wanted to see. And that was the Twelth Night. 

It was interesting to take part to such an event. Especially because the actors were then going to start immediately with the show that was chosen. The themes of all three the plays were of refuge and displacement, performed as a touring production which would have been staged in the 17th century, with a stripped back set and a small, versatile troupe of actors. Taking on multiple roles across all three plays, this talented international cast unraveled the timeless tale of the Twelth Nightof those who have crossed seas and lost their families, are seeking new homes, and finding out what belonging truly means to them.

After this second section at the Globe we wanted to see other open air theatres in London, so we went to Regent’s Park. A stunning and very wide park where there is a meticulous care of all the green areas, gardens and sports pitches. The theatre inside the park is called Open air theatre: with one of the largest auditoria in London, the Open Air Theatre in Regent’s Park is the oldest, professional, permanent outdoor theatre in Britain. It offers a range of theatre, music, comedy and film events each year from May to September. The theatre is located within the Inner Circle of the park and its has a capacity of 1500 people. 

To stuck on the refugee theme, which is one of the burning issues in the international debate, we wanted to see  Voice in the Dark: Presented by the British Red Cross Young Refugee Service and Compass Collective. Inspired by Shakespeare’s explorations of home, refuge and displacement, this devised piece celebrates the stories and skills of young people from across the globe. The British Red Cross Young Refugee Service runs weekly Life Skills Projects sessions in five London boroughs for unaccompanied refugees and asylum seekers aged 15-21 who have arrived in the UK within the last year. The workshops represent an invitation to these young people to find a cultural space for themselves in their new communities through theatre. The team at Compass Collective have experience in working in over 50 refugee centres across Europe and the Middle East. They specialize in bringing refugee and asylum seekers together in London, to share stories and build communities. Considering our task as actors participating to a social growth this was a show we couldn’t miss.

Wanting to expand our knowledge of this multicultural metropolis on a Sunday morning we decided to go visit old Spitalfields and Brick Lane market, an area where after the Jewish presence diminished in the late 20th century it was replaced by an influx  of Bangladeshi immigrants, who also worked in the local textile industry and made Brick Lane the curry capital of London. It was in fact full of people from the whole world, a very lively district where there were also free entrance photographic exhibitions.

Something we felt was also important for our cultural growth, a part from doing our show learning tour, was to make the most of the impressive offer there is in the museum of the City. We spent several hours at the Tate Modern Gallery, which is just a few minutes of walk from the Globe Theatre. A very welcoming place where we had the chance to see the works of various famous artists such as Umberto Boccioni, Georges Braque, Paul Cézanne, Marc Chagall,  Salvador Dalí, Giorgio de Chirico, Paul Gauguin, Paul Klee, René Magritte, Henri Matisse, Joan Miró, Amedeo Modigliani, Pablo Picasso, Jackson Pollock, Andy Warhol, Vasily Kandinsky, etc. And we also visited the Nation Museum and the British Museum, incredibly full of masterworks and precious artifacts from the whole world.

In our show learning tour we also decided to go see some shows in one of the most important theatres in Great Britain: the National Theatre.The first show we saw was performed in one of the theatres there are in the massive building  of the National, the Lyttlelton theatre.

The show called Top Girls, by Caril Churchill is awildly innovative play about a country divided by its own ambitions. We were able to follow this intense contemporary debate also thanks to the fact that we prepared our selves reading the play in English, so that we could follow better the fragmented speech typically used by Carol Churchill.

So, making our way through the evolution of the English language in the British theatre and wanting to investigate further in all genres we decided to go to see also a show of the Unicorne Theatre, UK’s leading theatre for young audiences, producing an eclectic and surprising programme of work year-round for children aged 6 months to 18 years.
What we immediately noticed is how the aim of this theatre is clearly to connect artists and audiences through a broad range of work that is honest, refreshing and international in outlook, across a range of disciplines. This theatre is able to present and tour around twenty shows each year, at home and abroad, to around 90,000 children and their parents and carers. Practacly two thirds of the whole amount of people going to theatre in Milan, known as the most lively city for theatre in Italy. And a part from the number of tickets sold, what we consider even more important and inspiring is the fact that they work extensively with schools and in the community to invite children from all cultures into a constant conversation about art and the world we live in.

The show we went to see is Aesop’s fables, a contemporary re-writing of ancient and timeless fables made by a few of the theatres writers. The version we saw is the one aged 8-12, also because adults weren’t allowed in in the version for younger children. The actors were really good in keeping up the rhythm and maintaining the kids attention and interest. And the kids, who were roughly 300 were clearly listening actively. In fact, during the show it wasn’t unusual that one or more than one child would honestly answer to a question the character would ask to himself, trying to help him to find a solution to his problem.

A creative and honest celebration of young and old, ancient and new – a tribute to how fresh, bold and vibrant the classics remain today. 

Seeing this show we realized how we can reach even a higher level in children’s theatre shows we play in in Italy.

Our research continued also at the National Theatre where we planed to see “Connections Festival” an annual, nationwide youth theatre festival. Each year the National Theatre commissions ten new plays for young people across the UK to perform. 

Bringing together the work of leading playwrights, as well as exciting collaborations with top choreographers and composers, National Theatre Connections 2019 featured work by seriously brilliant artists. 

Ten young companies coming to the National Theatre to perform their productions of plays written by contemporary playwrights who’s attention is on current topics talking to all audiences.

We were absolutely impressed by the acting skills of these young boys and girls who had seemingly just started off with their career. We think this depends on the fact that in Britain there’s a very efficient system of education for teenagers who aim at earning their living in the theatre. Starting at a young age they quickly become highly skilled performers perfectly able to act as well as sing and dance. We also appreciated the fact that the scripts were all well balanced giving everyone the opportunity to work through their own limits so to improve. In fact within an average of 16 actors per show, all of them were aware, powerful, measured and effective in the role they were playing. Last but not least, joyful! 

The festival lasted a week with 10 shows in 5 days. We decided to buy tickets for 4 shows in two different evenings, so we could spend time and budget for our study on other shows of other London theatres too. 

The two shows we appreciated most are:

Variationsby Katie Hims and Fleshby Rob Drummond.

In Variationsa Thirteen-year-old Alice wishes her life was completely different. She actually wakes up one morning to find that her life is different. In fact, it’s so different that all she wants to do is get back to normality. But how does she do that? 

A play about family, string theory and breakfast.

Performed by Outwood Academy, Hemsworth. A group of extremely high skilled young actors who could perfectly play the same scene in loop with different casts always the same way, with renewed energy and with clear intentions.

InFleshagroup of teenagers wake up in a forest with no clue how they got there. They find themselves separated into two different teams but have no idea what game they are expected to play. With no food, no water and seemingly no chance of escape, it’s only a matter of time before things start to get drastic. But whose side are people on and how far will they go to survive? 

This is a play about human nature, the tribes we create and cannibalism.

Performed by Rare Studio Liverpool: all the students were smoothly handling quick dialogues, monologues,  a scene in 18 with no hesitation at all, acting, singing and dancing in such a confident way you couldn’t tell if they were mainly actors singers or dancers. Everything was perfectly mixed. A very moving show thanks to the themes, the interpretation and the beauty of it.

At this point we had the precise feeling that we absolutely had to see a musical. A genre on which we’ve often felt a preconception in Italy, probably because of it’s recent outburst, not being a kind of theatre that has a real tradition in our country (but that has had indeed an interesting development in the past 10 years especially in Milan), not like in Britain at least. Just to have a slight idea of how successful and acclaimed are musicals in London, The Mousetrapis the longest running-play musical in the West End (a distinct region of Central London, west of the City of London and north of the River Thames, in which many of the city’s major tourist attractions, shops, businesses, government buildings and entertainment venues, including West End theatres, are concentrated) and it has done 27,672 performances since 1952; Les Miserable is the second longest running-play musical and it has reached 13,785 performances since 1985. Les misérablesand The lion kingare the most financially successful productions in the history of the West End. Last year this production distributed a further 280% return of profit, giving the original investors a total return of over 3500% on their original investment – an unprecedented feat for any musical in its fourth decade. Les misérablesis definitely a global stage sensation: seen by 70 million people in 52 countries and 22 languages around the world it won over 100 international awards.

Speaking of which, a recent but multi-award winning musical whose production we found being on the trail of the bard and that we were sure of seeing is Matilda. In fact it was none other than the Royal Shakespeare Company that produced this absolute breathtaking show inspired by the beloved book by the incomparable Roald Dahl.

We decided to invest an other part of our budget buying the original version of the book. So we patiently read in English the story of this extraordinary little girl who, armed with a vivid imagination and a sharp mind, dares to take a stand and change her own destiny.

We did well to prepare ourselves, because the show was obviously a reduction of the story, but it was so dense, quick and full of different elements, this way we managed to better appreciate all the nuances of Dahl’s beautiful language condensed in a skillful dramaturgy. And how intense, creative and powerful it was staged! All the actors were gifted, just like the protagonist of this novel. Especially the ten year old child stars of the show! They were acting, singing and dancing so smoothly and as if it was the most natural thing in the world. We were crying for the beauty of this show, for it’s enchanting energy, for songs and the music  played live, and for the fact that everything was perfectly conveying the message of the novel. You could tell there was a wise and expert eye behind all this, a long tradition of excellence gained literally galloping on the path of the Shakespearean blank verse and his universal stories.

And as it happens to all actors, singers, dancers, playwrights, directors, or artists in general to live hard moments starting off a career and trying not only to make a living out of it, but also to enjoy it and somehow be recognized as a good actor, singer, etc., we thought it would have been necessary for us to go see also something different from the top shows, trying to take a good breath also out of the main stream and into the exciting land of the fringe. So we went to see the New Diorama Theatre: an 80 seat theatre based just off Regent’s Park in the heart of central London. Unique for it’s development and support of early and mid-career theatre companies and ensembles. In the eight years since they opened they have welcomed over 150,000 audience members to productions by the best theatre companies making work in the UK today.

Soon after opening, New Diorama was recognized as a “must visit destination for London theatre-goers” (Time Out) and awarded two consecutive prestigious Peter Brook Awards for the first two years of their programming. In 2018 they were awarded the main Peter Brook Empty Space Award, and were named Fringe Theatre of The Year 2017/19 at The Stage Awards. Productions created for and with New Diorama Theatre have transferred to festivals, and countless venues around the country and internationally.

What also interested us was that as well as supporting and developing high-quality theatre (especially early and mid-career companies), New Diorama Theatre works extensively with their local community, creating projects, workshops and productions as well as ensuring the theatre space is somewhere their neighbours can come and be creative themselves. A task both us are working for in the long and short term.

So within all the shows we could go see, we exactly chose Bost-uni plus, which was part of the Incoming festival 2019 ,one week of the best emerging theatre companies from across the country with all tickets sold just at £5.

Based on the true experiences told by graduates, played by three wonderful clowns, as they leave the comfort of student life behind and enter the real world (a world in fact full of expectation, proper jobs, and council tax), Bost-Uni Pluswas for us a real surprise. Although the New Diorama Theatre was a good reference, we weren’t sure we would like the show, especially after we had seen 3 of Shakespeare’s plays at the Globe theatre, 5 shows at the National theatre and an international awarded musical produced by the Royal Shakespeare Company. On the contrary it was an explosion of energy, honesty, dance, physical theatre, techno, and plain silliness that explores post-graduate life through the good, the bad and the ugly also touching considerably poetical levels. 

At this point of our show learning tour, we had the experience to understand why practically all the shows we saw in London were excellent (a part from the show Saltin the Connections Festival played by a company of only girls of an Arts school based in South Wales which we found weak and poor in its preparation).

London is without doubt one of the first theatre capitals of the world. From the bright lights of the West End and their thriving fringe, to the rise of immersive theatre in the unlikeliest of places, the quality, variety and breadth on offer there is unrivalled. 

A report published by the Society of London Theatre today and commissioned by the National Theatre,  has revealed that, in 2012/13, employing thousands of people and bringing in almost £620 million a year London theatre made more money than cinema, and was more popular than Premier League Football. With its 231 theatres, with a seating capacity of 110.000, and a record of 22 million people attending.

No wonder standards here are very high!

We thought they were so high we decided to see again the first show with which we started our inspiring journey through some the best theatre shows played in the world.

We bought two other tickets for the Merry wives of Windsor at the Globe theatre where we still had a study section planed with Giles Block, one of the Globe’s directors.

We wanted to feel again the rhythm of the blank verse, the music of that beautiful and creative speech at the basis of English language. We wanted to study deeper the actors skills, how would that new audience react to their characters’ affairs, to the gags, to the blank verse’s gallop, to the wordplays. There was and still there is so much we feel we can learn from Shakespeare’s works and from the immeasurable experience and love they have for it at the Globe.

How far an actor can go into the Bard’s words was clear being at the Globe and studying with Giles Block. David had prepared himself to work with him on all the parts he does in the show Shakespeare the great rapper(the prologue in Henry V, Sonnet 145, Sonnet 18, To be or not to be, Romeo and Juliet’s first meeting and the nurse’s monologue, the witches in Macbeth, the page’s song in As you like it) adding also other monologues he learnt such as Edmund’s in King Lear  (Thou nature art my goddess..) and Gloucester’s famous opening monologue in Richard III (Now is the winter of our discontent). 

It has been a very important meeting in which David has further realized that his work on the original texts, that was sincerely appreciated by Giles, can continue and can still grow. Through personal studies, making the most of this summer experience, on Giles’s book Speaking the speechand maybe in the future, if there will be a new occasion going back to the Globe for workshops, and who knows…The blank verse is written as if one can naturally breath through it, galloping in a poetical world where the actor can enlighten and be enlightened by a creative power. Such an experience is theatre at its purest. That is why this ten days show tour and working sessions has been certainly important and extremely stimulating in our life long learning path. This is why we’ll keep on working, studying and researching always remembering to consider and work on contemporary plays as well as on the classics.

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A day at Shakespeare’s Globe

by Michela Marelli

The in-folio theatre company is invited to visit the London Globe and we are delighted because for us it is like a myth.
The Globe is the theatre built in 1599 by William Shakespeare (and his company), and rebuilt, starting in 1987, in its original form as a vision of Sam Wanamaker, an American actor and director who took refuge in England to escape McCarthyism.
On June 21st we arrive at the Globe well in advance, just to visit the gift shop that has an incredible collection of objects with Shakespearean quotes and a very interesting bookshop. We spend more than an hour reading the cover pages and some excerpts from the studies on the Tudor and Stuart Era (the condition of women, the relationship with Black People, fashion, nutrition…) watching DVDs of the past productions and having fun with all the funny objects that are on sale.The low-cost airline baggage rules prevent us from shopping in style.
In a couple of hours, we see twelve different school classes enter the Globe’s halls for lectures, all recognizable by school uniforms: a jacket and tie of different colours (one class is all lilac): the age varies from six to sixteen; in some cases it is a single class, in others an entire school.
We are told that in 2018, 73,000 children participated in an educational workshop, and thanks to the Playing Shakespeare with Deutsche Bank program, 17,000 free tickets for state school students were issued.
We have an appointment at 11.00 a.m. with the producer Matilda James and with Glynn (they didn’t tell us her surname; like all really important people the name is enough to qualify them). She is a beautiful and influential white-haired lady. She presents herself as the “grandmother” of the Shakespeare’s Globe, working here since the opening in 1997.
Matilda instead is petite, speaks little but it is clear that nothing escapes her control. Michelle Terry, the artistic director, comes to say hello too: she has the typical attitude of someone who is thinking too much.
We ask how many were the candidates for the announcement for a new artistic director opened two years ago: several hundred.
The entire staff was engaged in the selection privileging candidates who demonstrated a sincere love for the Globe and for Shakespeare’s work.
The staff of the Globe fills two dense pages of the programme; we have counted the names and are almost three hundred. The Globe does not receive public funding; it is supported with entertainment, merchandising, sponsorships and donations.
Glynn MacDonald is the Master of Movement, her work at the Globe is primarily based on her experience with the Alexander Technique.
She tells us: “I understood the fundamental principle that mind and body are the same thing. How I use my mind, body and posture has a profound effect on all I do.”Shortly afterwards she gives us a small essay of this technique directly on the Globe stage.
“The most important thing is that the actors listen to each other, not just with their minds but with their bodies,’ suggests Glynn. “If the actors can’t move, the audience won’t be moved.”
Glynn gives us the experience with which all the new actors at the Globe are welcomed. We enter the backstage, we prepare ourselves for how we want to go on stage, leaving backpacks and jackets in a corner that is not already occupied by costumes and props and then we enter the scene.
Being on stage at the Globe Theatre is an intense experience.
Glynn explains that it is an anthropometric space: built on a human scale and we really perceived it.
The “wooden O” around us is like a comfortable embrace.
The centre of the proscenium is perfectly in the centre of the circle.
To our right the corner for the apart and the machinations, the perfect place for Richard III’s line: 
“Now is the winter of our discontent
Made glorious summer by this sun of York…”
To our left, with the heart exposed to the public, there is the corner for confessions, and intimate speech, this is the point for Romeo’s line:
“But, soft! what light through yonder window breaks?
It is the east, and Juliet is the sun.”
Behind us there is the Juliet balcony and the gallery for musicians.
There is an open trap door in the ceiling from which you can see the sky, and from which descends on the actor who recites the beneficial effect of the stars (and natural light).
Around the ceiling of the roof – which, in the Elizabethan era, repaired the valuable costumes of the actors in case of rain – are painted sun, moon and stars.
Meanwhile, in the galleries and in the stalls, guided visits and lessons to the schools continue, but seen from the stage everybody is… the public.
The exercises that Glynn proposes are also part of our training, but doing them on these boards … is exciting.
There are five of us, and of all of us we will be facing more than five hundred aprons in five hundred different theatres … but this is unique.
David Remondini plays in English:
“O for a Muse of fire, that would ascend
The brightest heaven of invention,
A kingdom for a stage, princes to act
And monarchs to behold the swelling scene!
(…) Gently to hear, kindly to judge, our play.”
The public interrupts other occupations, listens and applauds.
It is the beginning of our show Shakespeare the great rapperand we would like to play it all. We would be happy to stage here a new show for days and days, but unfortunately we have to go.

This afternoon, tonight and later we will return as spectators.
We purchased tickets for three shows:
– 02.00 p.m. The Merry Wives of Windsor
– 07.30 p.m. The Comedy of Errors
– 11.59 p.m. at midnight there is the Audience Choice.
A marathon of blank verse!
While we wait we chat with the other people from the audience, for the most part they are middle-aged, middle-class who also come from outside London to see Shakespeare “staged in such a modern way”. We cannot help but wonder how Shakespeare is staged in a “traditional” way.
In the programme of The Merry Wives of Windsorthe cast list, THE COMPANY, occupies two thick pages and begins with Accent Coach, then Actorsfollowed by the thirteen names in alphabetical order.
After many voices including Choreographer, Composer, Costume Makers, Draughtsperson, Garlands… under the heading Musiciansthere are six names and at that Researchersseven names.
This long list shows how much work there is behind this production.
The setting, the music and the costumes refer to the 30s, to the age of Jazz and the show is as bubbly and lively as the Jazz music that accompanies it; the actors are incredibly good and close-knit.
The audience – one third of which is standing in the yard and two thirds are seated on very uncomfortable wooden benches in the galleries – follows with enthusiastic participation.
After the show we sit at the theatre’s pub named Swan, shortly thereafter the actors reach us, we congratulate from the heart. We thus discover that they were chosen with a casting (very lucky!) and that they tried for a period of time that even by Italian standards is very short: four weeks. We double the compliments.
Later at the pub we meet an Italian actress, Valentina Vinci, who moved to London, just to study at the Globe, and is part of a company made up of twenty-one actors from fourteen countries of the world: the International Actors Ensemble.
We look for the company and follow it up on
FaceBook: @InternationalActorsEnsemble
Twitter: @IAEnsemble
Instagram: @iaensemble
It seems like a lucky and hopeful meeting.
The Comedy of Errors is one of three shows that the Globe is touring with a young company. The same cast for all three shows.
Even in Shakespeare’s time the company of the Globe was on tour, in Hamlet there is an example of this habit that had to be well rooted and meaningful if the prince can tell Polonius:
“… Good my lord, will you see the players well
bestowed? Do you hear, let them be well used; for
they are the abstract and brief chronicles of the
time: after your death you were better have a bad
epitaph than their ill report while you live.”
The company is multi-ethnic: formed by eight young people: an American of Greek origin, an Australian, an Irishman, a Lithuanian and four English (three of whom are coloured people).
There are four men and four women who also recite male characters very well, each one playing more characters by superimposing the rich costumes of the characters on a base, almost an equal uniform for all. All the actors play and sing. The audience seems to be very fond of these young actors.
The midnight show again sees the same cast on stage, the actors all appear together in proscenium playing and singing a song and then explain how the Audience Choice evening works.
They have three different works of Shakespeare in their repertoire and are ready to recite what the public will ask most vehemently.
We scream with all the breath we have in our throats: “Twelfth Night“!
We are satisfied and the pretty brown actress is dressed as Duke Orsino.
The young male actor of Greek origin wears the clothes of Viola disguised as Cesario and a handsome Lithuanian actor plays Olivia.
This distribution of roles that mixes genres does not in the least disturb the understanding, rather it emphasizes the sense of some Shakespearean lines.
Despite the tiredness, the late hour and the coolness of the London night we enjoy the show with great pleasure.
When it ends we have a nasty surprise: the gift shop is already closed and we can’t even buy the very small list of books and essential items. Fortunately, everything is also available online at www.shakespearesglobe.com
It’s almost three in the morning, but London is an incredibly civilized city with fantastic taxy service. The very kind taxi driver takes us back to the AirB&Bat King’s Cross Rd.
Of course we also went to see platform 9 and ¾ at King’s Cross Station.
According to J.K. Rowling books this platform is where Hogwarts School of Witchcraft and Wizardrystudents board the Hogwarts Expresson 1st September.It can be accessed by walking straight through the apparently solid barrier between platforms nine and ten.
There is a sign on the wall and a cart, with the trunk and Edwige’s cage stuck in the wall. And there is a huge queue of people who want to be photographed while pretending to cross the barrier.
Right next to it there is a giant Harry Potter gift shop.
The question that spontaneously comes to us is how much J.K. Rowling owes William Shakespeare?
We have this thought as we walk towards the next stop: the new library built on the project of the architect Colin St. John Wilson and inaugurated by Queen Elizabeth on 25 June 1998.
Almost in response to our question at the entrance to the British Library a life-size bard statue greets us.

You can also read:
– Ten days of theatre in London on the trail of the Bard
of Mila Boeri and David Remondini

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From RAMI to LAKE Studio Berlin and return: Residencies Exchange – Germany/Italy

From RAMI to LAKE and return

Mentre aspettiamo l’inizio dell’estate iniziamo a raccontarvi del progetto di scambio residenziale/artistico che la polistrumentista Francesca Stella Riva porterà avanti dal 22 giugno al 3 luglio presso il Lake Studios di Berlino insieme alla danzatrice e performer Lysandre Coutu-Sauvé. Dopo questi giorni di lavoro e scambio a Berlino, gli artisti si prenderanno l’estate per elaborare e portare avanti le loro ricerche comuni che hanno iniziato in questo primo incontro, cosi da vedersi in Italia a fine settembre, presso la nostra Residenza Artistica Multidisciplinare ILINXARIUM (R.A.M.I.) dove lavoreranno a ulteriori sviluppi sul loro progetto di cooperazione artistica.

Ecco una breve presentazione di LAKE STUDIO e dei due artisti:

Francesca Stella Riva studia trombone con il maestro Luigi Bascapè al conservatorio di musica “Giuseppe Verdi” di Milano e fa esperienza suonando nell’ orchestra di fiati e in alcuni quintetti ad esso correlati. Suona da anni in vari gruppi della scena underground italiana (The Please tra tutti), spaziando dall’elettronica al noise e al free jazz. Collabora con ILINX teatro nelle musiche live di alcuni spettacoli teatrali e si occupa di musico terapia.

Lysandre Coutu-Sauvé si è laureata presso l’École de Danse contemporaine de Montréal (LADMMI) nel 2007. Dopo uno stage presso LE GROUPE-Dance Lab con il regista di fama internazionale Peter Boneham, ha lavorato a Montreal con coreografi come Marc Boivin, Mélanie Demers (ciao Mayday) e Andrew de Lotbinière Harwood (AH HA Productions). Dopo essersi trasferita a Berlino, nel 2009, ha lavorato come freelance per cie FAS, Nir de Volff / Total Brutal, Marjana Krajac (cie Sodaberg), CTM Crew per Transmediale 2013 e con molti artisti di altri media come Michael Poetschko , Darren Jonhston / Array (Aphex Twin) e Morgan Belenguer per citarne alcuni.

Lake Studios Berlin è uno spazio condiviso di produzione, una Residenza Artistica che pone particolare attenzione alla danza, aperta a 9 diverse ospitalità contemporaneamente. Sono principalmente artisti freelance che lavorano con stili e metodi diversi di danza, mantenendo una costante riflessione e scambio reciproco durante il lavoro produttivo in residenza; Questo attraverso incontri informali, cene, proiezioni / discussioni e anche attraverso altre metodologie di scambio. Insieme alle due sale con pavimento in legno, ci sono diversi servizi uno accanto all’altro tra cui un grande giardino, un laboratorio di legno per la costruzione di set e oggetti di scena, macchine da cucire, un laboratorio multimediale / biblioteca, oltre ad alcune attrezzature tecniche, come un proiettore, un impianto di illuminazione per il teatro, un pianoforte, una fotocamera, un mixer e un sistema audio. Lo spazio è unico per la sua atmosfera lavorativa calma e concentrata e per l’amichevole comunità di artisti che sostengono la creazione di lavoro. Le opportunità per le proiezioni sono organizzate mensilmente, così come corsi di formazione professionale e seminari a supporto del movimento di idee e della ricerca coreografica.

While we are waiting for the beginning of summer we want to tell you about the residential / artistic exchange project that the multi-instrumentalist Francesca Stella Riva will carry on from 22nd June to 3rd July at Lake Studios in Berlin together with the dancer and performer Lysandre Coutu-Sauvé. After these days of work and exchange in Berlin, the artists, during the summer, will develop and pursue their common research that they started in this first meeting, in order to be ready to meet again at the end of September in Italy, at our Multidisciplinary Artistic Residence ILINXARIUM (RAMI) where they will work on further developments on their artistic cooperation project.

Following a short presentation of the two artists and Lake Studios Berlin:

Francesca Stella Riva studies trombone with maestro Luigi Bascapè at the “Giuseppe Verdi” music conservatory in Milan and gains experience playing in wind orchestra and in some related quintets. She plays for years in various groups of the Italian underground scene (“The Please” amongst all), ranging from electronics to noise and free jazz. She collaborates with ILINX in live music of some theatrical shows and works as music therapist.

Lysandre Coutu-Sauvé graduated from l’École de danse contemporaine de Montréal (LADMMI) in 2007. After an internship at LE GROUPE-Dance Lab with internationally renowned artistic director Peter Boneham, she worked in Montreal with choreographers such as Marc Boivin, Mélanie Demers (cie Mayday) and Andrew de Lotbinière Harwood (AH HA Productions). After having moved to Berlin, DE, in 2009, she worked as a freelancer for cie FAS, Nir de Volff/Total Brutal, Marjana Krajac (cie Sodaberg), CTM Crew for Transmediale 2013 as well as with many artists from other mediums like Michael Poetschko, Darren Jonhston/Array (Aphex Twin) and Morgan Belenguer to name few.

Lake Studios Berlin is a shared living and dance production space, an Artistic Residence for 9 different residences (short and long term). They are mainly freelance artists working with different styles and methods of dance, yet there is a constant reflection which takes place between them daily; in form of dinner conversations, showings/discussions and other methods of exchange. Along with two wooden flooring studios, there are different facilities one next to the other; including a large garden, a wood laboratory for set and prop building, sewing machines, a media lab/library, as well as some technical equipment – such as a beamer, theater light set up, piano, cameras, mixer, and sound system. The space is unique because of its calm and concentrated working atmosphere as well as the friendly community of artists supporting work creation. Opportunities for performing are organized monthly, as well as professional trainings and workshops to support the movement of ideas and choreographic research.

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residence exchange Lithuania/Italy

Residencies Exchange – Lithunia/Italy What do we think a residency is? A protected space A supportive space, where you get feedback and can explore A place to create new work A place for the venue and the artist to share things in common, to connect. An exchange: the artist gives something, the venue gives something, of mutual benefit Sometimes the artists withdraw into a quiet place. WHERE Arts Printing House – Vilnius 15th August 30th August The Arts Printing House is a unique creative phenomenon in Lithuania, a vibrant performing arts venue and a meeting place for artistic souls. Established in a former printing house dating back to 1585, nowadays it deals with performing arts layouts and linotypes- those that help develop a new understanding of creativity within modern society. Residenza Idra – Brescia 27th September 11th October Residence I.DRA-Independent DRAma is a place (Spazio Teatro IDRA), an idea and a way of producing, organizing and promoting theatre. It has a basic aim: communicate the private and social “human experience”. We work for a theatre who dare to dissolve its forms, to become “transparent”. THE COMPANIES Shy Palm Grėma Šmitaitė – dance, choreography Jacob Nosov – dance Sunayana Shetty – choreography Shy palms is a choreographic study of a relationship between two people, and warmness generated by palms. Based on the image of two volcanoes this study reveals a fundamental estrangement of people and at the same time, no less fundamental eruption towards the other. Colletivo DueDiTre Michela Priuli Elena Valdetara Dueditre is a project based on the search of visual appeal through all the elements of the stagecraft, focusing especially on the use of the body as an expressive tool. Vittoria Franchina, Michela Priuli and Elena Valdetara discovered a common desire of creative collaboration after their educational path at Susanna Beltrami’s contemporary dance academy, Dancehaus. The continuous search to recreate that lost set, give life to a new relationship, no longer of symbiosis but of exchange. From here, the choreographic research aims at first to physically recreate the symposium’s primordial being. The second part of the performance is about the search of the other and the relationship with them. This relationship is no longer symbiotic but has the form of an exchange. On the scene, dancers exchanges How do artists benefit from residencies? The artist can get a different viewpoint on their work because people have a different cultural heritage. This develops the artist’s work. Get influences from elsewhere Get inspired by other people