Collettivo artistico impegnato nella scrittura e nella messa in scena di testi di nuova drammaturgia e nella curatela di progetti culturali.
Areas of research
| THE MOUNTAIN. | The enchantment of this place is an antidote to the critical issues of the present. The Aosta Valley is rare; it is an extraordinary place on the planet in its being small, yet concentrated. Numbers echo there: the four 4,000-meter peaks. A call to seriousness and responsibility is heard there. How theater is (living) dangerous matter. | ||
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| THE RELATIONSHIP WITH YOUNG PEOPLE. | That becomes a relationship with people, in the reading of the mountain as a more transversal and intersectional place. It is the concept of sustainability that is linked to the development of territories. A relationship that is (no longer) synonymous with a place where there are fewer opportunities. It is accepting that a territory is not defined by the stereotype or tradition that tells about it. | ||
| THE BORDER AS A PASSAGE | To bring added value: to push artistic projects as far as possible, to make them resurface from the original core so that they become matter of sharing and do not remain enclosed in an aseptic margin. | ||
| THE STORIES OF PLACES | Connecting subjectivity to the plurality of presence. Training knowledge to find points of contact between places and modes of narration. Awareness of the past and history, beyond the nostalgic function, to discord the dimension of individualism and experience place as a relocation of the self in the present. | ||
| that precede | |||
| PEOPLE'S STORIES | A bridge to continue crossing (also) in theintergenerational approach, to discover that we find awarenesses that unite us regardless of the moment in life when this becomes apparent to us. | ||
| THE FEMINIST. | As an emblem in an investigation that focuses on the becoming interior that evolves into the feminist . Breaking the stereotype of the heroine as the protagonist and a woman of singular virtue and extraordinary fortitude, toward a three-dimensional figure, revealing the fear and fragility that can be experienced even by a decisive character. | ||
| as the object and subject | |||
| OF RESEARCH. | Which focuses on inner and feminist themes. The movement from inside to outside is the pretext for scrutinizing how political instances are embodied in individual choices. | ||
| LISTENING PRACTICES. | Catalyzations and reactivations. On the one hand with respect to the relationship with the artists.e, on the other in the relationship with the audience: from managing collective dynamics, to training in collectivity, to popularizing astonishment. | ||
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| OF TRANSFORMATION | Theater as falling in love with anexperience, not necessarily an artistic proposal, that can be an engine of profound change. Creating for audiences to have a theatrical experience that triggers active listening and open discussion even at the level of rational understanding. | ||
| LANGUAGES. | Inter\personal reevaluation. The challenge/position to bring a relevant artistic proposal that can redefine the experience of the world of those who enjoy it, in relation to the private and emotional dimension, in the public and social dimension, in the political and civil dimension. For the construction of an inclusive society where (all) rights are respected. | ||
| from | |||
| CONTEMPORARY | A very profound claim to the freedom to construct a performance, not dictated by/out of the genre codes of the contemporary scene. A claim for innovation from the stereotype of recognized and recognizable codes. | ||