LA SCELTA
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Synopsis and credits
In LA SCELTA (THE CHOICE), the audience takes the place of the artistic direction of the theatre to face the difficult task of making a choice.
The audience is divided in three different halls, where each group will watch different trailers, reproduce a series of debates, and finally choose a show.
Once the three groups are reunited in the theatre hall, in the second part of LA SCELTA, new theatrical instruments allow the audience to choose the winning show, which will be part of the theatre season in the following year.
In LA SCELTA, the audience is asked to experiment with the work mechanisms of an artistic direction: they have to view, discuss, and make the final choice. It is an authentic challenge that fully involves the audience, a fiction that shapes the reality of their city.
For six months, Roger Bernat was a spectator of several artistic directions involving the audience of the ‘Risonanze’ network. It led to the creation of a device that reproduces, testifies to, and plays with this experience, offering a new approach to cultural programming in which people have a voice.
a project by Roger Bernat
with dramaturgy by Roberto Fratini and Marie-Klara González
with Francesca Albanese, Silvia Baldini, Josephine Magliozzi and Laura Valli
Programming and technical direction by Stefano Colonna and Txalo Toloza
Graphic designs by Marie-Klara González
Creative transcription of the tour recordings under the participatory artistic directions by Elena Bernardi e Pina Rocco
With the collaboration and artwork of Catalina (Iniciativa Sexual Femenina), Les Vedettes (Marta Galán), Grandissima Illusione (Cris Blanco), The Watching Machine (Macarena Recuerda), Aquelles que no han de morir (Las Huecas), Figures (Germana Civera), It don’t worry me (Atresbandes + Bertrand Lesca & Nasi Voutsas), Los figurantes (Ça Marche) e Tierras del Sud (Azkona/Toloza)
Also involving Agnès Mateus e Quim Tarrida, Agrupación Señor Serrano, Alessandra García, Animal Religion, Baró d’Evel, Brodas Bros, Cabosanroque, Col·lectiu VVAA, David Espinosa, El Conde de Torrefiel, Joan Català, Jordi Oriol, Juana Dolores, Malpelo, Marcel·lí Antúnez, La Veronal, Nao Albet e Marcel Borràs, Núria Guiu, Nyam-nyam, Pere Faura, Quim Bigas, Societat Doctor Alonso e Soren Evinson
Produced and curated by Qui e Ora coproduced with Capotrave – Infinito e Kilowatt Festival
With the support of Risonanze Network and MIC
Thanks to Stronger Peripheries
photos by Giacomo De Angelis and Davide Forte – Dominio Pubblico || Luca Del Pia – Kilowatt Festival
What they say about us #
Andrea Pocosgnich – Teatro e Critica – Giugno 2023, Roma, Teatro India Dominio Pubblico
However, this initiative was inspired by another important event in the emerging landscape of participatory cultural performances: the Up To You Festival, a showcase organized by Qui e Ora in Bergamo, dedicated to the under 35s. Francesca Albanese, Silvia Baldini, and Laura Valli of Qui e Ora residenza teatrale met with Catalan director Roger Bernat, sharing the story of their festival (Up To You), which triggered the idea of creating a piece that would explore the selection process behind participatory festivals. […]
The aim is to challenge vertical models and to experience democracy (as one participant in the collective direction of the Bergamo festival stated during a meeting the day before). […]
Everything unfolds naturally, without the need for force or pressure. This is also because the people are not linked in a theatrical way but are simply gathered, so speaking through someone else becomes a way of understanding certain mechanisms, as if it were a documentary experienced firsthand.[…]
And that’s the crucial part: speaking in a society that is not virtual, but made of bodies. Defending a show and explaining why we liked it, is an action that shows our passions and weaknesses; it ultimately shows others where we stand, in terms of our artistic, political, and social perspectives.
To read the full article click here
Elena Scolari, Paneacquaculture.net, settembre 2023, Milano. Spazio Magnete
The real discussion takes place when everything has finished, outside the venue, when les jeux son faits.
Vincenzo Sardelli, Krapp’s last post, settembre 2023, Milano, Spazio Magnete
The right to decide (in Latin caedere means “cut”) always results in a loss. And we understand, through the words of others, that each choice is debatable, an abuse, an insult, and also an opportunity. That democracy is the fairest of systems but also the oppression of a majority.
☆Upcoming dates
Further dates will be scheduled
♥ Info
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Videos and photos
circuiting
Cassano d’Adda (MI) |
7.December.2024
Terrassa (ES) | Teatre Principal
29.November.2024
Cassano Valcuvia (VA) | Teatro Periferico
16.November.2024
Alacant (ES) |
9.November.2024
Udine | Teatro Palamostre – Sala Pasolini, Sala Carmelo Bene, Sala Stampa
26.October.2024
Potenza | Galleria Civica
10.October.2024
Palermo (PA) | Spazio Franco
25.September.2024
Cuneo (CN) | Rondò dei Talenti
31.August.2024
Catania | Zo Centro Culture Contemporanee
9.May.2024
Matera | Fondazione Le Monacelle
20.April.2024
La Spezia | Il D!alma cantiere – creativo urbano
6.April.2024
Girona | Temporada Alta – Sala La Planeta
17.November.2023
El Prat de Llobregat | Teatre L’Artesà – Sala Petita
16.November.2023
Milano | Zona K c/o Magnete
23.September.2023
Milano | Zona K c/o Magnete
22.September.2023
Aosta (AO) | Parking de la Ville
21.July.2023
Sansepolcro (AR) | Chiostro di Santa Chiara
11.July.2023
Roma | Teatro India – Sala B
30.June.2023