THE ESCAPE.

1 July at 21.30

2 July at 18.00

by and with Eden Wiseman

co-author and composer Ori Dvir

developed at La MaMa Umbria International 2016 "Next Generations"

When I get stuck, I open my closet and wear my "Killer Dress."

When silence frightens us, when we get down and feel that the meaning of what we do is useless, meaningless and irrelevant. There is no material reward, what we do is almost impossible. We have the body, we have movement, we have colors and images, and we have ways to cover our opposite, but why? The situation is so chaotic that we feel the need to speak out, unfiltered, without hiding. Is this my duty? As an artist, as a woman, as a creature, I feel trapped, I feel like I am in an endless cycle, everything repeats, it is inevitable! As if we are sleepless, trapped by the events that keep to chasing us relentlessly (the same mistakes, the same failures, the same routine, the same choices, the same fears, the same emotional and physical pain). This repetition makes us feel mechanical, as if we are mere machines that have been programmed to repeat the same routine over and over again. This is followed by the fascinating moment I focus on, the moment of violation and escape, when only extreme actions can enable us to escape from the chains of despair, helplessness and anguish that bind us. The main question is how does this recurrence transpire? Is it external to us or does it lie deep within our inner consciousness? How do we perceive it and how and when can we break the cycle? Does the attempt to change require the use of violence and provocation, or is it compassion, acceptance and patience that is needed? Can it simply be a powerful passion that is formless and impossible from to imitate?

LIBERTÉ TOUJOURS

1 July at 21.30

2 July at 18.00

by and with** Jadd Tank **

project** Focus Young Arab Choreographers** / Italy 2017

What is freedom and why do we need it? from who do we need to enfranchise? The pursuit is continuous, like trying to reach a carrot attached to a stick. Our small victories are celebrated. Flags and statues are erected. But the cycle never ends. Liberté Toujours is a perpetual, feverish pursuit of freedom.

RESULT OF RESIDENCY

2 July at 22.00

by Jadd Tank and Eden Weismann

Presentation of the new choreographic work prepared in residence to La Mama Umbria.

GLOBAL PLAYERS 2017

5 July at 21.30

Seoul Institute of the Arts is one of the leading and most prestigious art conservatories in Asia, a forerunner in the globalization of Korean art and the creation of new art forms. A production created from a group of students selected through the Global players program will be presented. At the beginning of the semester, students were invited to to submit a proposal for a nonverbal performance, combining Korean aesthetics with live music, use of media and interactivity. The task will be to experiment with new forms and content for contemporary theater and propose an interdisciplinary performance that can engage audiences regardless of language and cultural background.

THE BOOK OF THEL

July 7 at 6 p.m. and 10 p.m.

by William Blake

a'opera opera by Rolando Macrini - Primo Studio

from an idea of Peter Case

music director Claudio Scarabottini

comics by Jacopo Maran

production **La MaMa Ubria International **and La MaMa Experimental Theatre Club NY

The Book of Thel is a poem by William Blake dated 1789 illustrated with engravings and drawings made by Blake himself, relatively short and easy to understand compared to his later prophetic works. William Blake, poet, engraver, painter (London 1757 - there 1827) a rebellious and visionary spirit, considered the verbal and visual mediums to be unique expressions of his prophetic genius.

Mne Seraphim's daughters are all shepherdesses in the Valley of Har, except for the youngest, Thel, who spends her time wandering from alone, tormented from by a question: why must the springtime of life come to an end, and with it all things? She meets the Lily of the Valley who tries to comfort her, but in vain, and therefore encourages her to ask the Cloud. The Cloud explains that he is part of a natural process and although he sometimes disappears, it is never forever. Thel replies that she is not like the Cloud, and when he disappears, he will never return. So the Cloud suggests asking the Worm the same question. The Worm however, is still an infant, and cannot answer; instead, the Clay Sod responds by explaining that we do not live for ourselves, but for others and invites Thel to enter her underground realm to see the prison of the dead in which she herself will one day rest. However, the protagonist is assailed from mysterious voices that pose even more terrible questions about existence; letting out a cry, Thel turns back to her home in the Valley of Har. The quarry represents sexuality and mortality, while the Valley of Har represents virginity and eternity.

PRELUDES

Duck Death Tulip

The Dancing Goat Pappet Theatre

July 8 at 6 p.m. and 10 p.m.

loosely based on the book The Duck, Death and the Tulip by **Wolf Herlbruch **.

adaptation Damiano Privitera and **Laura Bartolomei **

puppets, sets and costumes **Laura Bartolomei **

music Slawek Kwi & Slobhàn Mcdonald, Shostakovich, Stefano Trevisi, Saule, Gavin Boyars, Kronos Quartet, Twine Recorder

direction, video and music selection Damiano Privitera

with Laura Bartolomei

project developed thanks to the residency of **La MaMa Umbria International **(Spoleto, Italy), Can Pink Y Boogie Residency (Mataro, Spain), **Teatro del Lavoro **(Pinerolo, Italy)

For mixed audiences and children ages 8 and up

Duck realizes that she is being followed from a character, and when she discovers that it is Death she becomes frightened. Death reassures her by explaining that she is close to her from when she was born, and that there is from no need to worry, it is normal for her to be present, she is life itself. Time passes and Duck becomes accustomed to her presence and slowly they grow closer and care for each other, until her last breath. The scene is a room without walls, a bare bed and an aquarium. On stage are a sick woman, a puppet Duck, the mask of Death. By impersonating Death and telling the story of the Duck, the sick woman can finally accept her announced death.

M2

July 9 at 4 p.m./6 p.m./9:30 p.m.

participatory performance

conception and realization Dynamis

The performance questions, through a game with volunteer spectators, the use of the unit of measurement square meter. What is the boundary between human and inhuman in the declinations of our everyday life?

Starting from some cases of shipwreck in the Mediterranean Sea, the performance is built around a proportion between surface area and people involved. The stage sequences, developed like the rules of a game, invite people to inhabit the space.

The participatory performance _M2 _ pragmatically questions the unit of measure from from which it takes its name, the square meter, ultimately revealing the possible nuances, bordering between human and inhuman, that it takes on a daily basis. The audience is the very essence of the performance, the matrix of the action that is orchestrated, through simple instructions conveyed from a hostess and from a steward, in a collaborative game between strangers.

Starting from estimates deduced from real cases taken as examples the performance is developed around a scaled proportion, between circumscribed area and people involved.

The June 2015 annual report of the United Nations High Commissioner for Refugees (Acnur) attests that in the past year some 60 million people have been forced to migration to escape to war scenarios. Ten years ago there were 22 million fewer migrants. Of these, about 38.2 million are internally displaced persons, that is, people who flee their homes but remain within their nation's borders. One million 800,000 are asylum seekers, those applying for refugee status; nearly 20 million are refugees in the narrow sense (including the 5 million Palestinians).

ASK WHO WAS FRANCESCO

July 10 and 11 at 9:30 p.m.

a performance by Andrea Adriatico

dramaturgy Grazia Verasani

with Olga Durano, Francesca Mazza, Gianluca Enria, Leonardo Bianconi

sets and costumes Andrea Barberini

scenotechnical care Francesco Bonati, Michele Casale, Carlo Del Grosso, Giovanni Magaglio, Giovanni Santecchia, Carlo Strata

organizational curation Saverio Peschechera, Alberto Sarti

thanks to Stefano Casi, Franca Menneas, Beppe Ramina, Enrico Scuro

production** Theatres of Life**

with the support of the Municipality of Bologna, Emilia-Romagna Region, Ministry of Cultural Heritage and Activities and Tourism

we thank the presence of Teatri di Vita to Spoleto, as they are sensitive and close to the problems of the earthquake population

Francis the student, Francis the militant, Francis the victim, Francis the hero, Francis the name on a tombstone.

On March 11, 1977-exactly forty years ago-Francesco Lorusso, a student and Lotta Continua militant, was killed to Bologna during a demonstration from a gunshot from fire. A shot fired from a carabiniere, who was later acquitted.

It was the tragic climax of the season of the '77 Movement and the beginning of a guerrilla warfare that put to Bologna to the sword.

to Francesco Lorusso, to the questioning of his memory is dedicated the new show directed from Andrea Adriatico.

There is the need to go beyond the words on the plaque on Via Mascarella, the need to remember and understand from today's perspective a traumatic event for the city and for Italy, the need to open a confrontation with the complex and contradictory season of the '77 Movement, the need to tell the story of a young man who to 25 years old, with his death, became despite himself the icon of an era.

UNTITLED FOR A STRANGER

July 12 and 13 at 6 p.m. and 10 p.m.

nanou group company

choreography Marco Valerio Amico, Rhuena Bracci

with Sissj Bassani, Rhuena Bracci, Marco Maretti

sound Roberto Rettura

assistant choreographers Marta Bellu, Rachele Monti

product from E/ nanou group

co-produced from L'Arboreto Teatro Dimora di Mondaino, Cie Twain

with the support of La MaMa Umbria International, Cantieri

with the contribution of MIBACT, Emilia-Romagna Region Department of Culture

Untitled for a stranger is a body work that triggers a (molecular) disorientation of space. Without a state of loss of the body, without the bewilderment given as an assumption, the trigger is not possible. The body deals with space by keeping it perpetually in motion, a deterritorialized motion.

The relationship between bodies is by "gravitational waves": the body takes on the space in place to grasp and return it. A continuous transitive/centrifugal action that collects the existing and puts it back into circulation outside from itself. Then the body finds no more stops, defines "point" as "spiral," the suspension of the body is a reduction of the volume of action, lines are vibratory oscillations, time becomes circular, the necessity of beginning and end is lost.

THE CARE.

14, 15 July at 21.30

16 July at 18.00

written and directed from GherardoVitali Rosati

with Elena Arvigo, Alberto Giusta, Dalila Reas, Luca Tanganelli

illustrations Federica Rugnone

animations Arianna Bellucci

costumes Phaedra Giuliani

original music** Tommaso Tarani**

engraved from** Tommaso Tarani (piano) and Mathilde Ecoiffier (oboe)**

lighting design** Andrea Narese**

rigging technician** Brando Nencini**

production The Women's Theater National Center for Dramaturgy

in collaboration with San Miniato Popular Drama Institute Foundation

the play was premiered for the San Miniato Popular Drama Institute Foundation in the summer of 2017 at the LXXI Theatre Festival. San Miniato, Festival of Popular Drama, June 26-27, 2017

For Laura, work is a mission. Employed from a lifetime in a pharmaceutical company, she believes in the power of science: her total dedication to the company stems not from personal self-centered ambitions, but from the dream of accomplishing something worthwhile. In this whirlwind she lost from long years a husband, and let her two children - Mathieu and Chiara, almost 30 - slip quietly to Paris, under the guise of study. But when her team finally discovers a revolutionary drug, she is diagnosed with cancer. She will thus begin a journey between hospitals, examinations, surgeons and oncologists that will have her wandering between various cities, moving her further and further away from her duties. But in the meantime, her children will reappear in her life, taking turns to help her, and in a waiting room she will also meet Marco, an orchestral player from Turin suffering from the same disease as her. In terms of modes of expression and themes addressed, La Cura stands as the second chapter of Fumo Blu, the previous work by Gherardo Vitali Rosati, produced by Teatro Metastasio and presented at the 58th Spoleto Festival, which focused on the daily difficulties of a young couple grappling with fascinating but low-paying jobs that took time and energy away from family life. If the first text quoted a hit by Mina in its title, here it draws on to a famous piece by Battiato. For the staging, the show makes use of projections by Stefano Fake, one of Italy's best-known video-makers, who create a real digital set design, capable of recreating real and imaginary spaces.

PURE GOLD

Show

July 1 to 16

from at 16.00 to at 22.30

Paolo Liberati 's exhibition to curated by Lorenzo Mango and **Moreno Cerquetelli **.

dedicated to militant critic Beppe Bartolucci and to La Mama of N.Y. Ellen Stewart

It is a recapitulation of my best works inspired by the magical realism of Art and Poetry Theater as behavior translated into paintings and drawings with my company Tradimenti Incidentali Imaginalis Teatro ( TIIT ) of the post-avant-garde third and fourth generation directed by the militant critic and poet Giuseppe Bartolucci from 1975-1996 and spread in International Festivals, Donations, Exhibitions and Videos such as The Mama of the Avant-Garde Ellen Stewart between Spoleto and N.Y. made with Moreno Cerquetelli.

_Paolo Liberati