Workshop We like to move it, move it!
Projeto Funicular: Workshop
WE LIKE TO MOVE IT, MOVE IT!
Research and experimentation in Puppetry and Animated Forms
Directed by: Marta Cuscunà and Paola Villani (IT)
18 to 20 February 2019
Monday to Wednesday
An international training project on Puppetry by CAMa - Centro de Artes da Marioneta | A Tarumba
With the support of São Luiz Teatro Municipal
The unique creations by the Italian director, puppeteer and playwright Marta Cuscunà have an original poetics and language, expressed through visual theatre and puppets, with a great emotional force.
Marta Cuscunà presents Il canto della caduta at São Luiz Teatro Municipal, 15 and 16 February, with mechanical crows, manipulated by means of technologies used in animatronics made by Paola Villani. We already could see the performances La semplicità ingannata and Sorry, Boys, that are part of her trilogy on the Female Resistance.
For: Puppeteers, actors, dancers, directors, visual artists, set designers, performing arts students
Number of participants: 10
Workshop schedule: Monday to Wednesday to Sunday from 10.30am to 1pm and 2pm to 4pm
Working language: English
Deadline for applications: 12 February 2019
Atendance confirmation: 13 February 2019
INFO AND REGISTRATIONS
The registration in the workshop (subject to selection) is made by the dully filled application form and by enclosing a short bio and a motivation letter. You can send all the documentation by e-mail to: firstname.lastname@example.org email@example.com
The basic principle of this workshop is to experience manipulation techniques from opposing starting points: from the simplest object to the most complex.
Marta Cuscunà proposes to the participants, from the principles of Joan Baixas (director of the Teatre de la Claca, Barcelona), the manipulation of a simple object: a sheet of paper.
The challenge will be to make the white sheet a functional material for the construction of complex and suggestive images.
Paola Villani, on the other hand, approaches the study of complex systems of mechanical nature, or not, to give life to objects with different characteristics.
Paola's artistic experience, which involves theatre, performance or artistic installations, will allow several reflections on a multidisciplinary approach to the figure of the set designer.
-The participants should bring movement-clothes.
-Drawing material (pencils, pens, eraser, ruler, scissor, X-acto knife) and tape measure.
Marta Cuscunà was born in Monfalcone, a city of factory workers famous for its shipyard, and for the sad legacy of the loss of so many of its residents to asbestos illness. She studied at “Prima del Teatro”: European School for the Art of the Actor.
She performed in “Merma Neverdies”, a performance with puppets by Joan Mirò and “Zoé, Inocencia Criminal”, both directed by Joan Baixas for the Teatre de la Claca Company (Barcelona).
In 2009, she won the “Premio Scenario Ustica” for “E' bello vivere liberi!”, a project of civil theatre for an actress, five puppets and a doll, written, directed and performed by herself.
In 2011, thanks to a scholarship, she participated in "… think only this of me...", a devised collaboration by actors and musicians of the Guildhall School of Music and Drama (London).
In 2012 she realized her second original project “La semplicità ingannata”. In 2013 Marta made for the Gaypride in Vicenza the reading “The beat of Freedom” and then performed Glauce in “La città ha fondamenta sopra un misfatto”, theatral re-writing of “Medea” by Christa Wolf, written and directed by Giuliana Musso. In 2014 she premièred “Wonder Woman”, a reading written and performed with Giuliana Musso and Antonella Questa, starting from the investigative report of Silvia Sacchi and Luisa Pronzato, journalists of Corriere della Sera that explores the theme of the financial feminine independence. In 2015 she premièred “Sorry, Boys”, third original performance of the project on Female resistance. She has been a member of Fies Factory, a project by Centrale Fies, since 2009.
Premio della Critica - ANCT, 2018; Premio Rete Critica, 2017; Finalist Premio Ubu as best actress/perfomer, 2016; Premio Franco Enriquez, 2013; Premio Città Impresa, 2013; Premio Last seen for the best show of the year, 2012; Honorable mention Premio Eleonora Duse, 2012; Finalist Premio Virginia Reiter as best actress under 35, 2011; Finalist Premio Ubu as best actress under 30, 2010; Premio Scenario per Ustica, 2009
Paola Villani is a set designer and has collaborated with several artists, such as Francesca Grilli for the productions of "Ossido Ferrico" - Biennale di Venezia Arti Visive (2013), "The conversation" - MAMbo d'arte contemporanea di Bologna (2011), The forgetting of air - Palais de Tokyo; Antonio Ottomanelli for "Mapping", Istanbul Design Biennale (2012), "Subendo" Sao Paulo Calling (2012); OHT company for "Squares do not normally appear in nature" and "Curon / Graun" with the Hyden orchestra of Trento and Bolzano.
She is technical director of the Festival Internazionale Drodesera di Centrale Fies, since 2015, and of the company of Romeo Castellucci, Societas Raffaello Sanzio, since 2017. She worked with Marta Cuscunà in the shows "Sorry, Boys" (2015) and "Il canto della caduta" ( 2018).
From 2007 to 2014, along with Daniel Blanga Gubbay, he created pathosformel; a theatre company awarded with the UBU prize, mention Premio Scenario and Biennale Giovani Artisti di Bologna. Their shows where presented in venues and festivals all over Europe, such as the London Mime International Festival, the Grec Festival Barcelona, or the Kaaitheatre Brussels, among many others.
Photography: Daniele Borghello, Alessandro Sala/Cesuralab