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?
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. “ [Show slideshow]
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
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]