Biennale College Teatro 2023

Dates: 15 > 21 June 2023
Language: Italian
Target group: actors, directors and playwrights
Age: +18 > 40
Participants: up to a maximum of 10

WORKSHOP
Classical tragedy is still the primary source of major themes of reflection in theatre today. In recent years, contemporary English dramaturgy has been very much involved with tragedy, paying homage to it and rewriting it in various forms. In the workshop we will examine and read excerpts from classical tragedies - Oedipus Rex by Sophocles, Oresteia by Aeschylus, The Trojan Women by Euripides, Hecuba by Euripides, Iphigenia in Aulis by Euripides, Antigone by Sophocles - and excerpts from some of the most significant recent English re-writes (by Robert Icke, Marina Carr, Caryl Churchill, Lulu Raczka). Themes, structures, problems of translation, interpretation and staging of both classical texts and contemporary reinventions will be examined.

Greek tragedy as the founding monument of theatre is an Emerald greener than precious stone. Stories that elevate the city from a feral state to a destination of ever higher civilisation. After centuries, these myths 'blossom again', green and ever more relevant in their contemporary reinventions.

MONICA CAPUANI
Scout, translator, and dramaturg. She was born in Rome and worked for twenty years as a freelance journalist for national newspapers such as L'Epresso, L'Europeo, Il Mondo, Il Venerdì and for major women's magazines, as well as hosting the programme Il Libro Oggetto for Radio2 for five years. She has always flanked journalism with an intense activity of literary translation from English and French and has to her credit the translation of some seventy novels. In recent years, she has chosen the theatre full-time, where she chooses the texts she translates and tries to provoke their staging, in Italy and abroad. Prior to Pandemic, she organised 'Contemporary', a series of meetings between Italian and British theatremakers at the Italian Cultural Institute in London, and in 2018 she was artistic director of the Italian Theatre Festival at Printroom at the Coronet, Notting Hill. At the 2019 Biennale Teatro, artistic director Antonio Latella invited her to hold a workshop on Translation for Theatre, which she held again in 2021, under the direction of Ricci and Forte, experiences that consolidated an intense and now constant workshop activity. To date, she has translated around 160 theatre texts.

FRANCESCO MOROSI
Morosi is a research fellow in Greek and Comparative Literature at the University of Pisa. He trained at the Scuola Normale and at the University of California at Berkeley, and worked on the research staff of the Scuola Normale, where he was also head of science popularisation between 2019 and 2021. His main field of interest is ancient theatre - comic and tragic -, also in its interactions with later periods. He is currently editing a new annotated edition of Aeschylus' Eumenides (with Guido Paduano) and is working on a project of national interest on the fortunes of ancient theatre in Elizabethan England. In the summer of 2022, he edited the translation of Oedipus Rex at the Greek Theatre in Syracuse, directed by Robert Carsen. In 2023, he translated The Persians by Aeschylus for the Sacchi di Sabbia company. He also edited Ulysses. The Last Odyssey, a translation and theatrical reduction of Homer's Odyssey staged from 29 June to 2 July 2023 at the Greek Theatre in Syracuse, directed by Giuliano Peparini.

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Registration form

In addition to the requested personal data, applicants must also provide the following:
· a curriculum vitae (in Italian)
· a motivational letter (in Italian)

Dates: 29, 30 June, 1 July 2023
Language: Italian
Target group: anyone interested
Age: +18 > 40
Participants: up to a maximum of 8

WORKSHOP
In theatre, the relationship to the sacred is grasped where there is a body. Indeed, the actor always returns to the stage as an abyssal reflection of the sacrificial animal. Violence remains, but is transfigured by a new knife, that of the spectator's gaze. The three days of work focus on this (loss of) memory.

ROMEO CASTELLUCCI
Director, creator of sets, lights and costumes, Romeo Castellucci is known throughout the world for having created a theatre based on the totality of the arts and aimed at an integral perception of the work. His theatre proposes a dramaturgy that overturns the primacy of literature, making his theatre a complex art form; a theatre made up of extraordinarily rich images expressed in a language as comprehensible as music, sculpture, painting or architecture.
His productions are regularly invited and produced by the most prestigious international theatres, festivals and opera houses, in over fifty countries spanning all continents.
Triple prize received for the 2018-19 season by Romeo Castellucci for Salome from the "Oscars" of European opera, a poll by the German magazine Opernwelt among fifty international music critics: "Best Performance", "Best Director", "Best Set Designer".
The opera production debuts in the summer of 2022 with Resurrection for the Aix en Provence Festival and in Salzburg with Béla Bartók's Bluebeard's Castle followed by Carl Orff's De temporum fine comoedia, conducted by the proven duo Teodor Currentzis on the podium and Romeo Castellucci as director. In the theatre, the Bros' tour continued successfully.

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Registration form

In addition to the requested personal data, applicants must also provide the following:
· a curriculum vitae (in Italian)
· a short letter (max 2,500 characters) in which the applicant can express what he/she wants (in Italian)
· links to video where the candidate can show what he/she wants

Dates: 19 - 22 June 2023
Language: English
Target group: directors/creators predisposed to performative action
Age: +18 > 40
Participants: up to a maximum of 10

WORKSHOP
About creating. The kitchen of FC Bergman
In its masterclass FC Bergman gives a glimpse into the internal kitchen of the company. Central is the way of working that the company has refined over the past 15 years.
In a short period of time we try to go through the first steps of a creative process. We formulate a basic concept, collect a mood board, think about scenography and first scenes. Possibly, we take an existing space with its history and meaning as a starting point for the creation of a performance, just like with our performance Het land Nod. How can we create a wordless, visual performance?
We take a closer look at collective working. What does it mean to work collectively? We explore the significance and mechanisms.

The masterclass will be an extension of our oeuvre and will consequently be an exercise in creating emerald worlds and spaces, both real and mental, that will serve simultaneously as provocateur and soulmate. Both for the characters who inhabit these worlds, the spectators who view them, and the creators who shape them.

FC BERGMAN
FC Bergman was founded in 2008 by six actors / theatre-makers / artists: Stef Aerts, Joé Agemans, Bart Hollanders, Matteo Simoni, Thomas Verstraeten and Marie Vinck. FC Bergman has been a permanent Toneelhuis theatre-maker since 2013. Simoni and Hollanders have since left the core team and now work on an adhoc basis with FC Bergman.
In a short time, this group of makers has developed a highly unique theatrical idiom, which apart from being anarchistic and slightly chaotic, is essentially visual and poetic. Their productions often give centre stage to the floundering, ever-striving human. An impressive production in that series, JR (2018), literally and figuratively takes this theme to the next level.
In 2020 FC Bergman created The Sheep Song, a wordless performance about a creature that is no longer content with its lot. It feels it is capable of more, is destined to lead a more glorious life than that of its fellows. A modern parable about our fear of and attraction to change in our lives. The tragedy of man as a fundamentally changing being.
The members of FC Bergman are individually involved in various other theatre productions, TV projects and films or create exhibitions, performances, installations and videos under their own names.

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Registration form

In addition to the requested personal data, candidates must also provide the following:
· a curriculum vitae (in English)
· a short video (max. 1 minute, in English) in which the applicant introduces him/herself and explains why he/she would like to participate in the workshop

Dates: 23 June - 1 July 2023
Target group: performers, dancers
Age: +18 > 40 years
Participants: up to a maximum of 10

WORKSHOP
VOODO. I want to test the religious force of a stage. Or magical. To steal reality in order to transfer it to myth. The risk consists of approaching creation from the intimate. To work with a chaos that finally organises itself. In the age of approval and motivational messages, I propose to work with our inhibited desires, which can only be liberated thanks to the hypermoral of the law of poetry.

Love, crime and art represent the impotence of reason, but they are the force of beauty. Wish, wish, that something will remain in the air. That is my emerald. Faith in art. Art is VOODOO

ANGÉLICA LIDDELL
Angélica Liddell founded AtraBilis Teatro in 1993, with which she has staged more than twenty-five works. Her plays have been translated into different languages such as French, English, Russian, German, Portuguese, Polish and Greek. She has received the National Prize of Drama Literature 2012 for La casa de la fuerza, awarded by the Spanish Ministry of Culture, the Leone d'Argento for Theatre at La Biennale di Venezia 2013, and she has been condecorated Chevalier des Arts et Lettres in 2017 by the Culture Ministry of the French Republic, among other several prizes. Her latest works have been premiered in Festival d'Avignon, Wiener Festwochen, Scahubhune in Berlín, and Théâtre de l'Odéon in Paris.

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Registration form

In addition to the requested personal data, applicants must provide the following:
· Curriculum vitae in Spanish or English
· Motivational letter (three lines) in Spanish or English
· Notebook of minimum 10 - maximum 30 pages, where you develop the idea of the VODOO (by images: collage, drawings, photos, not text). Your own rite, motives, and consequences, as well as your further life as an UNDEAD, who works on the orders of an idea. What would the zombie life of Isak Dinesen, of Jim Morrison, of Johan Sebastian Bach be like? On whose orders do you work? What are our intimate revenges? Do we self-annihilate in order to be zombies of another, or of ourselves? Do we leave ourselves a suicide letter, which our zombie has to fulfil?
· Link to a video which illustrates the notebook, no longer than 3 minutes (in Spanish or English). Accompanied by a physical action, without text, no longer than 2 minutes.

Dates: from 15 to 23 June (1st group) and from 23 June to 1 July (2nd group) - assignment to one of the two groups will be determined ex officio by the college secretariat. Requests from the candidate to attend the workshop for the entire period will be considered.
Language: Italian
Target group: Young scholars, journalists (or aspiring journalists), critics and critical spectators, graduates (not only in performing arts)
Age: +18 > 32
Participants: up to a maximum of 6 per period

WORKSHOP
In collaboration with lecturer and critic Roberta Ferraresi, the aim is to create a web editorial office that can follow, analyse, comment and evaluate the events and performances of the Festival in the form of articles, interviews, reviews, reports, videos and photos for a daily narration of what happens during the Biennale Teatro.

The 'green fairy', as absinthe was called in France in the late 19th century. Or 'le péril vert', the green peril. It is said that Hemingway, a well-known drinker, said he loved absinthe because it made people change their minds. Changing ideas, opening oneself to the unknown, to the unexpected. Questioning, questioning: critical thinking overturns certainties, unhinges commonplaces, draws landscapes. Just like the green fairy: looking at oneself and the world with new eyes.

ANDREA PORCHEDDU
A graduate in Philosophy of Law, he has been involved in theatre since 1988 as a critic and scholar. He has collaborated with several national, online, print, radio and TV newspapers, including L'Espresso, glistatigenerali.com, antinomie.it, Che-fare.com, Lettre International, Radio3Rai. Along the way, he founded and contributed to several newspapers, including Teatro/Pubblico, Primafila, Pagina99. He has written books on Emma Dante, Ascanio Celestini, Virgilio Sieni, Ricci/Forte, Arturo Cirillo, Pierpaolo Sepe and many other artists. He holds courses in Criticism Methodology at the University of Rome 'La Sapienza' and at the 'Silvio d'Amico' Academy of Dramatic Art. He has curated criticism workshops at the Venice Theatre Biennale, and at various other Italian festivals. He has devoted himself to critical theories applied to the stage with the book "Questo fantasma, il critico a teatro" (Titivillus editore). He edits the series "Guide Teatrali" by Cue Press, with which he published the book "Che c'è da guardare? La critica di fronte al teatro sociale d'arte" (2017) and the more recent "Altri corpi/nuove danze" (2019) dedicated to the interaction between choreography and discomfort. With Luca Sossella Editore he has published "Il respiro di Dioniso, il teatro di Theodoros Terzopoulos" (2020). He has directed festivals and served on international and national juries, and in 2012 he served as artistic director of the Bahrain National Theatre. From January 2021, he has been Dramaturg of the National Theatre of Genoa.

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Registration form

In addition to the requested personal data, candidates must also provide the following:
· A curriculum vitae (in Italian or English)
· A motivational letter (in Italian or English)
· A link to a file that is a review, article, essay, interview that can prove the quality and fluency of the candidate's writing and critical analysis (in Italian or English)
· Please indicate in the online form (dedicated section) whether you intend to follow the whole or half of the project

Dates: 14 - 21 June 2023
14, 15, 16 June: participants will attend rehearsals, staging and performances of the show scheduled during the Festival
17 - 21 June: workshops in dedicated space
Language: Italian
Target group: 8 directors and 2 dramaturgs
Age: +18 > 40
Participants: up to a maximum of 10

WORKSHOP
"The theme is the theme that is not there. Not the one that has already been given, that you already know, not the predefined themes from national and European calls for tenders, not the socially and politically correct, useful and fashionable ones, but what is new and unthinkable that you can discover on your creative journey. My directing training is self-taught. I have no tradition or school behind me. I started out from dissatisfaction, from impatience with the lack of freedom in the human; theatre therefore came later, as a language that offered me a chance to revolt against myself and others. As I understand it, I believe that theatre, directing, and dramaturgy are often a great wasted opportunity. My idea of directing is a utopian project of a completely different society."

Imagine that there is someone who is dreaming of you, right now, and who is dreaming of you as you imagine you can be to your full potential. It is your job to follow up on his or her dream, to find a development. Don't you think it is nice to think that we depend not only on ourselves and our own will but also on the dreams of others?

ARMANDO PUNZO (Cercola - Naples, 1959) director, playwright, author and actor. In 1988 in the Volterra Prison he founded the Compagnia della Fortezza, the first and longest-lasting theatre experience in a prison. From 1996 to 2016, he directed the VolterraTeatro International Festival.  He has staged over forty plays, including Marat-Sade, I Negri, I Pescecani ovvero quel che resta di Bertolt Brecht, Hamlice, Santo Genet, Beatitudo, Progetto Naturae. He stubbornly pursues the goal of creating the world's first Prison Theatre. He directs workshops and international shows, focusing on large urban and installation-performance projects, including a site-specific edition of Hamlice at the Hangar Bicocca in Milan; the collective performances for squares, courtyards, and museums of Mercutio does not want to die; Paradiso. Voi non sapete la sofferenza dei Santi, at the foot of Ilva, with the citizens of Taranto's Quartiere Tamburi; L'Opera Segreta. Ruins and Remains of Shakespeare's Humanity, at the S. Lucia Escalators in Potenza; The Circular Ruins, in the cooler of the Enel Nuova Geothermal Power Station in Larderello and the Green Triangle in Peccioli; Naturae. La valle dell'innocenza, for the Nervi Pavilion in the former State Saline di Saline di Volterra. He has received numerous prizes and awards, including: six UBU Awards, the Medal of the President of the Republic, the University Seal of the Carlo Bo University of Urbino, the National Association of Theatre Critics Award, the Carmelo Bene Award, the Europe Taormina Arte Award, the Contemporary Culture Award of the Region of Tuscany, the Agis Golden Ticket Special Award, the Naples Award, the Fiesole Special Award, the Anima Award. He is the author of two autobiographical books: È ai vinti che va il suo amore (Clichy 2013) and Un'idea più grande di me (Luca Sossella 2019).

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Registration form

In addition to the requested personal data, candidates must also provide the following:
· Curriculum vitae (in Italian, English, or French)
· Link to a video of a previous work or, in the absence of a video, motivational letter (in Italian, English or French) max 1 page

At the end of the selection, the selected directors will be asked to come to the workshop with an idea for a directing project to be developed.