This project has received funding from the European Research Council (ERC) under the European Union's Horizon 2020 research and innovation programme (grant agreement No 678711)
If these had made one poem’s period,
And all combin’d in beauty’s worthiness,
Yet should there hover in their restless heads
One thought, one grace, one wonder, at the least,
Which into words no virtue can digest.
C. Marlowe, Tamberlaine the Great (1, V, II)
[without a genre] Can titles serve… more
Nono’s continuous references were primarily to Bach, to his
a cappella choirs. (…) As if language for Nono (the sound of
language, or a part of it), was out there, in those choruses and
voices from the processions and the “passions” of the
workers and the farmers.
Giuliano Scabia (1990)
(Bach put… more
The 14th of July 2018 will mark the fiftieth anniversary of Aldo Braibanti‘s sentencing to nine years of prison, accused of having exploited two young men, Pier Carlo Toscani and Giovanni Sanfratello,1 and subjected them “to his own power, cowing them into a state of total subjugation”. Aldo Braibanti was a poet, a philosopher, a myrmecologist,… more
The logic of the possible is the formula on which to focus a discourse about the second day of The Battle for Theatre¬01 October, which opened to the words of Carlo Quartucci and Carla Tatò, leading figures in the experimental theatre that, in the Conference held in Ivrea in 1967, found… more
by Silvia Bottiroli and Piersandra Di Matteo
The first day of October. The Battle for Theatre¬01 opened, following the introduction by the six curators, with the electro-acoustic concert Madrigali sul mentire by the Venetian musician and composer Federico Costanza; the focus on listening was further developed in the conversation… more
The battle for theatre¬01 October, part of the European research project INCOMMON. In praise of Community. Shared creativity in Arts and Politics in Italy (1959-1979), is the first in a series of public work sessions that will take place across the next four years.
This experience begins in group form, with an emphasis… more
What I am presenting today are the first findings in an ongoing research study within the ERC project titled InCommon. Performing Arts in Italy from 1959 to 1979, directed by Annalisa Sacchi and currently underway at the IUAV University in Venice. The first of the case studies I am examining is the theatrical… more
The battle for theatre began with an aesthetic issue. The experiences, the practices, the relationships between the bodies, the organization of the spaces, the acoustic modulations, the vocal manifestations, the legacy of memories and bonds constitute the horizons of this call to arms.
Nothing today appears to demand as accurate and rigorous a consideration as the concept of common; however, as things stand now, nothing appears to be less practiced. We are addressing a distant horizon, yet to come, but one that must be open to consideration and as such redefined on… more
What remains latent when the winds of change begin to blow, often needs content to make it manifest. The three-day conference held in Ivrea in 1967 (10-12 June) focused on Italian New Theatre, shaped its most significant meanings in the text published below. The distance of reception, the geography of the questions… more
On April 21 1967, at the Teatro La Ringhiera in Rome, Leo de Berardinis and Perla Peragallo premiered their first production La faticosa messinscena dell’Amleto di William Shakespeare. Met with a certain degree of perplexity at its Roman premiere, the production was later consecrated at the conference in Ivrea, which in June of that… more
Cottimisti premiered at the Teatro in Trastevere (Rome) in March 1977. This work – true to the authors’ innovative approach – disputes the logic of traditional theatre, disrupting some of its coordinates, including the notion of performance and the temporal codes of the mise-en-scène.
The scene is a construction site.… more
In the turbulent years of social dissent that would lead to the protest movements in 1977, two atypical artists from Rome, Claudio Remondi and Riccardo Caporossi, distinguished themselves from the very start with an operative experimentation that, while conceived within the context of the cultural and political demands of that historical era, traced a different direction… more
The adventure of Orlando furioso adapted by Edoardo Sanguineti and directed by Luca Ronconi began in Spoleto on July 4th 1969 and ended in New York in November 1970. This production which transfigured all the traditional devices of theatre was unique and unforgettable. And also invisible, after the airing of the television version that… more