DAY Programme 8 June
08. June 2022
The Splendour of the Ages
with Julia Varley, Ana Woolf, Carolina Pizarro, Gabriela Arancibia, and with Janaina Matter, Gabriella Sacco
FREE ENTRANCE / GRATIS ADGANG
Work in progress Janaina Matter, Brazil
Actor: Janaina Matter Director: Julia Varley
Football Country is a work in progress about a daughter: the daughter of a father, of a society, of a nation, born and raised in what is believed to be the country of foot- ball and samba. Where do the footprints lead us? Watch out, to not tread on this ground with shoes.
Janaina Matter is an actress, teacher, dramaturg, and since 2007 artistic director of Súbita Companhia de Teatro in Curitiba, Brazil. In theatre, she is committed to the study of physicality, gesture dramaturgy and authorial material, having a strong background in the Suzuki Method for Actors and the Viewpoints, delivering workshops for professional and non-professional theatre makers. During 16 years as an actress, Janaina has developed mostly collaborative and devised work, with permanent research on directing and acting. She is an active member of The Magdalena Project, international network of women in contemporary theatre, and one of the translators for the website and events. In 2021 she was part of the organising team for the first Magdalena Online Festival - Bodies:on:Live that took place in June. In 2019, Janaina Matter opened an art space called Alfaiataria (Taylor shop) in Curitiba, a physical and symbolic space of resistance, dialogues, artistic investigations and exchange.
Antagon TheatAKTion Theater, Germany
Performer and director: Bárbara Luci Carvalho Musicians: Bernhard Bub, Ruben Wielsch
Video: Jorge Bascuñan - Lighting and stage: Bárbara Luci Carvalho and Bernhard Bub - Lighting technician: Joscha Erker - Costumes: Rino Carvalho
Duration 60 min - Performed in English
The solo Corpus Mundi is an autobiographical narra- tive, a dialogue between dance and theatre. The cho- reography was created to confront and overcome Eurocentric aesthetic barriers. The theme of the Afro- descendant female body, the personal experiences of an Afro-Brazilian woman in Europe and her attachment to her own cultural identity was made visible as a public performativity. It is a piece that simultaneously engages questions of gender, feminism and the construction of gender in the body. It is a performative exploration of current spaces of tension between gender and coloniality. Audiences are addressed in a lived reality where the conditioning of gender, race, and class of the black female body continues to be practice. Corpus Mundi consists of danced insights, “choreopolitics,” snapshots that confront and at the same time take the audience into the other world of a body from the global south.
Barbara Carvalho (Brazil/Germany) is an actress, performer, producer and teacher for theatre and dance. Since 2010 she works in Frankfurt am Main as a member of the collective antagon TheaterAKTion and coordinator of Escuna Criativa, international socio-cultural project. She has graduated in Theatre at the Federal University of Bahia in Brazil, and in 2017 she started to direct and curate the International Women’s Theatre Festival in Frankfurt. Since 2018, she has been studying M.A. Choreography and performance at the Institute of Applied Theatre Studies in Giessen.
Bernhard Bub acquired his practical training in cooperation with initiators of the free theatre movements such as Julian Beck, the Living Theater and Ariane Mnouchkine, who revolutionised theatre in the 80s. Bernhard feels connected to a theatre tradition that experiences and reflects on it as a mean of communication in a constantly changing society. As a visionary, he stands for the process of experimental theatre development. He is not only the artistic director of antagon theaterAKTion, a choreographer, an actor, a musician, a performer and a stilt acrobat. He is also a bus driver, a carpenter and a set designer.
Ruben Wielsch is part of antagon since 2013. As a musician and lighting designer, Ruben was self-employed for some time. Also working in the film industry as a lighting technician, lighting designer, director, film editor and set designer, he gained some experience before he came to antagon. Here he is an actor and performer, musician, composer, tool keeper, cleaning fairy, passionate cook, set designer, decorator and chauffeur. Recently, his main and creative area has shifted to composition and production management, or musical management of the theatre. This includes recording, creating overall musical concepts, training and coaching new musicians and composers.
Teatro Nucleo, Italy
Performer and director: Natasha Czertok
Sound design: Vincenzo Scorza - Mask: Beatrice Pizzardo
Kashimashi is a new study carried out by the actress and director Natasha Czertok, of Teatro Nucleo, born within the framework of a research on the themes of women and gender representation. The title ironically resumes a stereotypical and discriminating use in the Japanese language: Kashimashii means in fact “noisy, chaotic” gift of a traditional perspective that makes a women’s shed as the source of confusion and disorder. Gender determines our daily actions: gestures, behaviour, social rituals. With the magnifying glass of theatrical research, Natasha Czertok’s “private bestiary” insinuates itself, with a substantial dose of self-irony, into the dynamics linked to what we usually define as “normality” and to the stereotypes in which we recognise ourselves / that we reject / in which we feel compelled. One woman merges all women into one, every day, in each and every moment of their lives. All the sound environments are designed by Vincenzo Scorza, an attentive “sound sculptor”.
Natasha Czertok works as actor and director with Teatro Nucleo since 2001. She is graduated in Public Communication of Culture and Arts and has studied classic and modern dance with Gladiola Orozco of Ballet Teatro del Espacio (Mexico D.F), and contempo- rary dance numerous teachers. She founded Garabombo Teatro (1999-2001) and urban art festival Urbanica in Ferrara. For Teatro Nucleo, she curates Totem Arti Festival (2012-2018) and Totem Scene Urbane (first edition 2019) and the project of artistic resi- dencies Cose Nuove, and she works with pedagogical projects for young people and adults, and in different environments of social and psychic suffering.
TEATRO NUCLEO, Italy. In the beginning of the 1970s, Cora Herrendorf and Horacio Czertok are co-founders of the Comuna Baires group. In February 1974, following the kidnapping of Czertok by an armed commando of the Three As, Comuna Baires decided to flee to Italy, while Czertok and Herrendorf remained in Argentina, founding the Comuna Nucleo and the magazine Cultura. In 1975 in Buenos Aires the Comuna Nucleo created Herodes, by Horacio Czertok. The performance stages torture, terror, dictatorship, Argentina, and presented in Italy, causes a strong uproar. Cora Herrendorf’s performance directed by Horacio Czertok, Chiaro di luna, was on a European tour when, in March 1976, the military dictatorship broke out in Argentina. Forced to live in exile, the actors decide to work in Italy. The group settled in Ferrara in 1978, in a former department of the Psychiatric Hospital managed in agreement with the Municipality. In addition to the performances, the group deals with numerous collateral activities. In 1989 Teatro Nucleo moves to the ex-Cinema Po in Pontelagoscuro transforming it into an artistic and cultural meeting place, a crossroads of experiences. In its forty years of activity, Teatro Nucleo continues to stand out for its contribution to social issues, staging performances born from workshops, from collaboration with other theatrical realities and obtains various national and international awards.
Cia. Pessoal de Teatro, Brazil
Actors: Tatiana Horevicht and Juliana Capilé
Director: Julia Varley
Duration 60 min. Performed in Portuguese
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Julia Varley joined Odin Teatret in 1976. Apart from acting she is active in directing, teaching, organising and writing. Since 1990 she has been involved in the conception and organisation of ISTA (International School of Theatre Anthropology) and of the Univer- sity of Eurasian Theatre, both directed by Eugenio Barba. Since its beginning in 1986 she has been active in The Magdalena Pro- ject. She has directed performances with Pumpenhaus Theater (Germany), Ana Woolf (Argentina), Hisako Miura (Japan), Lorenzo Gleijeses and Manolo Muoio (Italy), Gabriella Sacco (Italy), Caro- lina Pizarro (Chile), Marilyn Nunes (Brazil), Amaranta Osorio and Teresa García (Mexico-Spain), Teresa Ruggeri (Italy), C.ia Pessoal de Teatro (Brazil) and The Jasonites. Julia Varley has written five books published in various languages: Wind in the West, Notes of an Odin Actress - Stones of Water, An actress and her characters, Thinking with the Feet (with Vicky Ann Cremona and Francesco Galli), Genius Loci (with Eugenio Barba and Francesco Galli). In 2020 she creates Fondazione Barba Varley and in 2021 Transit Next Forum. She is on the editorial board of The Open Page and Journal of Theatre Anthropology.