CuraRegaining trust
Cura – Regaining Trust is a project that has been launched in 2022 by MTM – Manifatture Teatrali Milanesi in cooperation with Fondazione Cariplo.
The calendar of the project includes plays and events that will take place during the seasons 2023/2024 and 2024/2025 here in Milano at MTM Teatro Litta, with the purpose to make this place a reference point for the cultural life of the city of Milano.
The project is based around different productions and plays: “Medea, una strega”, on stage in March 2023, “Baccanti, il regno del dio che danza”, on stage in February 2024, and “Living Room Creatures”, a dance performance on stage in June 2023.
Together with these productions, MTM is hosting in its theatres two theatrical performances, written and directed by emerging international artists, who will be selected during two different public calls.
The first international call is now closed and the first theatrical perfomance has been selected: MTM chose “Increible, Indecent”, a play by Navel Art, a Spanish theatre group based in Madrid. The play will be on stage in September 2023 during HORS Festival.
The second international call will soon be opened: the new theatrical proposal must relate the contemporary debate on the female condition with the legacy of classical thought and theatre, in order to address the issue in its complexity and historical depth. The aim is to look into the role and the condition of the women in the contemporary society through an artistic analysis.
Navel Art.
Navel Art was born in Madrid in 2017 as a space, as a centre for contemporary creation.
Carlos I. Faura and Teresa Ases have co-directed the company’s scenic proposals since its inception, as well as carrying out their work as cultural managers and promoters of the cultural sector.
They prefer proposals that show the hybrid between plastic and textual work; in fact their productions are very close to live arts, but without detaching themselves from narrative and scenic theatrical formats.
Under the direction of Teresa Ases and the plastic gaze of Carlos I.Faura, the NAVEL company defines itself as a team of artist-creators who always try to never detach themselves from the creative process itself to become a definitive product.
Navel’s line of work is based on a contemporary investigation that aims to analyse essential issues such as the power of language, the parallelism of the universal classics in the contemporary era and a reflection on the relevance of the classic and of reality.
Website: https://www.navelart.es/
The play: Incredible Indecent
Following the first international call opened in 2023, Manifatture Teatrali Milanesi chose the show proposed by Navel Art. In September 2023, on the occasion of HORS (the emerging contemporary drama festival), Manifatture Teatrali Milanesi hosted the Spanish company, which staged the show “Incredibile, Indecente” inspired by Wedekind’s “Spring Awakening”, directed by Teresa Ases.
The show was the result of a creative theatre workshop that invites reflection on the themes of adolescence and stimulates an intergenerational dialogue, to support and bring to light the emotions and thoughts of the new generations.
To carry out this project, 10 young people between 14 and 18-years-old have been selected, all students of Manifatture Teatrali Milanesi schools.
Baccanti – il regno del dio che danza
From Euripide
Curated by Filippo Renda
With Maria Canal, Gaia Carmagnani, Silvia Guerrieri, Filippo Renda, Sarah Short, Alice Spisa – dj performer Sofia Tieri
Technical direction Fulvio Melli
Production Elisa Mondadori
National debut
Teatro Litta – from February 27th to March 24th, 2024
A production by Manifatture Teatrali Milanesi, a part of the project Cura – Rigenerare la fiducia with the contribution of Fondazione Cariplo
Baccanti, il regno del dio che danza is strictly related to the previous production Medea, una strega; the aim is to analyse deeper the deconstruction of the theatrical representation, preferring the ritual demonstrations. For this reason the traditional theatrical space will be dismantled, with a change in terms of perspective and public use. The source is the most suitable one for this specific kind of work, because it represents the juxtaposition between civil order and ritual euphoria, underlining the conflict between Dionysus and Apollo, which represents the conflict between master and servant. The estrangement from the form, created by direction and dramaturgy, is not meant to be a mere exercise, but it is meant to build a countercultural political action.
Medea, una strega
From Euripide
With Salvatore Aronica, Gaia Carmagnani, Filippo Renda, Sarah Short, Alice Spisa
Directed by Filippo Renda
Costumes and scenes Eleonora Rossi
Technical direction, lights and sound Fulvio Melli
Director’s assitant Gaia Barili, Gloria Ghezzi
Production director Elisa Mondadori
Costumes realized during by Accademia Teatro alla Scala
Production Manifatture Teatrali Milanesi, part of Progetto Cura – Rigenerare la fiducia realized with the contribution of Fondazione Cariplo
Synopsis
Medea, una strega is a journey through the Mystery; not the one that animates the text of Euripides, who first makes the woman of Colchis perform the extreme gesture of killing her own son, but the more archaic and truly impenetrable one of the myth of the Golden Fleece, a myth born on the edge of the foundation of the society of the fathers, and which is still imbued with abilities and tendencies that we first learned to disregard and then to erase, replacing with the balance and reason that served as the foyer to Western thought. The path that will lead to the staging of this work consists in this, in the effort to recover artistic codes that do not mediate messages through forms and which therefore do not tend to the temptation of perfection; and rather that they are expressed to celebrate the desire to create links between those on the scene and those who watch outside that magic square.
To fuel this effort we gradually eliminate (aware of not being able to eliminate them completely) all the elements that contribute to formalization, aiming for a word that springs spontaneously and that denudes whoever pronounces it.
Heinrich Seuse wrote:
One thing must be clear. It is as dissimilar to one hearing the sweet sound of a stringed instrument as compared with one merely hearing about it, and words received in a state of grace and emanating from a living heart through living lips as compared to the same words recorded on a dead parchment… for they grow cold, and pale like withered roses. For the lovely melody that touches the heart vanishes.
Filippo Renda
Living room creatures
Directed by Susanna Baccari
Performance Analyst Antonio Syxty
With Ivana Petito, Bruna Serina De Almeida, Anna Leidi, Alessandro Pozza, Chiara Ribolzi, Nora Ruberti
Costumes Francesca Biffi
Technical staff Luna Mariotti
Production management Elisa Mondadori
Poetry by Alessio Rocco
Production of Manifatture Teatrali Milanesi, as part of the Cura Project – Rigenerare la fiducia carried out with the contribution of the Cariplo Foundation
Part I
Like butterflies underground
Project and choreography Susanna Baccari
Part II
Like flowers in a storm
Project and choreography by Susanna Baccari and Ivana Petito
It is difficult to reach out and understand one’s identity and adhere to what it feels like to be deep inside. We often hide, disguise ourselves and transform our image. Even knowing that, just one step away from falling, we will find again the strength to cling to ourselves. A work of physical theatre where the body, at the centre of the scene, restores meaning to our journey.
“It would seem that the night would have to get even thicker for some stars to be seen”
(C.Bobin)
Per informazioni scrivere a progettocura@mtmteatro.it