In 1990 Czertok wrote for Teatro Nucleo a dramaturgy from the novel “Don Quijote de la Mancha” by Miguel de Cervantes Saavedra. In co-production with the Theater-am-Turm Frankfurt (DE) a performance for the open spaces has been created, whose debut was held in Spain at the 1990 Classical Theater Festival of Almagro with the direction of Cora Herrendorf. A successful world tour followed until 2007: hundreds of performances on three continents, dozens of international festivals, but above all, the presences in the villages and suburbs all over Europe. From being a playwright , Czertok became Don Quijote. The character did not willingly accept the end of the performance: after some years he began to appear to the playwright-performer in his dreams: he wanted to return to life, either even the scenic one. Since the resumption of the show is not practicable at the moment, it was decided to turn it into a soliloquy, a monodrama with several voices. The famous novel in reality is among the most famous, most quoted but least read and therefore least known. The dramaturgy has identified the various giants to which the Don fights or wants to fight, in addition to the famous WindMill. It has been deepened the research done in 1990 on the novel, the author and his time, reaching new discoveries. On stage we see the actor, the character Don Quijote, Sancio Panza, Don Miguel de Cervantes, all in close relationship, often conflicting, also with spectators, invited and enticed with this work to deepen their own knowledge of the extraordinary novel. FROM DON CHISCIOTTE TO THE DESAPARECIDOS Simone Azzoni Review for “Artribune” On the stage where the performer’s body is agitated there is nothing, the La Mancia desert beaten only by the noise of the train that is traveling towards Venice, as the actor help us to integrate. In the dark only the “tremulous” flesh that shakes Artaudian shocks. Horacio no longer has the rattling machines of the Nineties but lets us imagine them, blushing with eyes and wrapping us with hugs of words in Spanish. Other than windmills. Forty battles fought Quixote, and won twenty. Who calls him a loser lays. Who calls him crazy as well. Horacio jumps from one spotlight to another and from the author to the character, from the actor to the narrator, “ingenious narrator” as Ivano Fossati called him. the Wind mills become the Fuggers – usurping bankers of the Spanish peasants – and “the shepherdess” the first woman to emancipate herself already in the seventeenth century. “Any form of human emancipation brings man closer to Christ”, he taught his guys the desaparecido Venturelli. Here the theater is the one and only way. vai al link di Persinsala
DOMINO Open Spaces Theatre Project – a Teatro Nucleo production with the support of Emilia-Romagna Region and Mibact directed by Natasha Czertok with Marco Luciano, Martina Pagliucoli, Veronica Ragusa, Francesca Tisano, Riccardo Sergio, Greta Marzano music by The Busy Bee scenographies by Teatro Nucleo, RedoLab artisans of re-use , Giovanni Iaria video animation Riccardo Sergio 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 DOMINO TOUR After the first study presented in Turin at the Festival Differenti Sensazioni , the show was presented in Modena as part of the Festival TRASPARENZE 2018, in Ferrara at TOTEM Festival 2018, in Bologna, for the review “TEATRI PER COMUNITA ‘AL VELODROMO” 2018, in Matera at the “Nessuno Resti Fuori” Festival 2018,and in Valdagno at the CRASH TEST/COLLISIONI DI TEATRO CONTEMPORANEO 2018. In 2019 domino’s tour will touch five nations: Italy, Bulgaria, Germany, Belgium and Denmark. A very important step will be in Bulgaria where we will be hosted by “Plovdiv European Capital of Culture 2019”, within the Odyssee Karavane Festival, an event organized by the C.I.T.I. International Center for Itinerant Theaters based in Paris, of which the Teatro Nucleo is the Italian headquarter. In the dystopian present of DOMINO, a theatre metaphor of the present that we live every day 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 participants of the game are subjected, supervised and conducted through the various phases of the process by the 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 the 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 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 water, without sun, sleeping for 10, 100 , 1000 years, and eventually return to shine, build, radiate, breathe. Drawing inspiration from novels such as ‘1984’, from G.Orwell, ‘Brave New World ‘ by Huxley, ‘The Handmaid’s tale’ by Margaret Atwood, Domino wants to bring attention through a multidisciplinary language ranging from dance, visual projections, theater and music, 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 theatre practice is based on the concept of “here and now” in relation to the spectators , who will face a story staged that in a crude (in the Artaudian sense) and direct way, free from tinsel and theatre’s embellishments. Domino is a classic show, in the sense of ancient and primordial. A ritual , 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 actors 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. Invalid Displayed Gallery
Follow the Odyssey!
Our Bulgarian adventure in Plovdiv has begun! After the preview presentation of the show on May 24th in Pontelagoscuro (Fe), from June 1st to 10th the show for open spaces Domino will be in Bulgaria in Plovdiv, European Capital of Culture 2019, as an active part and founding element by Odyssée Karavana, an international theatrical project of thirteen companies that will cross Europe to highlight the need for dialogue and for the overcoming of material and immaterial boundaries. The over two hundred artists and technicians of Odyssée Karavana, a project promoted by CITI – Center International pour les Théâtres Itinérants and departed from Villeneuve-lès-Avignon In France, will converge in four key points: Plovdiv in Bulgaria, Ferrara in Italy, Thessaloniki in Greece and Brussels in Belgium. Here the caravan will end its journey with an international conference in August 2019 within the Théâtres Nomades Festival, after meeting over 20,000 spectators on its tour of 25 shows and performances, including Domino from Teatro Nucleo, the only Italian company. Odyssée Karavana collects the historical legacy of Caravan MIR, the extraordinary trans-European tour that exactly thirty years ago involved over two hundred artists in a traveling theater festival, from Moscow to Paris, traveling in Europe from east to west Berlin, which was demolished six months after the end of the tour. Follow the steps of Odyssee Karavana on Facebook Bulgaria is only the first step of Domino’s European tour, which during the summer will also be on stage in Germany (Sommerwerft Theater Festival, Frankfurt) and Denmark (Waves Festival, Vordingborg). With Domino, directed by Natasha Czertok, Teatro Nucleo – strong of forty years of history in the streets, squares and theaters – starts again with an international tour supported by MiBAC, the Emilia Romagna Region and the Italian Cultural Institute of Sofia: “Today, Thirty years after the fall of the Wall, we want to turn the spotlight on the new social boundaries and on the concrete, slow and gradual loss of freedom of thought “says the director, “Domino is a classic show, in the ancient meaning: a ritual of encounter and clash with issues that too often our society refuses to deal with “.
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
Quaderni di Teatro Carcere
QUADERNI DI TEATRO CARCERE è una rivista annuale a cura del Coordinamento Teatro Carcere Emilia Romagna edita da Titivillus Il Coordinamento Teatro Carcere Emilia Romagna si è costituito in Associazione nel 2011, a coronamento di un percorso biennale che ha coinvolto i soggetti attivi nelle Case circondariali della Regione con progetti di teatro rivolti a persone detenute. Il lavoro di rete dell’Associazione, volto a favorire la visibilità delle diverse realtà regionali che operano nel settore e a promuoverne le interazioni con le politiche culturali e sociali del territorio, è stato riconosciuto attraverso il “Protocollo d’intesa sull’attività di teatro in carcere” tra Regione Emilia-Romagna, Provveditorato Regionale Amministrazione Penitenziaria (PRAP) dell’EmiliaRomagna e Coordinamento Teatro Carcere Emilia Romagna. Fanno attualmente parte del Coordinamento: Teatro Nucleo di Ferrara, Cooperativa Teatro del Pratello di Bologna, Cooperativa Teatro Giolli di Parma, Gruppo Elettrogeno di Bologna, Teatro dei Venti di Modena, Associazione ConTatto di Forlì, Cooperativa Le Mani Parlanti di Parma. Presidente Paolo Billi; Consulente scientifico Cristina Valenti
Teatro in Esilio
Teatro in esilio. La pedagogia teatrale nel lavoro del Teatro Nucleo di Horacio Czertok prima edizione Bulzoni editore, seconda edizione Editoria e Spettacolo , Terza edizione a cura di Teatro Nucleo “Uno dei fatti centrali ed essenziali del teatro negli spazi aperti è proprio quello di rivolgersi a un insieme eterogeneo di non-spettatori. Se prima dello spettacolo si chiede alle persone presenti nella piazza una opinione sul teatro, la maggioranza delle risposte è negativa. La gente della piazza si disinteressa completamente del teatro, convinta che la cosa non la riguardi. Nelle nostre città la cosa conosciuta come teatro è riservata a una strenua minoranza, per gran parte della quale, tra l’altro, il teatro è cosa culturale prima che artistica, e fatto sociale prima che bisogno personale. Quando dopo lo spettacolo ripetiamo la domanda alle stesse persone, le risposte indicano un sostanziale e sorprendente cambiamento di segno. […] Da questo si può ben dedurre che il teatro è stato espropriato a quelle persone. La parola teatro era stata tradita, svuotata e riempita di un significato che esse rifiutavano”.
In the Bottle!
Directed by: Natasha Czertok Playwriting: Natasha Czertok e Greta Marzano On the stage: Greta Marzano (Ginestra – Scotch Broom), Martina Pagliucoli (Sofronia – Sophronia) Off Voice: Natasha Czertok On the stage of In the Bottle! two characters collide: the first is Ginestra Verdura (Scotch Broom Vegetables), an eccentric scientist, expert in separate collection, coming with her arsenal of colorful bags to explain to the children how to separate household waste materials. Her work is interrupted by the arrival of a second character who, without any regard, begins to spread garbage and objects of all kinds everywhere. The bizarre lady, equipped with a broom and black bags, is none other than Sofronia Buttatutto (Sophronia Throweverything), official street sweeper of Leonia City. The conflict between them – the hyper-consumerism sweeper and the pedantic/know-it-all ecologist, both emblems of more than ever urgent and current contradictions – soon becomes inevitable and, to be solved, the help of the children, the lucky discovery of a mysterious message and the garbage itself (that nobody wants to deal with) will become necessary. The play In the Bottle! is part of the project “Obsoleta – Theatre for the Environment” Obsoleta is a project of pedagogy and theatre production for children, focusing on the idea that the environment cannot be considered an unlimited space and that the planet’s resources are not infinite. The intense and not always predictable acceleration of political, ideological, economic, cultural and environmental changes of our age, the limits of development are the reference framework within which the environmental education moves. Therefore, the investment of energy is one of the possible ways to be taken to understand the complexity of reality and to become aware of the need to change the relationship between man and nature, moving from a worldview that recognizes the man as dominator/ruler of the nature, to a different vision that figures up the future of mankind as inseparable part of the future of the nature. These reflections outline new training aims, which favor the perception, the analysis and the understanding of the changes, in order to become conscious citizens and responsible for themselves, for the environment and for the community that does not have to be considered simply as a company they belong, but also as a planet. “We have to inscribe inside us an ecological conscience. Knowing the consubstantial bond that links everybody with the biosphere leads us to abandon the promethean dream to rule the universe. On the contrary, the ambition for conviviality on Earth has to be nourished. ” From 2012, within the project Obsoleta, some plays were brought on stage: In the bottle !, which deals with the recycling of waste, inspired by Leonia, one of the “Città Invisibili – Invisible Cities” by Italo Calvino and “Chenditrì – Candy Tree” inspired by the drama “The exception and the rule” by Bertolt Brecht and the video documentary “Land Rush” by H. Berkeley and O. Lewat, in which the language of the fable is used, shadows and sceneries were entirely made from recycled materials, one of the most hidden faces of today’s global exploitation: that of agricultural resources. Both plays were produced in collaboration with the project Ricicl’Arte Ferrara. Contacts www.teatronucleo.org email@example.com 327/3379372
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.
Chenditrì – Candy Tree
Produced by Obsoleta Teatro/Reciclare.Arte.Fe Project supported by Teatro Nucleo/Teatro J. Cortàzar Directed by: Obsoleta Teatro Playwriting: Greta Marzano On the stage: Natasha Czertok, Greta Marzano, Martina Pagliucoli Live music and sound score by: Enrico Scavo Light design: Lorenzo Magnani Special thanks to: Davide Della Chiara, Giulia Generali THE PLAY The play has been conceived and created for an audience of children aged from 7 to 13 years. Chenditrì (Candy Tree) is a one-act play lasting 50 minutes, inspired by the drama “The exception and the rule” by Bertolt Brecht and the video-documentary Land Rush (2012) by Hugo Berkeley and Osvalde Lewat. The show starts from the desire to tell a young audience about one of the most hidden faces of today’s global exploitation: that of agricultural resources. Using the old colonialism rules, still nowadays endless portions of arable land in Africa, Latin America and Southern East Asia are subtracted to local population to be exploited by the multinationals of food and energy industry. A total anthropological disaster, since the massive production of soya, palm oil, coffee, corn, sugar cane, etc. reduces the biodiversity of the countries subject to this exploitation and also represents a factor of disintegration for the communities that inhabit them. Entire cultures, along with the agricultural traditions that characterized them for millennia, disappear under the weight of the energy demands in the industrialized world. It happens today in Mali for example, where the local government grants large plots of land to European, American, Chinese, Indian, Japanese industries and where – instead of the ancient cereal crops and the traditional and valuable shea trees – they imposed the sugar cane, jatropha plantations and other plants. But it also happens in our territory, in Italy. Indeed, in Pianura Padana (a huge plain in north-east of Italy) a farmland that is equal to seven times Piazza Duomo in Milan is lost everyday. This destruction is not only caused by the cementification but also by the production of bio-fuels, the latest speculation in the energy and transportation market. In order to speak to the young audience about such a complex issue, in 2014 – the International Family Farming Year – Obsoleta Teatro chose to speak about the aspect that more closely concerns the daily life of young consumers today: the junk-food. There is no doubt, in fact, that all of today’s advertising campaigns of the macro-food industry identify very young people as one of their main business objectives. In the story, Chenditrì begins with one of the most popular ingredients, loved by children and by a larger public: the sugar that, in the fiction of the story, becomes the magical and fascinating little candy. The tone and the style that support the story are those of a fairy tale. The darkness, the shadows, the graphic animation, the sound of the double-bass and those of a played-live nature, the parody of the advertising language, the comedy are the imaginative means to communicate and make viewers reflect on the big and small deceptions of their own time. The dramaturgical mechanism of a “double end” stimulates the young audience to think over and to participate actively. With Chenditrì, Obsoleta Teatro continues an itinerary that began with In the bottle !, a play about recycling and the waste cycle. Some of the set designs of the play were indeed made by using waste materials. Trailer of the play THE PLOT We are in Balalla, at the border of the desert. Langmann, a candy merchant, is traveling to test his latest invention: the small candy, a seed that quickly gives birth to gigantic caramel plants. Led by Ashram, the handyman of Balalla, Langmann reaches the old plantations to take possession of them and he plants his prodigious seeds. There, he meets Idrissa, the last farmer who stayed to take care of the land. For a long time, in fact, Balalla is in the grip of drought that pushed farmers to leave the country to seek their fortune elsewhere. But Idrissa is not completely alone: her friend, the scarecrow, enlivens the garden plucking the strings of a double-bass. When Langmann meets Idrissa, he is carrying the self-explanatory papers: “The government of Balalla authorizes me to cut all your trees and all your dry seedlings for my Candy Trees”. What will happen at this point? What will become of the old plantations of Balalla? Will Langmann be able to turn the whole country into a candy factory?
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
TENEBRA Inside and open-space performance Production: Teatro Nucleo Duration: 50 min “Heart of darkness is and must be read as the first and deep interpretation of imperialism […]. Moreover, it has to be intended also as a severe call for responsibility for the apathetic and cynic Westerner, the common man that gives up his own capacity of criticism, to become accomplice of the Empire in exchange of the promise of well being and tranquility.” Sterminate quei bruti! (Exterminate all the brutes!), Roberto Tumminelli, Selene Edizioni 2005 (more…)
Invasione Notturna Frivola E Ruggente Non Ostile Invasion in the Night Frivolous and (E) Roaring Not hOstile Traveling play Production: Teatro Nucleo & Basso Profilo Length: 60 minutes Directed by: Davide Della Chiara e Natasha Czertok Graphic design: Manuela Santini If interested, on the occasion of the performance, it is possible to broaden the participation to new students, after a focused training workshop of 3-7 days, led by directors Della Chiara and Czertok. We started to create the play by choosing some texts from “Hell” by Peter Weiss, a work written by the author while he was exiled in London during World War II. In this reading, the words from the text fit to the condition of those who are driven, by necessity, to leave their homelands in search of other places where finding their fortune. It wants to represent a provocation and, as such, to offer food for thought. The main subject of the work is the City, a space to think about in a poetic and metaphorical way. The City is understood as a system, able to satisfy the individual’s needs. The City made up of people claiming their rights. The City where, too often, virtues are forgotten and vices are promoted. ABOUT US “For two nights “Inferno”, which stands for “Invasione Notturna Frivola E Ruggente – Invasion in the Night Frivolous and (E) Roaring Not hOstile”, transformed streets and gardens nearby the railway station and Via Garibaldi in an open-air theater, and curious citizens approached in a public procession while other people followed the staging from the window or balcony of their own houses. Street theater as a way to reclaim public spaces and bring them back to their original function of areas for sharing: what could be better to share than a stage play telling the story of its own neighborhood? A fresh and original look to scan the sidewalks and the tree-lined streets we walk every day, which can become a starting point to think of them differently and – why not – to imagine a different future”. Federica Pezzoli – Ferraraitalia We worked in a district that contains, in one single square kilometer, more than 20 different ethnic groups: the Garden District of Ferrara (Quartiere Giardino). The area is afflicted by various situations of petty crime, dealing and consumption of drugs, prostitution often consumed in the car parks among buildings themselves. The citizenship became increasingly disinterested about these phenomena and about the processes of collective life; it just wants the “cleaning” of the neighborhood. The press does not hesitate to draw attention to every small, sometimes insignificant episode, causing a serious adverse effect on the territory concerned. In the staging we listened the voices of people living in the territory and catch words and actions that would make real and believable what we were going to play in the streets. At the end of the work, we realized that it could find correspondence in other Italian cities especially in this period in which Italy is interrogating itself, and in such a radical way, about the meaning of the word “welcome”. The play was conceived by Teatro Nucleo in collaboration with the cultural association Basso Profilo within the project Succede Qui –It Happens Here. It consists of a dual path: a site-specific weekly theatre workshop – led by Davide Della Chiara and Natasha Czertok for two years in the Wunderkammer area in Ferrara – and a storytelling initiative involving the Primary School Poledrelli, several local associations of the territory, as the committee Zona Stadio, the social center Acquedotto and many citizens of the area. The first edition of SUccede Qui – It Happens Here won the public contest “Giovani per il territorio – Youth for the territory”, sponsored by the Institute of Cultural Heritage of Emilia-Romagna Region in 2014 and it led to the presentation of the play in episodes “The story of a player who rediscovered her soul – “Storia di una giocatrice che ritrovò l’anima”. The project – that took place within the research program Rigenerazione Urbana – Urban Regeneration with the contribution of Emilia Romagna Region and the sponsorship of City of Ferrara – could continue in 2015, also supported by Fondazione Teatro Comunale of Ferrara (Municipal Theatre Foundation of Ferrara). TECHNICAL SHEET The play was produced in a traveling form for two performances/replicas in the Garden District of Ferrara (Quartiere Giardino), according to the itinerary shown below: The performance is developed starting from A position and it ends in the F position, the specific information for each location are: A_ the concession of two parking spaces, available at the time of the show From A to B_ the possibility of occupying a road, at least 3 meters wide; on the way open flames will be used for which it is necessary the permission of the police; B_ the occupation of a 5 x 5 meters area and a power socket (220 V); C_ the opportunity to use a balcony, balcony or window, with a near power socket (220 V) and the occupation nearby of a 3×1 meters area, on the ground floor; D_ a big and strong tree on which a speaker will be placed; E_ a road, free from cars and not accessible to traffic, on which open flames objects will be placed; also in this case the permission of police is required, as above; From E to F_ the possibility to occupy a road, at least 3 meters wide; F_ the occupation of a 5X5 meters area It is also required the availability of three helpers for the time of the show. Press review http://www.estense.com/?p=467562 http://www.ferraraitalia.it/i-n-f-e-r-n-o-spettacolo-itinerante-a-ferrara-il-17-e-18-giugno-50494.html http://www.ferraraitalia.it/il-progetto-ferrara-inferno-andata-e-ritorno-50934.html http://www.ferrara24ore.it/news/ferrara/0015199-quartiere-giardino-si-tinge-dei-colori-dellinferno-ma-solo-spettacolo http://www.cronacacomune.it/notizie/26151/programma-delle-attivita-estive-nel-quartiere-giardino.html Photo and video Gallery https://www.facebook.com/media/set/?set=a.1011968458813989.1073741864.121382361205941&type=3
July 6-16 / Teatro Nucleo in the Caucasus Region for a “theater for peace”
Teatro Nucleo in the Caucasus Region for a “theater for peace”. In collaboration with NGOs of Armenia and Germany Teatro Nucleo will implement in Georgia, near Tbilisi, a theater project aimed at human rights workers in Chechnya, Nagorno Kharabak, Azerbaijan, Ukraine, Russia, Georgia, Armenia, Lebanon. There will also be participants and observers of a Dutch NGO that takes care of human rights in Lebanon. The project, which will take place in July, involves a phase of training seminars, and the realization of a performance with all participants. (more…)
Teatro e Trasformazione nell’esperienza del Gruppo di Teatro Comunitario di Pontelagoscuro guidato da Antonio Tassinari a cura di Greta Marzano ed Erica Guzzo edizione Titivillus Cosa accadrebbe se delle persone di età, sesso, cultura ed estrazione sociale differente si riunissero settimanalmente per fare teatro? Accadrebbe loro di dare vita a ciò che in molti paesi dell’America Latina è noto con il nome di Teatro Comunitario. Il teatro che si autodefinisce “comunitario” è un luogo in cui una comunità entra in contatto con se stessa, accogliendo la sfida di riannodare i fili molteplici che legano passato, presente e futuro, e dove le memorie collettive e individuali diventano materia vivente per lo spettacolo.
Quijote Edizione SAI – Ferrara – La pubblicazione , realizzata in collaborazione con il Teatro Comunale di Ferrara, raccoglie scritti di Roberto Pazzi , critiche, riflessioni, appunti di lavoro dei registi Cora Herrendorf e Horacio Czertok, fotografie dello spettacolo di Teatro per gli Spazi Aperti che ha girato per 20 anni nelle piazze di mezzo mondo , e biglietti e disegni lasciati dagli spettatori
Signora Memoria Il Teatro , un metodo di ricerca storica nell’Universo Femminile a cura di Cora Herrendorf e Roberta Scanavini La Memoria è contenuto e strumento per conoscere la propria identità, singola e collettiva. Nel percorso teatrale realizzato, la “memoria collettiva” è fonte da cui si attinge e dove, al contempo si riversa. Il libro è una rielaborazione dell’esperienza teatrale realizzata da un gruppo di donne che, disposte ad indagare nella propria Memora, hanno messo in scena il proprio passato. Il percorso è uno strumento , preciso e versatile, che rende concreta l’idea dell’arte motrice di trasformazione individuale e sociale
Theatre Spring-Living Heritage
In MAY 2015, TEATRO NUCLEO will be hosting an international teaching event to mark its forty years of activity as a theatre group and as a tribute to the memory of one of its leading lights, actor, director and teacher Antonio Tassinari who died a year ago. From the 22nd to the 31st of May, three of the most significant groups in the history of contemporary theatre, which continue to be points of reference for successive generations of theatre students, will be coming to the Julio Cortazar Theatre in Pontelagoscuro (Ferrara). These are: Teatro Comunitario Argentino (Argentinian Community Theatre movement), Cathy Marchand of the Living Theatre and Ósmego Dnia. The project is based on the premise that a heritage can be defined as such only in so far as it is living, and cannot be replaced by the “deferred” study of text books and other handed down materials. The only spaces capable of acquiring an artistic heritage are human ones, made of shared experience, such as those the invited groups are carriers of. (more…)
It Happens Here
The project by Davide Della Chiara and Natasha Czertok was conceived in collaboration with the cultural association Basso Profilo within the project Rigenerazione Urbana – Urban Regeneration, and with the contribution of Fondazione Teatro Comunale – Municipal Theatre Foundation. The first edition of SUccede Qui – It Happens Here won the public contest “Giovani per il territorio -Youth for the territory” sponsored by the Institute of Cultural Heritage of Emilia-Romagna Region in 2014 and led to the presentation of the play in episodes: “The story of a player who rediscovered her soul – “Storia di una giocatrice che ritrovò l’anima”. The project consists of a dual path: a site-specific weekly theatre workshop – led by Davide Della Chiara and Natasha Czertok for two years in the Wunderkammer area in via Darsena in Ferrara – and a storytelling initiative involving the Primary School Poledrelli, several local associations of the territory, as well as the committee Zona Stadio, the social center Acquedotto and many citizens of the area. The artistic project was developed in a district that contains, in one single square kilometer, more than 20 different ethnic groups: the Garden District of Ferrara (Quartiere Giardino). The area is afflicted by various situations of petty crime, dealing and consumption of drugs, prostitution often consumed in the car parks and around the buildings. The community has became increasingly disinterested about these phenomena and about the processes of collective life; it just wants the “cleaning” of the neighborhood. The press does not hesitate to draw attention to every small, sometimes insignificant episode, causing a serious adverse effect on the area concerned. The second output of the project is the play I.N.F.E.R.N.O (HELL) freely inspired by ‘”Hell” by Peter Weiss, a work written by the German writer exiled in London during World War II. In this reading the words from the text fit the condition of those who are driven, by necessity, to leave their homelands in search of other places where finding their fortune. It wants to represent a provocation and, as such, to offer food for thought. The main subject of the work is the City, a space to think about in a poetic and metaphorical way. The City is understood as a system, able to satisfy the individual’s needs. The City is made up of people claiming their rights. The City where, too often, virtues are forgotten and vices are promoted. In the drama we listen to the voices of people living in the territory and catch words and actions that would make real and believable what we are going to play in the streets. At the end of the work, we realized that it could find correspondence in other Italian cities especially in this period in which Italy is interrogating itself, and in such a radical way, about the meaning of the word “welcome”.
Body and Action in Network
CORPO e AZIONE in RETE (Body and Action in Network)_ A course of seminars about contemporary performance. Compagnia Iris, Alice Bariselli and A/M Project, Natasha Czertok with Greta Marzano and Fannybullock propose a laboratorial course, that uses contemporary performance as language. Four towns, four work groups: Faenza, Bologna, Budrio (BO) and Ferrara. The groups will be based in each town and will meet the teachers in rotation. First meeting in Ferrara Saturday 29th November at Progetto 21 in via Briosi 80/A from 14 to 19.
Progetto MDV a cura di Nicola Galli Taking Vitruvius’ studies of human proportions as a unit of measurement in architectural design as a starting point, the new MDV research focuses on the measurement of the body in a process of transformation (more…)
We come from far away
Grundtvig Learning Partnership supported by the European Commission. We come from far away proposes, through theatre, a dialogue between civil society and the prison. Theatre as a vehicle for training, personal, social, cultural and civic growth. Theatre as an instrument to improve the expression and relationship skills of the prisoners, the integration of various ethnic groups and to simplify the reintegration at the end of the detention period. “Detainees have the right to participate in recreational activities – sports, games, cultural activities, hobbies and entertainment activities – and should, as far as possible, be allowed to organize them” (Article 27.6 of the European Prison Rule) “Everyone has the right to take part freely in the cultural life of the community, to participate in the benefits of art, scientific progress and connected benefits” (Article At.1 27 of the Universal Declaration of Human Rights – LSO rights) The Project Partners Alarm Theater from Bielefeld (Germany) Teatro Nucleo from Ferrara (Italy) – coordinator UresTèr from Pécs, (Hungary) Alpha Centauri from Ferrara (Italy) University of Liege (Belgium) Teatro del Norte from Lugones (Spain)
The Actress Asylum
I was mad amidst the mad, the mad were deeply mad, some of them very intelligent. Some of my most beautiful friendships started there. The mad are nice, not like the deranged, who are all out, in the world. I met the deranged after, when I was out! Alda Merini (more…)
My Neighbour The tale about many things shared in jail between an actor (Horacio) and a Tunisian citizen detainee (Moncef) among stories, Arabic poems and Totò. Because just by sharing we can understand what we are really made of. About the performance They often ask me why I do theater in prison. Why we insist on keeping the theater workshop alive there in the prison. Why to accept this harshness that every day the prison imposes on us as well as all those who are there to do their part. I found myself answering: these people here, the inmates, sooner or later will come out and will live near my house: how do I want my neighbor to be? The law authorizes us to participate in the “path of treatment” as ordinary citizens, which is then what we are in prison, with the authority that our practice has gained in the field. We thought that if we can, then we must do it. So, for about three years I worked in prison with Moncef Aissa, a Tunisian citizen who was detained there. Together, and starting from extremely different “cultural places”, we have made a good path. One day I leave home and who is there on the road by bike? Moncef! I tell him, “What are you doing here? Did you escape from prison? “ “No”, he replies, “I’m free now”. “But what are you doing just here?” “Ah, I live here!” On my way. Thirty meters from my house. This is how this show was born: on the thread of the story of the many things that we found ourselves living with the theater in the prison and that made us grow, on this route that leads from Buenos Aires to Ferrara and that passes from Tunisia, a journey made of stories, Arab poems, Argentine songs, Totò, Oscar Wilde and all the unending overwhelming diversity of our respective visions. “My neighbor” wants to narrate the construction of “a possible land, made of words, gestures and poetry” starting from the meeting of two “uprooted” two beings to whom the earth was taken away at the behest of someone else: Moncef , a detainee originally from Tunisia, and Horacio, forced into exile from his Argentina after the coup d’état of Videla. An encounter that took place in “a no man’s land” full of suffering: prison. The cultural diversity, naturally present in the path we do in prison, and with which we have to deal even when we are two steps from our house, is the founding element not only of this show, but of a large part of our theatrical practice for over 40 years. It is the “quid” through which we still make discoveries, we surprise, grow and nourish our imagination, we can become better men; this diversity of ours, carefully cultivated among the harsh walls of the prison and kept in our artistic collaboration, is what, through the show “My Neighbor” we want to share, to understand it better, to enter it even further, because only in sharing and throug crossing the barriers between “You and Me” we understand what we are really doing. “ Invalid Displayed Gallery