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©OHT-LittleFunPalace-ph_Flyle-Courtesy_LanaLive_2019

6:00 pm - 12:00 am
from 4 to 6 | WeGil
from 7 to 13 | La Pelanda
resident project

free entry

OHT

Little Fun Palace

A caravan. A small, portable pavilion. An ephemeral place of aggregation. A tribute to the Fun Palace; the legendary project of architect Cedric Price and theatre-maker Joan Littlewood who in the sixties wanted to create a street university, a laboratory of entertainment.

Little Fun Palace is a parasite project of OHT, an ever-changing place for encounters, talks, balls, gigs and any other form of possible spontaneity. This is a project focusing on the moment right after the cultural activity; the moment in which ideas, words and people’s encounters require space to happen. Little Fun Palace tackles a contemporary void exhuming the raison d’être of public areas; that one of being an open forum for encounters of different people.

During the first weekend of Short Theatre, Little Fun Palace becomes a Nomadic School questioning how space produces reality by considering space and landscape aesthetic territories that have political implications although not using the words of politics. More info at Tempo Libero.


Little Fun Palace is open every day from 6:00 pm to 12:00 am and it hosts a specific programme of appointments: meetings, listenings, projections, musical selections.

WeGil
Friday 4 | h 9:30 pm – 12:00 am
Nomadic School
Matthew C. Wilson, The Age of Autonomous Exploration
film
55’
free entry with reservations required on Eventbrite

Sunday 6 | h 7:00 pm
Nomadic School
Giovanni Attili, researcher and urban planning teacher at Università Sapienza di Roma
Lo spazio dell’abitare tra abbandono e spettacolarizzazione
talk
1 h 30’
free entry with reservations required on Eventbrite

La Pelanda
Monday 7 | h 7:30 pm
Immagini alla deriva for the opening of Liquid Violence by Forensic Oceanography
talk with Lorenzo Pezzani, Annalisa Camilli, Françoise Vergès, Elsa Dorlin, Angelica Pesarini and online: Camilla Hawthorne.
free entry with reservations required on Eventbrite

Tuesday 8
h 7:00 pm
Memestetica. Il settembre eterno dell’arte with Valentina Tanni, Valerio Mattioli and Ilaria Gianni
book presentation
free entry with reservations required on Eventbrite
h 11:00 pm | Bunny Dakota
Svuotapista
musical selections
free entry subject to availability

Wednesday 9
h 8:00 pm | Praticare alleanze: qual è la differenza tra “dare spazi di autonomia” e “concedere spazi
controllati”? meeting with Al. Di. Qua. Artists
with Giacomo Curti, Dalila D’Amico, Francesca Corona, online: Chiara Bersani, Diana
Anselmo, Anna Consolati
free entry with reservations required on Eventbrite
h 11:00 pm | Ubi Broki
L’anno che verrà
musical selections
free entry subject to availability

Thursday 10 | h 11:00 pm
Enrico Kybbe
Kybbe’s Bonus Beat

musical selections
free entry subject to availability

 

Friday 11 | h 8:30 pm
Lo strano dancefloor: trasmissioni dal New Beat
with Hugo Sanchez and Maurizio Athome
talk
free entry with reservations required on Eventbrite

Saturday 12 | h 6:00 pm
Un’etica all’altezza delle complessità del nostro tempo
Moment of Reflection / More Than This
curated by Simone Frangi, researcher and curator and with Lucrezia Cippitelli, researcher and curator, Sammy Baloji, artist, Alessandra Ferrini, artist and researcher, Justin Randoph Thompson, artist and founder of Black History Month Florence, Francesca Corona, co- director of Short Theatre.
talk
free entry with reservations required on Eventbrite

Sunday 13 | h 7:00 pm
Il tempo sospeso delle immagini with Attilio Scarpellini and Andrea Cortellessa
book presentation
free entry with reservations required on Eventbrite

Founded in 2008, OHT [Office for a Human Theatre] is the research studio of theatre-maker and curator Filippo Andreatta whose work deals with landscape, daily personal politics and public spaces.

OHT has achieved national and international collaborations such as Haydn Foundation (IT), NYC Artists’ Salon (USA), Romaeuropa festival (IT), Triennale Teatro Milan (IT), the Josef and Anni Albers Foundation (USA), Whitechapel Gallery London (UK), Teatro della Tosse Genova (IT), Italian Cultural Institute of Vienna (AT), MAXXI museum of the arts of the XXI century Rome (IT), among the others. Finally, Centrale Fies has frequently been partner of various projects, either for productions or for premieres.

OHT has been honoured with awards for artistic excellence, including Nuove Sensibilità for young theatre directors (2008), Movin’Up award for young artists (2016 and 2017), OPER.A 20.21 Fringe (2017) and nominated for Best Set-Design at UBU prize (2018).

oht.art

Little Fun Palace of OHT | Office for a Human Theatre
idea Filippo Andreatta
artistic collaboration Salvatore Peluso
set-design Filippo Andreatta
construction Massimiliano RassuFranco Righi, Antonello Marzari
production Laura Marinelli
co-production OHT, MAXXI museo nazionale delle arti del XXI secolo, Short Theatre festival, Terni festival
a collaboration with MutaImago
© Flyle – Courtesy LanaLive 2019

Notes on Short Theatre 2020

What else is your work about, besides what is already told in the synopsis?

I think that the caravan, in its latest version of Nomadic School, talks about expanding the boundaries of the theatrical practice by rethinking the centrality and periphery of its elements. I believe that theatre is above all a place and therefore that it is possible to imagine it not only through the bodies that cross it but also through its intrinsic energy, its magnetic fields.

Who or what—real or imaginary, present, past or future—do you think contributed to the creation of this work? Is there any object/trace you own that can make this clear?

It is very difficult to say how a project is created, even more, this one. It could be from personal experience or the English radical architecture of the 70s or from the lack of meeting places in Italian theatres or from other reasons that I don’t know. However, we tried to tell it in a book published by a beautiful bookshop in Venice called bruno, like the bear.

What do you imagine you will say about this work in fifteen years time? Would you ever have imagined making such work fifteen years ago?

audio transcription:

In fifteen years I would like to say that the caravan has become a Nomadic School, that moves between different landscapes, all over the world. From urban to alpine ones, or deserts, from Africa to the Amazon rainforest. And also I would like to say that, despite these continuous changes and the consequent instability, the caravan has managed and manages to maintain its essence even within this precarious condition.
I think I could have imagined this project fifteen years ago, given my difficulty with vertical teaching and the passion I have always had for radical teaching, especially in the artistic field, and also given the experiences of the last century (above all the Bauhaus and Black Mountain College).