8th September | h 3 – 8 pm
La Pelanda | Studio 1 – Teatro 1
h 3 pm
PANORAMA ROMA 1: Marina Donatone, Andreco, Fabiana Iacozzilli, Stalker | Studio 1 | 2 h
h 5:30 pm
PANORAMA ROMA 2: Malombra, Silvia Rampelli/Habillè d’eau + talk | Teatro 1 | 2h
Panorama Roma is a new project born out of Short Theatre which gathers together further realities within the city of Rome, for example Angelo Mai, which in April 2019 welcomed its second edition.
Panorama Roma is a sharing area, in which explore researches and reflections, born around the urgencies and needs of the Roman artistic community. The artists are invited to share part of their artistic path and the process which they are deepening, in relation also to the conditions of production and creation.
Excerpts from their projects, work materials, study elements: Panorama Roma is a rediscovered space to open one’s own practice together with those who belong to the same artistic community.
h 3 pm – I Session
- Marina Donatone
Marina Donatone was born in Rome in 1993 and studied dance in Italy and Budapest. Starting with her meeting with Laurent Chétouane, she began dedicating her time to exploring choreography and continued this work when she returned to Rome, thanks to her participation in Da.Re. and her encounters with Adriana Borriello and Silvia Rampelli.Within her work, she seeks a body “in progress” which submits to her system of choreography as a sort of active matter, working and being worked upon, based on the relationships within which it is inserted, while offering its own immovable composition as well.
LOOK MA, NO HANDS is her first work for the theatre. Like on a surfboard, where gathering the movement of an incoming wave is equivalent to being able to ride it, dancers play with the “physical potential of doing or not doing, of yes or no”, modulating the outcome of a preceding movement which, at them same time, wouldn’t exist without them.
The climatic and environmental crisis was officially recognised by the British government in May of 2019, followed in suit by various institutions throughout the world.
Scientists are generating graphic representations of the past and present in an attempt to shape the future.
Comparing the data and graphic curves generated mathematically, it would seem that future trends will depend largely on how humanity evolves. Even environmental activists and philosophers, under the banner of Future Studies, are “speculating” on the feasible scenarios of tomorrow, on the time before humans reach their own extinction, on the death of civilisation as we know it. In what ways and with what tools can art, philosophy, sociology and performance take on the urgency of the climactic and environmental crisis?
How can we confront the concept, the hyper-object, of environmental crises through a trans-disciplinary lens?
In what ways can we “surf” the huge wave of catastrophe now looming before us?How can we survive in an altered ecosystems, how can we quench the fires that are burning our homes down?
How can we change these future scenarios?
Out of these questions comes the discussion Future Climate by Andreco, artist who, in the last ten years, has explored, through his studies and performances, sensitive topics regarding the environment, creating signs and actions over the landscape intended to heighten awareness regarding our fragile and uncertain present.
- Fabiana Iacozzilli
UGO E MARIA
Otherwise known as the fear of bringing into the world dried branches and sterile reeds.
“I left both my children, I abandoned them both. It’s the worst thing a mother can do…Death was there, I chose life.”
(Michael Cunningham, The Hours)
When I start a new project, I think of Paul Haggis saying, “I know I have a story when there’s a question that’s hard to answer.”
Presentation of the first stage of the work in progress Ugo e Maria, in which I explore the incapacity to be a mother, on the fear of breeding and the desire to not bring life into the world. A project which also finds its roots in the work of Orna Donarth, author of “Regretting Motherhood” which is a collection of repentant mothers, of mothers who don’t feel permitted to openly admit that they regret being mothers.
I will provide open and fluid research materials, more notable for a way of creating than being overly concerned with finished products. I will offer an initial reflection on the matters in question, starting with extracts from interviews that I am currently working on, then I will further structure the improvisational work surrounding the third section of the play.
Stalker is a collective of artists and architects which boasts twenty years of activity involving research and action in the area of Lazio, with particular attention to marginalised areas and urban voids. The means of Stalker is experimental, founded on explorative spatial practices, listening, relational, convivial and playful, spurred on by creative mechanisms of interaction with the environment under investigation, with the inhabitants and the archives of memory. Such practices and mechanisms are aimed at catalysing the development of self-organised processes of evolution through the weaving of social and environmental relationships, where these have been lacking out of sheer abandonment or unavailability.
In 2017, it created the space Xeneide. Il Dono dell’Altro. Miti, Pratiche e Poetiche dell’Ospitalità, and, in 2018, it began the project AttornoaTermini, encounters towards the discovery of multicultural aspects of the area surrounding Stazione Termini, while also starting the No Working project in Rome, a space-time occurrence dedicated to art.
h 5:30 pm – II Session
De.Lete is a fable inspired by the Greek myth of the Lethe River, the river of oblivion, which runs through Hades. According to the Pythagorean doctrine of metempsychosis, the souls which leap into the Lethe River cancel all memories of their past lives, thus allowing them to be reborn again.A young woman, following a shipwreck, finds herself in a new world, suspended between dreams and reality, everything around her is topsy-turvy; the places and spaces around her seem to adhere to a sort of surreal logic.
The artistic studies of Malombra (Marco Guarrera and Camila Chiozza) seek to give a contemporary voice to the tradition of shadow theatre without losing sight of its original aspects. The technique used to create shadows by the director, Marco Guarrera, harkens back to the pre-cinema era, recreating a sort of contemporary phantasmagoria. A luminous source, the use of models and original stage machines, offer a spectacle of moving shadows, an effect similar to that of actual film cameras.
- Silvia Rampelli / Habillè d’eau
I am reflecting on the potential unreality of fact – when a phenomenon effectively – any sort of experiential fact – reverberates with variance, a sensation, the slightest doubt of veracity, of being real. When the real – making itself present – negates itself to become a premonition. I am reflecting on the illusion of reality – when I animate the inanimate, I respond to this openly declared fiction, its falsehood. It is not matter of the question of truth, but the oscillation that the encounter with fact impresses on perception. A powerful dynamic.The stage is the concrete place, predisposed to the observation of the present – fact turns into perception, thought and the thought – to penetrate you – must become sensorial, concrete. It is the testing of a question presented in the form of presence and duration. The processual constitution of what becomes real on stage – the practice of actualisation – manifesting the order of time itself.
Silvia Rampelli holds a degree in Philosophy and focuses her work on the nature of action, on the scene as a device of perception. In 2002, she founded Habillé d’Eau, an independent performance research project, involving Alessandra Cristiani, Gianni Staropoli, Eleonora Chiocchini and Valerio Sirna. Habillé d’Eau was produced by the Venice Biennial and sent to all major festivals. In 2018, it received an Ubu Prize for Best Dance Show.