4 Days - 2 Hours per Day
19-22 September 2020 Everday at 10.00 – 12.00 (UTC + 2)
Italian, English, French
We live with contradictions rather than certainties, making them explicit and dealing with them in a group can be of great help.
For example, in this historical moment we ask ourselves many questions about theater as a social practice and as a profession, about the relationship between autobiography and public expression, about the new encounter between words, dance and song, about the effectiveness of solos and shows with many actors, about the serious and at the same time “funny” relationship with the spectators, about the practice of theater as a ritual and as a game, always an experience of knowledge and comparison with the world.
Each of us tackles these issues according to our own cultural coordinates and it cannot be otherwise. However, from time to time it may be useful to contact a different and distant interlocutor. In this case I propose to turn to an ancient Greek, Professor Aristotle, and to do it collectively, because it seems to me that a new reading of some of his texts can really help us to find the new-ancient path of theater. After having talked about it together, each of us could then continue the work, at will, translating into their own experience the reflections of and on the old master.
Antonio Attisani will speak in Italian, while all participants will also be able to express themselves in English, French and Spanish.
The sessions could also include the presence of some guests (to be defined).
Antonio Attisani (1948) began his theatrical career as an actor in 1968, first at the Piccolo Teatro in Milan, then at the Teatro del Sole and in the Rocca Group. From 1975 to 1981 he directed the magazine “Scena” and in the following years he worked as a theatrical critic and director, on two occasions, of the Santarcangelo Festival. From 1992 he was professor of Culture of the theater at the universities of Venice Ca ‘Foscari and of Turin, until 2018. Among his publications there are two monographs on the theater of Tibet, several titles dedicated to contemporary theater (above all Théâtre du Radeau, Grotowski , Workcenter of Jerzy Grotowski and Thomas Richards) and finally to the Yiddish theater.
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