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)
Stefano Tomassini will present his work on Luca Ronconi’s Orlando Furioso in New York at the University of Pennsylvania and at Harvard University.
Thurdays, September 20, the Center for Italian Studies at the University of Pennsylvania will host his talk New York Furioso: Luca Ronconi at Bryant Park. After the talk, segments… more
Stefano Tomassini will be at the ISCH (International Society for Cultural History) conference 2018 “Performance, Politics and Play”, which will be held in New York City on September 13-16, 2018.
In his paper titled A Bubble Theater in Bryant Park: An Episode of Mayor Lindsay’s Cultural Policy in 1970, he will present part of… more
Thursday, September 6th INCOMMON will be te the 1oth ESA (European Sociological Association) Midterm Conference of the Sociology of arts and Sociology of culture research networks. The conference will be hosted by the Department of Sociology of the University of Malta, La Valletta.
Stefano Brilli will present a paper titled INCOMMON: commonality and creative networks… more
The INCOMMON: La lotta per il teatro research group will get together in Santarcangelo during the Santarcangelo Festival to hold a workshop on theatrical practice, experience and thinking, with the aim of finding new directions for the route they started out on in Venice: an open moment in the afternoon for people to get… more
Thursday, July 5 Stefano Tomassini and Stefano Brilli will present the ongoing work of INCOMMON at the international conference of the Performance Studies International Association (PSI) in Daegu, South Korea.
Stefano Tomassini will present part of his research on the Orlando Furioso by LucaRonconi and Edoardo Sanguineti in a paper entitled … more
The direction of theatre of the 1970s, as Valentina Valentini writes, characterized New Theatre in Italy with its tendency to expand beyond geographic and disciplinary borders and, at the same time, with its tension towards a common core (body, gesture, movement) to “find shelter in the place of theatre like in the productions of Teatro-Immagine (as… more
On Thursday 17th May Enrico Pitozzi is at the University of Caen Normandie (France) at the international conference Voix transfigurées: troubles, ruptures et travestissements (Transfigured Voices: Vocal disorders, disruptions and impersonations).
The conference “aims to examine the configurations and representations of the modified, alienated or affected sung voice in literature and the arts.”
Enrico… more
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