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”.
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. [Show slideshow]