Back to Argentina
After three years the Teatro Nucleo returns to the North of Argentina, to Catamarca at the invitation of the Comedia Municipal de San Fernando del Valle de Catamarca, directed by Idangel Betancourt, and of the Grupo de Teatro Independiente Los Constructores directed by Marité Pompei, and La Rioja thanks to collaboration between “Los Constructores” and the independent company “Kamar”. Here, in La Rioja, at the “La canoa de papel” theater, home to “Kamar”, Horacio Czertok will present the monologue CONTRA GIGANTES on 9/10 December. “The Giants” that the founder of Teatro Nucleo denounces are the metaphor of the forces that hinder the transformation and that he meets in many, different, areas, from culture to society. Horacio Czertok describes them and fights them in a pièce in which the Argentine political exile joins the experience of personal life to episodes of Don Quixote, the wandering knight protagonist of the masterpiece of world literature written by Miguel Cervantes in the early 1600s. The Don Quixote of Contra gigantes, with which Horacio Czertok has crossed streets and squares all over the world, also arrives at La Rioja, to tell that the theater operates in reality, and helps to transform it. On December 12th and 13th in Catamarca Czertok will hold a seminar on the history and techniques of the Teatro Nucleo in the field of social theater, which will take place at the Teatro del Sur, in collaboration with the Municipality of San Fernando del Valle de Catamarca – Office Education and culture, and with the University of Catamarca, Faculty of Human Sciences. The collaboration with the University of Catamarca and with the theatrical realities of the area dates back to 2012 when Antonio Tassinari and Cora Herrendorf were called to direct a laboratory for the training of actors and directors of the Theater for Open Spaces. Since then there have been several opportunities for collaboration as can be read in the page dedicated to the Argentine Project
November 9-11 Teatro Nucleo in Pecs (Hungary)
Organized by the Ures Ter Theater (Empty Space) at the Pecs National Theater (Hungary), Horacio Czertok will hold a workshop on the methodology of the Teatro Nucleo from November 8 to 11, for the students of the Theater School and other interested parties. Also at the National Theater of Pecs on November 9th and 10th the Teatro Nucleo will present the show Il Mio Vicino written and directed by Horacio Czertok. The relationships between Nucleo and Ures Ter are long-standing, they initially developed around the theater activity in prison: operators of the Ures Ter attended as trainees the theater laboratory of the Nucleo at the prison of Ferrara, to acquire the methodology with the which they then founded the theater in the prison of Pecs. Together they have collaborated over the years in European partnerships. info : firstname.lastname@example.org.
TOTEM FESTIVAL CALL FOR ARTISTS /Theater and performing arts
CALL FOR ARTISTS Totem Arti Festival 2018 Deadline Feb 28th 2018 Totem Arti Festival reaches its sixth edition. Born with the precise intent of building a high level cultural moment and artistic comparison in the northern outskirts of Ferrara, animated by the need to create new critical thought, it imagines and promotes culture as a fundamental asset, able to redesign, through dialogue between all the social components of the urban context, the meaning and the shape of the contexts where it operates. Call for artists This call is aimed to select three shows to be included in the wider programming of the sixth edition of Totem Arti Festival 2018. It will take place in May from the 24th to the 27th 2018 in Pontelagoscuro, Ferrara. The sixth edition wishes to extend the involvement of the community and to reach this target a jury of youngsters has been established. Throughout a course led by Teatro Nucleo, they will participate in the selection of the shows and in the choice of the most proper spaces (urban, public, private) to present them. The call is open to single artists and companies of research theatre, dance, circus, figure theatre, storytelling, urban theatre, theatre for childhood. Main targets of this call The theme is up to the artists, a priority will be given to the projects that concentrate their attention on contemporary reality, on historical memory, on social, environmental, political issues. It wants to encourage the meeting between different audiences and the comparison between artists with different experiences coming from different areas. Presentation of the projects The call is open to individuals, groups or associations of any nationality. The maximum number of the components for each company is of 5 elements. Participation is free The call is open to shows that are already in repertoire as well as new productions, that must be ready to be presented on one of these days: May 24th-25th-26th-27th/ 2018 The projects must be sent before the 28th February by email to email@example.com, Object: Participation Call Before March the 30th the outcome will be communicated on the web pages www.totemartifestival.com and www.teatronucleo.org Requested material: -Name, email address and telephone number/skype contact of one or two referents of the company -presentation of the company and curriculum of each component -synopsis of the project and a detailed description -technical schedule. Technical request must be minimum and the show must be able to be adapted to non conventional spaces, closed or open air -3 pictures in .jpg format -an integral video for the finished shows, a video of the rehearsal useful to understand the work for the projects that are not ready yet (please use a Youtube or Vimeo link) -a video teaser of a minute maximum (please use a link to Youtube or Vimeo) -The link to the web/social pages of the company - The link to videos of previous shows is also useful to the evaluation Jury -Teatro Nucleo -Altre Velocità (group of observers and critics of the performing arts, committed to fostering relationships between contemporary arts and society, looking at theater and dance research, emerging artists and the international context) -Manuela Rossetti (theatre historian and director) -Jury of youngsters belonging to the territory Conditions Companies and artists must present their performances – for a minimum of two and a maximum of four shows – inside the Festival in dates to be agreed. The price for each company is of 500 euro + VAT Food and accommodation are charged to the organization Travel expense are charged to the company Other conditions The participation to this call implies the agreement to all the conditions The organization reserves the right to eventually introduce changes, if considered useful to guarantee the good success of the project The shows will be selected with the unquestionable judgement of the jury Info firstname.lastname@example.org, 3489655709 http://www.teatronucleo.org/totem-festival/ www.totemartifestival.com Credits Totem Arti Festival is organized by Teatro Nucleo Soc.Coop.a.r.l, Centre of Production and Theatrical research acknowledged by the Emilia Romagna Region and Mibact (Special Project 2017) With the support of the Municipality of Ferrara and Emilia Romagna Region. In collaboration with the Comitato Vivere Insieme of Pontelagoscuro Artistic Direction Natasha Czertok
DOMINO – WORK IN PROGRESS Open Spaces Theatre Project – a Teatro Nucleo production with the support of Emilia-Romagna Region and Mibact Presented for the firts time on November 2017 at the Officine Caos Theatre in Turin, Italy directed by Natasha Czertok with Filippo Benedetti, Annamaria D’Adamo, Daniele Giuliani, Marco Luciano, Martina Pagliucoli, Veronica Ragusa, Chiara Venturini music by The Busy Bee scenographies by Teatro Nucleo, RedoLab artisans of re-use stage costumes by Chiara Zini Synopsis “The perfect dictatorship would have the appearance of democracy, a prison without walls in which the prisoners would not dream of escape. A system of slavery where, through consumption and entertainment, slaves would love their servitude.” Huxley After the first work-study presented at the Differenti Sensazioni’s Festival in Turin, Italy on November 2017, Domino‘s work-in-progress was presented on May 2018 in Modena as part of the Trasparenze‘s Festival, and in in Pontelagoscuro ( Ferrara) as a preview of the Totem‘s Festival, organized by the Teatro Nucleo, the next appointment will be on June 20th in Bologna, for the festival “Theater in Communities” . In the dystopian present of DOMINO, a theatre metaphor of the present that we live every day, there is no good and bad, the characters move as pawns of a cruel game, cold gears and functions of a perverse system that seems to leave no way out. The heart of the game is a mysterious selection-mechanism to which the four women leads are subjected, supervised and conducted through the various phases of the process by three guardians, driven by a perennial and disturbing smile. On the stage stands a metallic parallelepiped, a mysterious and cryptic cube, an allegory of a power increasingly difficult to identify and therefore subvert, which will mark the stages of selection that will lead to the choice of one of the four competitors / prisoners. The phases which the “monolith” imposes are: 1 admission of competitors / prisoners to selection 2 the contract for acceptance of the terms of participation 3 the hate race 4 selection Unique rules of the race: All forms of solidarity are forbidden; any form of rebellion and criticality is forbidden to the mechanisms of the selection system; but not always everything runs smoothly, and even in this glacial, ironic, acid atmosphere the “human” is always on the verge of emerging, … blossoming, forcing the guardians to sedate them with almost imperceptible violence, however finely subtle, every emotional”symptom”, every jam that could cause the selection system to stop, and at the end, as the four competitors try to resist, defending their visions and their hopes, the system will finish its work, will get its new adept , with a quiet, linear, … chilling practice. But we know that dreams are something that we can seldom destroy altogether, we know that a dream is a positive germ, a gem capable of living without land, without water, without sun, something that can remain dormant for 10, 100 , 1000 years, and that will eventually return to shine, build, radiate, breathe. Drawing inspiration from novels such as ‘1984’, from Orwell, ‘The New World’ by Huxley, ‘The Tale of the Girl’ by Margaret Atwood, Domino wants to bring attention through a multidisciplinary language ranging from dance, visual projections, theater and music, on the progressive decline of primary goods, on the concrete, slow and gradual loss of freedom of thought, on the rise of new walls and even social borders, on poetry as an instrument of salvation, on the need to believe in something or someone. On the uprising as a necessary act. Our work, structured through a long theatre research, also in a methodological key, does not want to provide answers or peculiar interpretations, our theatre practice is based on the concept of “here and now”in relation to the viewers, who will face a story staged that in a crude (in the Artaudian sense) and direct, free from tinsel and theatre’s embellishments. Domino is a classic show, in the sense of ancient and primordial. A ritual, if we want to meet-clash with issues and problems that too often our society refuses to investigate and deal with. Review by Simone Azzoni, ( d’Ars Magazine ) “A long border that starts from Grotowski, passes from Artaud and arrives straight to the Teatro Nucleo: the hard and pure who have not bent to compromise to throw the stone of provocation (good for “sponsored “festivals) and hide the hand behind the artifice of aesthetics. (…) We can cite the Greek model of theater as a political agora, or the dystopic literature to which it draws heavily (Orwell, Huxley, Atwood) but also with the cinematography it is not joking and on the smiling faces, enhances the image inspired by Lang’s Metropolis , Kubrick’s 2001 A space Odyssey (for the monolith), Spieblerg’s Schindler’s List (the final child) or Truffaut’s Fahrenheit 451. ” (…) The very vital Annamaria D’Adamo, Daniele Giuliani, Marco Luciano, Martina Pagliucoli, Veronica Ragusa, Chiara Venturini, Natasha Czertok denude themselves to tell us how the emptied contents’s rituals become violence and the homologation preached by Pasolini risks to pass more simply via videogames . We like the voice to be extradiegetic, metallic and artificial, off-field that it determines and sorts. We also like that the border between orgy and liberation is all in the hands of the actors. [Show slideshow]
Following is a brief account of the activities carried out and the impressions collected during the trip to Latvia at the end of the project Openness to diversity through community education (ODEon). July 10, 2017 On the first day of our stay in Liepaja, we had a guided tour at the Liepaja Blind Society, a few steps from our accommodation, where Latvian partners welcomed and introduced us to the activities of the day and where we met the partner group coming from Cyprus. In the morning, we learned the great work of rehabilitation and inclusion of people with disabilities related to the view that the Association has done in recent decades in synergy with the Municipality; We were also accompanied on a tour through the classrooms and environments of the Institute, devoted to the most diverse manual, artistic, and recreational activities where we could watch the users at work. In the afternoon we were accompanied to the Soul Flower Garden, a place created to be accessible to anyone, which links his main activities in the presence of gardens, and courtyard animals: a kind of didactic farm. Here we were invited to participate in a lab in a large garden where, blindfolded, we walked by relying solely on the use of a stick and all other senses. At the closing of the afternoon participants were invited to exchange impressions and to note. July 11, 2017 The second day started with departure at 09.00 to Liepaja center, where we visited the market that develops inside a historic building and on the square in front. At 10.00 we walked on to the Liepaja Youth House, where we participated in a funny print lab with potatoes. The Association that hosts us helps, encourages young people and offers them the opportunity to develop skills and talents through art, theater, audiovisual production, or community event organization. The venue, which develops into a complex of historic buildings and a large courtyard, features a large multifunctional hall, offices and numerous service environments, equipped also to host family gatherings and celebrations. The second stage of the day was to visit the Creative Quarter Center on Darza Street, a start-up incubator where, for some years, a group of young people has started a growing business reality. The environment includes spaces for coworking, but also individual labs for small manufacturing companies, fashion studios, professional engeneering and design studios. The center rises within a dismantled military area, whose real estate is part of a redevelopment project that seeks the realization of exhibition spaces for contemporary art and residences, funded with the support of European and municipal funds. At the end of the second day, we visited the beautiful Liepaja Lido. July 12, 2017 On the third day the Latvian partners led us from Liepaja to the small fishing village Jūrmalciems, in the county of Nica. We reached the headquarters of the Jūrmalciems public center where we were welcomed by the first citizen, Mr A. Petermanis, who explained the tradition-based educational project supported by the municipality. In the break between work and lunch, we reached the beach just a few hundred yards from the center. In the afternoon we left for the town of Grobina, where we were hosted at the headquarters of the Grove Society of Home Builders, a school where the arts, music and dance are taught. Always at Grobina, we met a singular reality set up and managed by a group of young people at the Curonian Vikings settlement devoted to territorial enhancement activities and human resources. The headquarters of this association is immersed in the nature of a large park lapped by a pond, perfect for picnic and outdoor activities. After dinner, we returned to Liepaja. July 13, 2017 On the fourth day we left late in the morning from Liepaja to Kuldiga, where we had lunch, and were accompanied to the Pelči Special School, a school surrounded by greenery, which welcomes and hosts people with mental illness and physical disabilities, followed and assisted by highly qualified teachers and staff. As already noted, by visiting the reality of the previous days, in addition to the institutional education subjects, a fundamental role is attributed to the teaching of the figurative and performative arts, which always have dedicated and adequately equipped spaces. Inside this school, however, there are classrooms and workshops where disciplines are taught to develop manual skills and professional skills. At the end of our visit, in the afternoon we were taken to the center of Kuldiga, a pretty town where on those days a very important festival. We have walked through the streets of the old town, admired the buildings and spent the leisure pleasantly, attracted by the fun fair, the markets and the colorful crowd. In Kuldiga we ended the day, and also the last session of the ODEON project. We was hosted for dinner in a typical restaurant, where attendance certificates were delivered to each participant.
14/15 Ottobre – I.N.F.E.R.N.O. > Torino – Cavallerizza Irreale
++ 14 e 15 ottobre ore 21 – Cavallerizza Irreale ++ Maneggio Reale via Verdi 9 Torino I.N.F.E.R.N.O. Invasione Notturna Frivola E Ruggente Non Ostile regia Natasha Czertok, Davide Della Chiara in scena Natasha Czertok, Davide Della Chiara, Sara Draghi, Massimo Festi, Lorenzo Magnani, Martina Pagliucoli Vera protagonista dello spettacolo è la città, così come la conosciamo: fatta di funzionari, massaie, taxisti e poeti ubriaconi. La città con i suoi diabolici compromessi, le sue torbide lusinghe. Accettarli o rifiutarli? E’ il quesito che tortura il poeta che ognuno di noi porta dentro. Quanto e cosa siamo disposti a perdere pur di mantenere la nostra integrità. A sabotare il ritrovamento del nostro genuino spirito vitale, troviamo figure mitologiche vestite di abiti contemporanei e pilotati da logiche infernali. Ce lo permetteranno mai? Dentro questi dubbi, a cui qualsiasi risposta appare banale, troviamo un Dante alle prese con un improbabile riscatto. “I.N.F.E.R.N.O. sta per Invasione Notturna Frivola e Ruggente Non Ostile, descrizione che contiene bene gli elementi di questo lavoro ispirato all’Inferno di Peter Weiss. Qui però Dante approda in una nostra città di oggi, un po’ come queste persone arrivate da Paesi lontani, e le cose non sono per niente semplici. Fuoco e fiamme, bianchi figuri trasportati dal carretto di Caronte, spettri e apparizioni magiche, la rasserenante voce di un’anziana che proviene da un albero (col treno, dietro, che passa), e che prega di continuare così, a portare poesia, a mischiare la gente…” RECENSIONE DI GIULIA FOSCHI – NONFARNEUNDRAMMA. Teaser dello spettacolo