calendar

Friday the 1st and Saturday the 2nd December, h. 20.30
Ateliersi
Island and Dream
@ Zona K, Milano
http://www.zonak.it

Island and dream is a documentary concert about Giusi Nicolini (Mayor of Lampedusa untile June 2017) and about the exercise of power on the island of landings and turtles: a place which became an emblem of borders, a limelight for the representation of European policies.

From May 2012 to June 2017 Nicolini, an historical leader of Legambiente, candidate for a civic list strongly committed to give Lampedusa’s vicissitudes national and European visibility, was a mayor of this small ecosystem, one of  the world’s most extraordinary locations. Giusi Nicolini, the first female mayor of the island: her figure prompts thoughts on the exercise of power and gives space to imagine the consolidation of a proactive and analytical political position.

On the island coexist, not without emblematic difficulties, local opposing factions that brush against each other at the human level, geopolitical conflicts historically linked to colonialism, contemporary events and imageries and the desire to pursue living conditions based on fishing, tourism and Island’s pacific hospitality.

The burning words of Lampedusian people, of Giusi Nicolini* and of those who have described her and the island, are put on scene in Island and dream becoming a matter of rhythm, timbre and contrasting meanings.

* Among the sources, the most valuable is the book/interview with Marta Bellingreri Lampedusa. Conversazioni su isole, politica, migranti  (Edizioni Gruppo Abele, Torino, 2013).

by ad with:
Fiorenza Menni and Andrea Mochi Sismondi
music by:
Vittoria Burattini (percussions) e Mauro Sommavilla (electronics, guitar)
sound:
Vincenzo Scorza
technical direction:
Giovanni Brunetto
organisation:
Elisa Marchese
communication:
Tihana Maravic
in collaboration with: 
Cassero lgbt center

Friday the 1st and Saturday the 2nd December, h. 20.30
Ateliersi
Island and Dream
@ Zona K, Milano
http://www.zonak.it

Island and dream is a documentary concert about Giusi Nicolini (Mayor of Lampedusa untile June 2017) and about the exercise of power on the island of landings and turtles: a place which became an emblem of borders, a limelight for the representation of European policies.

From May 2012 to June 2017 Nicolini, an historical leader of Legambiente, candidate for a civic list strongly committed to give Lampedusa’s vicissitudes national and European visibility, was a mayor of this small ecosystem, one of  the world’s most extraordinary locations. Giusi Nicolini, the first female mayor of the island: her figure prompts thoughts on the exercise of power and gives space to imagine the consolidation of a proactive and analytical political position.

On the island coexist, not without emblematic difficulties, local opposing factions that brush against each other at the human level, geopolitical conflicts historically linked to colonialism, contemporary events and imageries and the desire to pursue living conditions based on fishing, tourism and Island’s pacific hospitality.

The burning words of Lampedusian people, of Giusi Nicolini* and of those who have described her and the island, are put on scene in Island and dream becoming a matter of rhythm, timbre and contrasting meanings.

* Among the sources, the most valuable is the book/interview with Marta Bellingreri Lampedusa. Conversazioni su isole, politica, migranti  (Edizioni Gruppo Abele, Torino, 2013).

by ad with:
Fiorenza Menni and Andrea Mochi Sismondi
music by:
Vittoria Burattini (percussions) e Mauro Sommavilla (electronics, guitar)
sound:
Vincenzo Scorza
technical direction:
Giovanni Brunetto
organisation:
Elisa Marchese
communication:
Tihana Maravic
in collaboration with: 
Cassero lgbt center

Wednesday 15 November 2017
@ Università IUAV, Venezia

Ateliersi e Fanny & Alexander
Da parte loro nessuna domanda imbarazzante
with Chiara Lagani and Fiorenza Menni
concept Luigi De Angelis, Chiara Lagani and Fiorenza Menni
dramaturgy Chiara Lagani
direction ans sound project Luigi De Angelis
sound Vincenzo Scorza
costumes Midinette
production E/Fanny & Alexander in coproduction with Ateliersi
organisation and promotion Ilenia Carrone and Tihana Maravic
administration Stefano Toma and Elisa Marchese
thanks to Andrea Argentieri and Enrico Fedrigoli
texts from the 1st part: parts from My brilliant friend by Elena Ferrante
texts from the 2nd part: Chiara Lagani, Lyman Frank Baum, Toti Scialoja, Wislawa Szymbiorska

Ateliersi and Fanny & Alexander
Da parte loro nessuna domanda imbarazzante

1. My brilliant friend, scenic reading
In the first of the four novels of the cycle My brilliant friend of Elena Ferrante, for mutual challenge two girls throw their dolls in the depths of a black basement. When they look for them, the dolls are gone. The two girls, convinced that Don Achille, the oracle of their childhood, has stolen them, one day find the courage to reclaim them. In this reading, the two actresses  are physically crossed over by Elena Ferrante’s text, the story is “told” with their bodies and will leave an indelible imprint on them.

2. History of two dolls, animated photojournal
Here are just two dolls. The two lost dolls maybe? In the dark and highly symbolic space where they have been abandoned, the two figures move and tell their story without words. What events are consumed in the mysterious and not written recess that first welcomed them and then made them disappear? Those dolls have no voice to answer this question, neither to make the new ones.

Da parte loro nessuna domanda imbarazzante e tu allora che cosa gli rispondi, invece di tacere con prudenza?
O di cambiare evasivamente il tema del sogno?
O di svegliarti al momento giusto?
(W. Szymborska)

INFO & TICKETS
http://www.iuav.it

Saturday 4 November 2017
@ Festival Crisalide, Teatro Félix Guattari, Forlì

Ateliersi e Fanny & Alexander
Da parte loro nessuna domanda imbarazzante
with Chiara Lagani and Fiorenza Menni
concept Luigi De Angelis, Chiara Lagani and Fiorenza Menni
dramaturgy Chiara Lagani
direction ans sound project Luigi De Angelis
sound Vincenzo Scorza
costumes Midinette
production E/Fanny & Alexander in coproduction with Ateliersi
organisation and promotion Ilenia Carrone and Tihana Maravic
administration Stefano Toma and Elisa Marchese
thanks to Andrea Argentieri and Enrico Fedrigoli
texts from the 1st part: parts from My brilliant friend by Elena Ferrante
texts from the 2nd part: Chiara Lagani, Lyman Frank Baum, Toti Scialoja, Wislawa Szymbiorska

Ateliersi and Fanny & Alexander
Da parte loro nessuna domanda imbarazzante

1. My brilliant friend, scenic reading
In the first of the four novels of the cycle My brilliant friend of Elena Ferrante, for mutual challenge two girls throw their dolls in the depths of a black basement. When they look for them, the dolls are gone. The two girls, convinced that Don Achille, the oracle of their childhood, has stolen them, one day find the courage to reclaim them. In this reading, the two actresses  are physically crossed over by Elena Ferrante’s text, the story is “told” with their bodies and will leave an indelible imprint on them.

2. History of two dolls, animated photojournal
Here are just two dolls. The two lost dolls maybe? In the dark and highly symbolic space where they have been abandoned, the two figures move and tell their story without words. What events are consumed in the mysterious and not written recess that first welcomed them and then made them disappear? Those dolls have no voice to answer this question, neither to make the new ones.

Da parte loro nessuna domanda imbarazzante e tu allora che cosa gli rispondi, invece di tacere con prudenza?
O di cambiare evasivamente il tema del sogno?
O di svegliarti al momento giusto?
(W. Szymborska)

INFO & TICKETS
http://www.crisalidefestival.eu

De Facto is a poetic multimedia performance that processes materials related to the Ustica Massacre in a composition that goes beyond the historical episode to decipher the signals of our present.

Within the performance the legal language – adopted by Judge Rosario Priore in  his 1999 verdict stating that Ustica was “a real act of war, a de facto and undeclared state of war” – interweaves through the performers’ work with an electronic music live set and a visual apparatus that takes back to 1980, the dawning era of home computers, developing an event targeted at an audience interested in performing arts, in contemporary music production and in a deeper understanding of the last forty years’  Italian history.

In De Facto, legal language becomes particularly interesting because of its specific characteristic, which makes it different from other linguistic codes: in the legal area, language is not only an instrument to expound, reason and describe, but is also law’s constituent element.  A crime is such only if established by the law, which is a linguistic product. Within a law court, a fact coming from an extra-linguistic reality needs to be narrated, in order to become a legal matter. Otherwise it doesn’t exist.

In De facto, all the elements juxtapose in their clarity, creating an unstable force field, a bubble which is about to burst; the audience is shrouded into music’s wave, its glance treads along high posts soaring to the sky. At the same time video images recall those ludic interfaces which in early 1980s have characterized the massive diffusion of computer technology. The old-time synths produce music of fragmentation, deviation and collision; the iconic sounds are pulverized into musical gestures which are isolated and disconnected. Priore’s words are deprived of their specific matter and contingent elements: to us, they immediately seem to address the entire community, becoming style, planting their roots in a shared moral quality. The violence of the fact, the suffering, the perseverance of the ones who fight for truth, the human experience, the functional inquiries become a knowledge achievement, a human deed and a literary text. Meanwhile, aside, half-hidden in an entanglement of signs, other people act and pronounce, the grotesque reality develops and the entire scene is trodden by spirals of coloured smokes. The music carries on and the singing resumes.

by and with Fiorenza Menni e Andrea Mochi Sismondi
and with Francesca Pizzo
music composed and played by Caterina Barbieri
video images by Giovanni Brunetto
sound: Vincenzo Scorza
communication and promotion: Tihana Maravic and Federica Patti
administration and organization: Elisa Marchese
technical direction: Giovanni Brunetto and Vincenzo Scorza
image and graphic: Diego Segatto
production: Ateliersi
in collaboration with Associazione Parenti delle Vittime della Strage di Ustica
debut: 27th of June 2016 in Bologna at Giardino della Memoria for the XXXVI anniversary of the Ustica Massacre
in the frame of  bè bolognaestate 2016
Ateliersi thanks Daria Bonfietti • Andrea Benetti • Rosario, Susanna e Giulia Priore • Amelia Frascaroli • Fabrizio Colarieti • Eugenia Delbue

De Facto is a poetic multimedia performance that processes materials related to the Ustica Massacre in a composition that goes beyond the historical episode to decipher the signals of our present.

Within the performance the legal language – adopted by Judge Rosario Priore in  his 1999 verdict stating that Ustica was “a real act of war, a de facto and undeclared state of war” – interweaves through the performers’ work with an electronic music live set and a visual apparatus that takes back to 1980, the dawning era of home computers, developing an event targeted at an audience interested in performing arts, in contemporary music production and in a deeper understanding of the last forty years’  Italian history.

In De Facto, legal language becomes particularly interesting because of its specific characteristic, which makes it different from other linguistic codes: in the legal area, language is not only an instrument to expound, reason and describe, but is also law’s constituent element.  A crime is such only if established by the law, which is a linguistic product. Within a law court, a fact coming from an extra-linguistic reality needs to be narrated, in order to become a legal matter. Otherwise it doesn’t exist.

In De facto, all the elements juxtapose in their clarity, creating an unstable force field, a bubble which is about to burst; the audience is shrouded into music’s wave, its glance treads along high posts soaring to the sky. At the same time video images recall those ludic interfaces which in early 1980s have characterized the massive diffusion of computer technology. The old-time synths produce music of fragmentation, deviation and collision; the iconic sounds are pulverized into musical gestures which are isolated and disconnected. Priore’s words are deprived of their specific matter and contingent elements: to us, they immediately seem to address the entire community, becoming style, planting their roots in a shared moral quality. The violence of the fact, the suffering, the perseverance of the ones who fight for truth, the human experience, the functional inquiries become a knowledge achievement, a human deed and a literary text. Meanwhile, aside, half-hidden in an entanglement of signs, other people act and pronounce, the grotesque reality develops and the entire scene is trodden by spirals of coloured smokes. The music carries on and the singing resumes.

by and with Fiorenza Menni e Andrea Mochi Sismondi
and with Francesca Pizzo
music composed and played by Caterina Barbieri
video images by Giovanni Brunetto
sound: Vincenzo Scorza
communication and promotion: Tihana Maravic and Federica Patti
administration and organization: Elisa Marchese
technical direction: Giovanni Brunetto and Vincenzo Scorza
image and graphic: Diego Segatto
production: Ateliersi
in collaboration with Associazione Parenti delle Vittime della Strage di Ustica
debut: 27th of June 2016 in Bologna at Giardino della Memoria for the XXXVI anniversary of the Ustica Massacre
in the frame of  bè bolognaestate 2016
Ateliersi thanks Daria Bonfietti • Andrea Benetti • Rosario, Susanna e Giulia Priore • Amelia Frascaroli • Fabrizio Colarieti • Eugenia Delbue

De Facto is a poetic multimedia performance that processes materials related to the Ustica Massacre in a composition that goes beyond the historical episode to decipher the signals of our present.

Within the performance the legal language – adopted by Judge Rosario Priore in  his 1999 verdict stating that Ustica was “a real act of war, a de facto and undeclared state of war” – interweaves through the performers’ work with an electronic music live set and a visual apparatus that takes back to 1980, the dawning era of home computers, developing an event targeted at an audience interested in performing arts, in contemporary music production and in a deeper understanding of the last forty years’  Italian history.

In De Facto, legal language becomes particularly interesting because of its specific characteristic, which makes it different from other linguistic codes: in the legal area, language is not only an instrument to expound, reason and describe, but is also law’s constituent element.  A crime is such only if established by the law, which is a linguistic product. Within a law court, a fact coming from an extra-linguistic reality needs to be narrated, in order to become a legal matter. Otherwise it doesn’t exist.

In De facto, all the elements juxtapose in their clarity, creating an unstable force field, a bubble which is about to burst; the audience is shrouded into music’s wave, its glance treads along high posts soaring to the sky. At the same time video images recall those ludic interfaces which in early 1980s have characterized the massive diffusion of computer technology. The old-time synths produce music of fragmentation, deviation and collision; the iconic sounds are pulverized into musical gestures which are isolated and disconnected. Priore’s words are deprived of their specific matter and contingent elements: to us, they immediately seem to address the entire community, becoming style, planting their roots in a shared moral quality. The violence of the fact, the suffering, the perseverance of the ones who fight for truth, the human experience, the functional inquiries become a knowledge achievement, a human deed and a literary text. Meanwhile, aside, half-hidden in an entanglement of signs, other people act and pronounce, the grotesque reality develops and the entire scene is trodden by spirals of coloured smokes. The music carries on and the singing resumes.

by and with Fiorenza Menni e Andrea Mochi Sismondi
and with Francesca Pizzo
music composed and played by Caterina Barbieri
video images by Giovanni Brunetto
sound: Vincenzo Scorza
communication and promotion: Tihana Maravic and Federica Patti
administration and organization: Elisa Marchese
technical direction: Giovanni Brunetto and Vincenzo Scorza
image and graphic: Diego Segatto
production: Ateliersi
in collaboration with Associazione Parenti delle Vittime della Strage di Ustica
debut: 27th of June 2016 in Bologna at Giardino della Memoria for the XXXVI anniversary of the Ustica Massacre
in the frame of  bè bolognaestate 2016
Ateliersi thanks Daria Bonfietti • Andrea Benetti • Rosario, Susanna e Giulia Priore • Amelia Frascaroli • Fabrizio Colarieti • Eugenia Delbue