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EU Collective Plays Project! co-funded by the Creative Europe Programme of the European Union mira a promuovere la creazione di testi che sono il risultato di una collaborazione di drammaturghi di diverse nazionalità. Gli autori si incontrano e collaborano per creare una struttura narrativa che sia organica, ma che allo stesso tempo incorpori diversi punti di vista, stili, lingue e idiomi. In ciascuna opera collettiva la stesura definitiva del testo è normalmente affidato ad un drammaturgo che non deve mai cercare di omologare i diversi stili, ma, al contrario, deve cercare di evidenziare i loro contrasti creando una struttura narrativa che assomigli a un dipinto cubista. Il risultato di ogni processo artistico in un contesto di scrittura collettiva è la creazione di un’opera inclusiva e polivocale. Questo laboratorio di drammaturgia collettiva  mira inoltre a promuovere la produzione di opere teatrali polivocali attraverso la creazione di gruppi teatrali transnazionali. Grazie alla loro dimensione inclusiva, polivocale, (mix di elementi pop e colti raccontati in diverse lingue e idiomi), i testi creati all’interno EU Collective Plays! hanno una complessità che comporta la creazione di compagnie teatrali transnazionali, per la loro messa in scena. Le priorità EU Collective Plays!  includono:

-Promuovere la cooperazione internazionale tra autori e organizzazioni teatrali di diverse nazionalità nella creazione e messa in scena di opere teatrali collettive al fine di internazionalizzare e / o rafforzare la loro reputazione internazionale, la carriera e le attività a livello europeo e mondiale;

-Sperimentare un allargamento del pubblico teatrale attraverso la diffusione di narrazioni caratterizzate da dialogismo interiore;

-Stimolare l’interesse del pubblico nei confronti di testi teatrali europei, ampliando il concetto di cittadinanza europea attraverso l’uso della scrittura polivocale;

-Tentare nuove forme di collaborazione e gestione di gruppi teatrali e produzioni transnazionali;

-Rappresentare le opere nate all’interno di questo laboratorio di drammaturgia collettiva nei più importanti Festival europei.


Opere collettive commissionate e sviluppate da TSAM all’interno di EU Collective Plays! e del Festival Quartieri dell’Arte:

Il tempo libero di Gian Maria Cervo e dei Fratelli Presnyakov

Narcissus di  Alberto Bassetti, James Bidgood, Michel Marc Bouchard, Gian Maria Cervo, Chris Goode , Antonio Ianniello, Anna Romano.

Mirrors\Specchi di Joele Anastasi (Italia), Rasim Erdem Avşar (Turchia), Emily Gillmor Murphy (Irlanda) e Danielle Pearson (UK) – vincitori della EUCP playwriting competition in memory of Matteo Latino per drammaturghi under 30.

Darkness di Gianluca Iumiento (Italia- Norvegia), Tale Naess (Norvegia), Kristín Eiríksdóttir (Islanda), Albert Ostermaier (Germania) e Sigbjørn Skåden (Norvegia)

Das Kapital & Jelena Savojska di AA.VV. e Arpad Schilling (Ungheria)

Memoria progetto sviluppato dalla Fura dels Baus (Spagna) con un team internazionale di scienziati

Moving Mountains di Vincent Vella (Malta) con found materials di AA. VV.

Leaves di Françoise Berlanger (Belgio), Stéphane Oertli (Francia-Belgio), Anna Romano (Belgio-Italia), Aboud Saeed (Siria) e Maria Pia Selvaggio (Italia).

Progetto in definizione di Prime Cut Productions (UK)


In the realization of the propject live clips the Teatro Stabile delle Arti Medioevali decided to diversify its approach each year: in 2015 TSAM created a number of clips on a very complex workshow “Corpus 1462” which turned the whole town centre of Viterbo into a huge stage and had a strong impact on the citizenship. In the clips TSAM showed the diversity of artists, disciplines and cultural perspectives which contributed in creating the event which gave a sense of both majesty and openness to the town of Viterbo (a longer clip was created to show in a very direct way how all the above elements were conflated); in 2016 Rocco Franceschi interviewed for TSAM artists, practitioners and scholars who took part in the “EU Collective Plays!” workshops/workshows to give the audience a view of the variety of the implemented activities.

The clips are listed by year below, alongside a link which TSAM published on its Quartieri dell’Arte Festival website and which have later been published on the EU Collective Playsand the arth youtube channels:

2016

1) Date 2nd September 2016: Pep Gatell talks of the way La Fura dels Baus has conceived of and dealt with the idea of polivocality throughout its groundbreaking work and history. Here an emphasis is given of the idea of polivocality as the conflation of circus, opera, theatre, street-theatre, cinema and concert techniques.


2) Date August 2016: Jon Jesper Halle (playwright) explains the structure and the polyvocal and site-specific dimension of the “Moai Project” which takes place


3) Date August 2016: during the process of the Moai project, Nelly Winterhalder (playwright and director) explains how language-based techniques can deal with the history of places, by creating a poliphony of voices from the past the present and the future.


4) Date August 2016: Tale Naess explains how polivocal and language techniques can play with unity of plays by mixing different idioms and time layers. In particular she explained how she mixed the various pasts of the Convento di Sant’Agnese in Vitorchiano and the Italian and Norwegian languages in the text that she created for “The Moai Project”.


5) Date October 2016: opera and theatre director Alessio Pizzech talks about the sort of Baroque framing that young Norwegian playwright Agate Kaupang created in her cultural translation of Dejan’s Dukovski’s play “Who the fuck starte all this” and how Pizzech himself experimented on the staging of Kaupang’s rewriting during the Hybrid Plays seminar. In this case both collectiveness and poilivocality (especially the techniques related to the use of “found materials”) are central to the work.


6) Date November 2016: Montenegrin actor Srđan Grahovac and light designer and assistant director Mirko Radonjic explain the polivocal work of Hungarian playwright-director Arpad Schilling and of his dramaturgical team as orchestrators of the actors’ voices in composing the text for the experimental production “I lavoratori della montagna nera” then renamed “As far as the view goes” created by the Royal Theatre of Zetski Dom and hosted by the Teatro Stabile delle Arti Medioevali on the occasion of the Quartieri dell’Arte Festival.


7) Date October 2016: director Sandro Mabellini explains the collective playwriting process and the many language and idiom transformations that have informed the creation of the final draft of the script for the workshow “Trainspotting” from Irvin Welsh to Harry Gibson to Wajdi Mouawad to Emanuele Aldrovandi to the actors involed in staging the play.


8) Date September 2016: actor, director and playwright Maria Sand talks about the use of word sas sounds and sounds as words in Jon Fosse’s polivocal playwriting and how she worked on how she adapted Fosse’s work in a collaboration between the Teatro Stabile delle Arti Medioevali and Det Norske Teatret, one of the two National Theatres in Oslo Norway.


9) Date September 2016: actor/director Gianluca Iumiento talks about the polivocal and dialogic dimension of the work done on Jon Fosse’s “Det er Ales”.