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    Inkt trilogie. Schwert von Shannara-Trilogie. Ciclo di Shannara. Shannara Trilogy. Mundo de tinta. Sagan om is och eld. The performance is a tribute to this great playwright. How is a play born? What is the difference between truth in life and truth in art? Should an artist be involved with politics?

    These are the questions Harold Pinter raises in his Nobel speech. The play Being Harold Pinter by Free Theater begins and ends with a search for the answers to these questions. The plot lines which make the basis of the performance are united by the same problem — the problem of violence in its absolutely different manifestations, beginning with violence in the family The Homecoming, Ashes to Ashes , through violence as a foundation of a social institution The New World Order, One For The Road and finally to violence as a form of international relationship Mountain Language.

    One plot follows another, abstract characters are gradually substituted by the real ones, close and recognizable, and a reflection concerning the events which took place in Abu-Ghraib is followed by documentary monologues of political captives from Belarusian prisons. But it is enough to move just an inch to the side and the image will change. Actually we are looking at an endless line of images. But sometimes an artist must break the mirror, and from behind this mirror there is truth looking straight at us. I suppose that despite of enormous difficulties, we — the citizens — must show tenaciousness and determination to discover the real truth about our life and our society.

    Chapter 1. Childhood Legends The actors tell their own stories from their childhood: humiliation in the kindergarten, an attempted suicide because of unhappy love, a relationship with a father who was twice imprisoned, meeting mother in hospital for the last time… Each deeply sincere story tries to find the answer to the question of how the scars of childhood influence our lives. The production ends with the story of a Belarusian ten-year-old, Vika Moroz, who has become a hostage of the present Belarusian political system and is separated from the Italian family whom she considers as her parents.

    Chapter 2. Diverse The actors spent long hours talking to extraordinary Belarusians, collecting information about their fates, their characters, their personal joys and tragedies. Chapter 3. Numbers The actors attempt to comprehend the dry numbers of Belarusian statistics through non-verbal contact with the audience. Why does Belarus hold first place in Europe for the number of its suicides? How many new-born babies are left in maternity homes because their parents feel unable to feed them? How many Belarusians are unemployed and what is the number of those below the poverty line? The high level of sincerity of Zone of Silence and its serious attempt at generalization invite the audience to meditate on the taboo zones in their own country, and provoke reflection about the nature of taboo and our response to emotional truth.

    This performance is mainly focused on the creation of a void between two characters. Two animals. Two figures. Two drawings. The first. The cock. The second. The scorpion. Two natures that are reflected in the expression, in the behaviour, in the movement. From time to time it is possible to listen to broken voices, moved by an agony. Might these voices be bits of cartoons that are deposited in our memory?

    Black eyelashes, excessively long, surround the dark eyes of the two beings, the Cock and the Scorpion. Melancholic looks come out of the faces and a strange and powerful pride wraps them. Everything outcrops, a little bit and time after time. There is an intangible, indescribable and arcane elegance. The red of the Cock, its colour becomes its movement. The white of the Scorpion, its suspension becomes its voice. The black of the area becomes the time of a void relation.

    Perhaps I stand before an idea of cartoon. Just that. Dewey Dell, is a tribute to William Faulkner and to his novel As I lay Dyng, a kaleidoscopic text where truth and points of view show themselves like an horizon of possibilities for interpretation. Kin Keen King is their last work. The title contains the mark of the performance. Then the howl of a submarine diving suit shows the enormous and cruelly beautiful head, a skull which traces the shadow of royal families.

    The sense of the Sublime awakens. Two female figures, covered with a shiny and styliform hair, mark the perimeter of the rose window on the floor with circular and energetic movements, moving with jumps in a wild dance.

    Publisher Series by cover

    Adele Cacciagrano. The story begins in the Soviet Union, where jeans and rock were prohibited. If you sell jeans you will be caught by the KGB. It moves from that time to the current days of the dictatorial regime of Belarus, telling of the arrests of the main hero and his friends, through to kidnappings. This is an ode to the generations of people who are not bound by age frames and who fight for the freedom of their country.

    Every country has such a generation. The hero talks about Lithuanian, Polish and Czechoslovak generations… Generation Jeans is the performance that made Belarus Free Theatre celebrated all over the world. In that edition VIE gives shelter to the four winners performances, here for the first time in their complete form, of Prize Scenario Scenario Association, always involved to catch the new languages and projects of the new generations, since promotes the homonymous biennial prize, that has shared to reveal artists that are now some of the most interesting of the Italian contemporary scene.

    A scene of catastrophes, a sequence of meteorological events, of signs of the time in the form of rains, hurricanes, clouds and winds. Born in the half of Ninety, Teatro Praga marks itself like a group of work that changes continuously, that modifies and models itself on the change of every single member of the collective. With an unmistakable style, tinged with dark humor, the Company arrives in Modena to show the new work. It is a moment of total and primeval solitude. Other people say think of the last place where you saw it or think of the last time you used it.

    And you keep thinking. In the meanwhile, you ransack everywhere, even where you perfectly know it cannot be. It is a moment of total and primeval fear. If this happened to everybody at the same moment, our species would be annihilated. Everybody suddenly wide-opening his eyes. Everybody thinking about the last place and the last time. Whole civilizations fallen a prey to forgetfulness, ransacking the world.

    Time is full of cones of shade. They scare us, the five of us. And fear excites us. Shades deserve our full admiration. My travel inside the factory started from there. As the title says, the performance reveals, in the visionary and poetic way typical of Delbono, the lie like a widespread evil, from which is difficult, almost impossible, to escape.

    And the central core of this performance, like other works of Delbono, is again the awareness of sorrow. La menzogna begins in silence. That silence, that memory represents the point of departure of the performance. La menzogna starts from the need of truth, the need to give up lies that characterize the lives of everyone, the need to unmask the fake play of representation, in order to be a political performance by means of poetry and to warn people against racism and fascism, against violence and stupidity. This voyage on the ship of life is immersed in slowness and seeks the tenuousness that always seems to regenerate itself in something else, in another substance of beauty.

    Fleetingness is gold, and gold is the action to be captured in decanting the time of childhood. Gold is the gesture that helps others. The long path of approach called for an exploration of the territory, constructing intense experiences focusing on the transmission of the gesture, which gave life to nuclei scattered around the map of the city according to age and place.

    Oro contains the seed of this approach. The four choreographies that make up Oro create extremely exiguous spaces between tenuousness and time: men and women, children and senior citizens involved in seeking the first gesture, the last gesture, the origin of things and of the face.

    Presences always united with one another, joined as with umbilical cords, choreographic processions. For this project she directs an artistic group formed by actors, dancers and musicians that come from different States, among which there is tra i quali Antonin Stahly, that many people remember for his performance, when he was a child, in Mahabharata by Peter Brook.

    VIE SCENA CONTEMPORANEA FESTIVAL

    IO NON SONO borns after a long elaboration work, to search a scenical writing that is careful to the different individualities of each member of the company. The sources from which Company Zat has drawn inspiration are Hamlet by Shakespeare, and above all the poem of the universal mysticism Mathnawi, essential work by Jalal al-Din Rumi, the celebrated Persian Sufi poet.

    The performance will be presented in a circular big tent, in the striking view of Piazza dei Contrari in Vignola. After Dorothy. They are two allusive and opposite places or winds, mysterious, hard to define: at first they seem to be common theatres, concert halls, where an opera or performance takes place; soon they are transfigured into proper autonomous universes, places-organs of a more complex body where every single sign, every visual auditory tactile olfactory trace always becomes a new gradient of the overall temperature and of the fundamental request which Dorothy, the protagonist, expresses by her own path and crossing.

    South will sink Dorothy, and the audience with her, into a deep night, a percussive and whirling darkness from which a new language of beating will arise, the rhythmic one, the lunar nocturne and animal language of the Witch of that wind, a creature maybe born from that world of sound where Dorothy immersed herself and was transfigured. The project intends to revisit and reconsider the rhetorical mechanisms of musical works in order to reread a key myth of Western literature, starting from a varied contemporary repertoire which is revisited according to the new sound organism that will be created in layers.

    Their first work, Orthographe de la physionomie en mouvement, presented at the Venice Biennial in , followed later by Tentativi di Volo, both entailed the use of an artificial set based on the optical effects of light and darkness produced by lenses, which placed the spectator in a camera obscura. Controllo remoto, on the other hand, takes another direction, and examines the effects on the imagination conjured by the subject of war. The result is a visual journey through war scenes, which begins from the first documentary photographs of the American Civil War.

    The images, which are shown in rhythmic, quasi-abstract succession, gradually seem to come to life via the process of anamorphosis produced by the fluttering motion of the screen onto which they are projected. The work, starting from the title itself, is an explicit reference to complex precision instruments, increasingly technologically complex ones, that make it possible to keep track of battlefields from afar. Their use has been refined over the years, from the time of the Great War to the present day, where we now have infrared night vision and virtually guided missile attacks … via remote control, hence the name of the work.

    In the logistics of war the perception of space and the enemy is essentially reduced to a geometrical point of a trajectory, the physical destination of a bullet, a remote point, but one not invisible to arms or to the idea of war as a web and as the geometry of the visible. This operation, which has become a model of intelligibility central to the current political discourse, is as comical as it is tragic. Revolving around the year , it establishes connections between the autobiographical elements pertaining to the Croatian communist history and childhood dreams of B.

    It releases the anxiety generated by the feeling of the loss of individuality and autonomy in the face of huge and anonymous forces of the super-structure that seems to control our lives and even our most intimate thoughts and desires. On the contrary, it points out to the possibility of each individual to claim their own creative way of making sense of the world, asserting the power of art as still one of the most powerful weapons for defending humanity.

    I AM is the first part of a trilogy with a provisional title: The theory of the performance to come or — the only way to avoid the massacre is to become its authors. Having co-directed Millennium Approaches, Bruni and De Capitani are continuing and completing their undertaking with the staging of part two of Angels in America — Perestroika. Having received many awards for their staging of part one, they will also be using the original cast for part two. Kushner portrays a febrile, omnivorous New York and sets the story in the mid-Eighties of the last century, the ideal setting from the anxieties of an era.

    This two-part contemporary saga weaves the lives of two ordinary, helpless men with those of narcissistic baroque angels, with psychotic hallucinations that become reality and with characters of recent American history. Like and even more so than in part one, in Perestroika the game of mirrors with reality, imagination and representation is amplified by a succession of overlapping scenes and a doubling of characters, making for a veritable challenge for the creative imagination of the two directors.

    In the final scene of part one we left Prior Walter, alone and afflicted with AIDS, dealing with an angel that had entered his home via the ceiling. The latter, in the throes of depression, creates an imaginary identity for herself amidst the frozen wastes of the Antarctic, with the help of Mr Lies.