Writing on theatre
International call open to young under-30 graduates from all over the world with an excellent knowledge of spoken and written Italian language, researchers in Theatre, to write critical texts that will be collected in a publication of la Biennale di Venezia.
Research will be on the ground: the selected candidates will be invite to participate to the 53rd International Theatre Festival and the conversations with artists.
On the basis of the theme proposed by the Director of the Theatre Department, Willem Dafoe, the selected candidates will carry out in the Archives, guided by tutor, a search for sources and historical references, to write a text in Italian of a minimum of 10 to a maximum of 15 pages, from its first draft to the printed version.
A maximum of 4 candidates will be selected.
Three phases of research and activities are planned in Venice in the Biennale venues (Ca’ Giustinian, Arsenale, Giardini, Biennale Library at Giardini, Historical Archives at Vega)
Thanks to the Swiss Seaside Foundation.
TITLE
Theater is Body – Body is Poetry
THEME
[…] The body, the poetry, the ritual.
The body, its presence, its intelligence beyond our control, is the beating heart of the theater. It drives the meeting of the people on stage and the public, to create an instantaneous community with a commitment to attention and a possibility to wonder even in this age of virtual experiences.
Poetry. I am using the word loosely, I mean to recognize the quality of expression that is possible in the theater – beyond narrative, storytelling or putting literature on its feet. Theater is total and has all the arts at its disposal – including new technologies. Theater can create a feeling, a sense beyond logic or psychology that goes straight to your heart, challenges your chosen reality and frees you to imagine what is possible.
Ritual. The action and repeated gestures that reflect origins and beliefs, a sense of common belonging that creates connection. An abstract mirror to see ourselves and our community. Ritual is not only the genesis of theatre but also the healing power.
These are the elements that are important to me. Theatre is Body. Body is Poetry.
(Willem Dafoe)
Starting from the theme of the festival and these intentions, together with the tutor, the young researchers will attend the performances of the Theatre Biennale following all the scheduled activities. The influences on today's theatre will also be traced starting from the historic Theatre Biennale of 1975 directed by Luca Ronconi.
A number of thematic junctures, suggested by showing performances and by meetings with the artists involved in the festival, will be outlined.
Tutor: Katia Ippaso
Katia Ippaso is a journalist and playwright, she writes about theatre for Il Venerdì di Repubblica and Il Messaggero. Since the summer of 2020, she has been hosting Pantagruel for Radio 3. As an essayist, with Editoria e Spettacolo she has published: L'isola che c'era, grandi maestri al Teatro Ateneo (2020), Le voci di Santiago (reportage from Chile), Io sono un'attrice - I teatri di Roberto Latini and Amleto a Gerusalemme (reportage from Palestine). During July 2017 she published Professione attore, a book commissioned by Nuovo Imaie. In 2008, she published her first novel for Perrone, Nell'ora che è d'oro, set in New York.
She is also the author of a series of documentaries about great actors of Italian cinema (Anna Magnani, Ugo Tognazzi, Totò...), broadcast on Sky Cinema. For Fahrenheit 9/11 Special, an in-depth analysis on Michael Moore's film, she won second prize at the New York TV Film Festival. Her play Doll is mine earned the Aide à la création from the French Ministry of Culture, and was staged at the Theatre de Nesle in Paris translated and directed by Arturo Armone Caruso, and in Rome in the summer of 2018 as part of the ‘Il Giardino ritrovato’ festival. The previous year, again directed by Arturo Armone Caruso, Hikikomori, written with Marco Andreoli, was staged with Luisa Marzotto and Giulio Pranno.
Paranza il Miracolo is another play of Katia Ippaso, a bittersweet portrait of today's Italy that won the 2013 edition of Teatri del Sacro and was represented, directed by Clara Gebbia and Enrico Roccaforte, in some major Italian national theatres of Palermo, Rome, and Milan. Her script Non domandarmi di me, Marta mia, based on the Luigi Pirandello-Marta Abba correspondence, debuted with Elena Arvigo and directed by Arturo Armone Caruso at the Napoli Teatro Festival 2019 edition and is still on tour. Over the years, she has held seminars and workshops on theatrical criticism and dramaturgical writing at the University of Rome La Sapienza (within Antonella Ottai’s course of study) and in various theatre academies. At the Teatro Basilica in Rome, at the end of 2021, she led a workshop with Antonio Calenda and Alberto Bassetti on ‘Il trucco e l’anima’ by Angelo Maria Ripellino which aimed at the staging of two plays written by the student dramatists.
PROGRAMME STRUCTURE
First phase - from 31 May to 15 June 2025
Participation in the activities scheduled within the 53rd International Theatre Festival (16 days) and beginning of research activities at the Historical Archive and Library guided by the tutor.
Second phase - from 7 to 11 July 2025
specific research activities at the Historical Archive and Library guided by the tutor;
deadline for sending the first draft of the text 14 September 2025.
Third phase - from 22 to 26 September 2025
Analysis and in-depth study of the first draft of the text with the tutor at the Historical Archive and the Library;
The deadline for sending the final text is 26 October 2025.
CONDITIONS AND RULES OF PARTICIPATION
The international call is open to young under-30 graduates from all over the world with an excellent knowledge of spoken and written Italian language.
Attendance for the whole programme is mandatory for participation in the project.
A maximum of 4 candidates will be selected.
The selected participants will be hosted in shared apartments provided by la Biennale di Venezia.
La Biennale di Venezia will also provide participants with tickets for local public transport and meals (lunches).
Selected participants will be required to pay a registration fee in the amount of € 80 (VAT included, non-refundable), to be paid exclusively by credit card.
Note: Applications will not be accepted from candidates selected in previous Biennale College ASAC - Writing in Residence editions.
HOW TO PARTICIPATE
Documentation
The documentation - which must be sent in Italian exclusively via the online form - consists of:
a) Curriculum vitae - please also specify
a.1) Bachelor's/Master's degree or equivalent degree
a.2) thesis degree title, course of study
a.3) knowledge of spoken and written Italian - minimum required level C1
a.4) other languages known and level
b) submission of 2 texts
1 - cover letter (maximum length 2 pages)
2 - an essay, including bibliographical references, on a theatre show seen (maximum length 2 pages)
Two selection phases are envisaged, the first on the basis of the requested documentation and the second by interview.
La Biennale di Venezia reserves the right in any case to modify, cancel or interrupt the initiative described above, in that the announcement or the selection do not constitute a binding contract for the same, nor do they entail the right to the reimbursement of any expense other than those specified above.
The integral acceptance of the conditions of the Biennale College ASAC Writing in Residence – Theatre call makes the application eligible.
Applications open on 18 April 2025.
Applications deadline 14 May 2025.