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
“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.”
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.