mercredi 7 octobre 2015
vendredi 11 septembre 2015
ASSENZA - Euridice e Orfeo - Valeria Parrella, Davide Iodice - Teatro Bellini - Foto
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| Raffaella Gardon, Federica Fracassi, Davide Compagnone - foto: Salvatore Pastore |
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| Davide Compagnone, Michele Riondino - foto: Salvatore Pastore |
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| Raffaella Gardon, Federica Fracassi, Davide Compagnone, Michele Riondino, Guido Sodo - foto: Salvatore Pastore |
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| Raffaella Gardon, Federica Fracassi - foto: Salvatore Pastore |
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| Federica Fracassi, Michele Riondino - foto: Salvatore Pastore |
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| Federica Fracassi, Michele Riondino, Raffaella Gardon - foto: Salvatore Pastore |
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| Raffaella Gardon, Michele Riondino, Guido Sodo - foto: Salvatore Pastore |
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| Raffaella Gardon, Michele Riondino - foto: Salvatore Pastore |
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| Davide Iodice, Davide Compagnone, Tiziano Fario, Valeria Parrella, Federica Fracassi, Raffaella Gardon, Michele Riondino, Guido Sodo - foto: Salvatore Pastore |
lundi 10 août 2015
PROGRESSION c'est ce samedi !
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| © mathieu merlet-briand, 2015 |
Et n'oubliez pas que vous pouvez nous soutenir en allant ici :
http://fr.ulule.com/progression/
Merci !
lundi 27 juillet 2015
vendredi 24 juillet 2015
PROGRESSION - work in progress
Progression
Collaboration artistique de Gaëtan Brun-Picard et Mathieu Merlet-Briand / création in-situ pour « la ferme du Bonheur »
La marche, acte de pénétration au monde, premier déplacement, première danse.
La marche, mouvement initiateur, début du progrès.
La marche, succession de déséquilibres d’un corps cherchant à rattraper sa chute.
Dans une réalité confuse par son environnement numérique.La marche, mouvement initiateur, début du progrès.
La marche, succession de déséquilibres d’un corps cherchant à rattraper sa chute.
L’homme décidé avance, accélère, prend le rythme.
Au croisement des contraires, un processus est en cours.
Une nouvelle réalité est en marche, une matérialité numérique.
Mathieu Merlet-Briand
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| © mathieu merlet-briand, 2015 |
Le 15 août à 21h à la Ferme du Bonheur - Nanterre
PROGRESSION est issu d’une réflexion sur la perception de notre environnement numérique. Au travers d'une étude autour de la marche pensée comme premier acte et premier mouvement, un paysage en interférence entre réel et virtuel se compose. Dans ce milieu, l’homme marche, avance en prise avec les perspectives d’un progrès en constante expansion. À la croisée de deux espaces, entre naturel et digital, une autre réalité se compose, ambivalente, une matérialité numérique.
Nous serions ravis de vous accueillir lors de cet évènement :)
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| © mathieu merlet-briand, 2015 |
Mathieu Merlet-Briand
numericaltexture.tumblr.co
Gaëtan Brun-Picard
collectifwork.com
Danseurs
Inés Hernández
Raffaella Gardon
Tatanka Gombaud
Mai Ishiwata
Design Sonore
Yes Soeur
Scénographie
Lucie Calise
Assistant photo et video
Kiana Hubert Low
Thomas Vauthier
Assistant communication
Pauline Cormault
Juliette Ouvry
Charlotte Heninger
Ingénieur
Thierry Briand
Projet conçu et développé au sein d’EnsadLab
Projet soutenu par :
La Ferme du Bonheur
En accueil studio au Point FMR
lundi 22 juin 2015
Euridice e Orfeo di Valeria Parrella, regia Davide Iodice su Memo Teatro L'agenda Culturale - replay del giovedi 18 giugno
Memo Teatro L'agenda Culturale ancora disponibile per qualche giorno per chi vuole avere un'idea dello spettacolo prima di venirci avederci in scena il
martedi 23 e mercoledi 24 giugno, ore 21.30 al Teatro Bellini
martedi 23 e mercoledi 24 giugno, ore 21.30 al Teatro Bellini
mercredi 17 juin 2015
Last week before the opening !
Lost between strings and trees...
EURIDICE E ORFEO
BY VALERIA PARRELLA
WITH MICHELE RIONDINO, FEDERICA FRACASSI, DAVIDE COMPAGNONE, RAFFAELLA GARDON
LIVE MUSIC GUIDO SODO, RAFFAELLA GARDON
SET AND COSTUME DESIGN TIZIANO FARIO
ORIGINAL MUSIC GUIDO SODO
DIRECTED BY DAVIDE IODICE
PRODUCTION FONDAZIONE TEATRO DI NAPOLI
DATES 23, 24 JUNE (H. 21.30)
VENUE TEATRO BELLINI
RUNNING TIME 1H 30MIN
LANGUAGE ITALIAN
Valeria Parrella has elaborated the myth of Orpheus and Eurydice with a contemporary key; a new production to be directed by Davide Iodice. In her notes, the author writes: «Gluck, Anouilh, Cocteau, but also Bufalino, and Pavese: each of these authors has given a different explanation why Orpheus turned to look at Eurydice when leaving the underworld. Rilke’s words on this theme, perhaps inspired by a bas-relief here in Naples in the archaeological Museum, are also moving. Respexit is the verb traditionally used (by Virgil in Eclogues and Ovid in The Metamorphoses), a verb that has no equivalent in Italian as it means “to turn around”, but also embodies the root “respectum”, pertaining to respect. Thus, I also give my respect to this gesture, just like that bas-relief in which Hermes appears together with Eurydice and Orpheus. I wrote a novel which then became theatrical text. A story which is not real, but more oriented towards the philosophy and psychology of loss, and coming to terms with death. This text has three voices, but many other view-points».
http://www.napoliteatrofestival.it/2015-edition/euridice-e-orfeo-en/
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| photo : Raffaella Gardon |
EURIDICE E ORFEO
BY VALERIA PARRELLA
WITH MICHELE RIONDINO, FEDERICA FRACASSI, DAVIDE COMPAGNONE, RAFFAELLA GARDON
LIVE MUSIC GUIDO SODO, RAFFAELLA GARDON
SET AND COSTUME DESIGN TIZIANO FARIO
ORIGINAL MUSIC GUIDO SODO
DIRECTED BY DAVIDE IODICE
PRODUCTION FONDAZIONE TEATRO DI NAPOLI
DATES 23, 24 JUNE (H. 21.30)
VENUE TEATRO BELLINI
RUNNING TIME 1H 30MIN
LANGUAGE ITALIAN
Valeria Parrella has elaborated the myth of Orpheus and Eurydice with a contemporary key; a new production to be directed by Davide Iodice. In her notes, the author writes: «Gluck, Anouilh, Cocteau, but also Bufalino, and Pavese: each of these authors has given a different explanation why Orpheus turned to look at Eurydice when leaving the underworld. Rilke’s words on this theme, perhaps inspired by a bas-relief here in Naples in the archaeological Museum, are also moving. Respexit is the verb traditionally used (by Virgil in Eclogues and Ovid in The Metamorphoses), a verb that has no equivalent in Italian as it means “to turn around”, but also embodies the root “respectum”, pertaining to respect. Thus, I also give my respect to this gesture, just like that bas-relief in which Hermes appears together with Eurydice and Orpheus. I wrote a novel which then became theatrical text. A story which is not real, but more oriented towards the philosophy and psychology of loss, and coming to terms with death. This text has three voices, but many other view-points».
http://www.napoliteatrofestival.it/2015-edition/euridice-e-orfeo-en/
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