New formats of the contemporary scene
19 sept. > 28 oct.
Organized by Teatro di Sardegna
Prototipi is centered on the experimentation of new formats, which takes concrete form in the choice of spaces where not only to situate, but to model artistic processes. The choice of the word prototypes (from the Greek pràtos and typos, first and model respectively} comes from the desire to open an unprecedented space of creation that you have in common the worlds of ICT, technology and performing arts.
In fact, in the technological world, prototypes are produced to test and verify their performance. The prototypes produced in this contest will be the manifestation of the points of contact between the performing arts and technologies: the artistic process can in fact be continuously tested and tested with open tests that allow not only a continuous testing procedure, - to contribute to the development of the work, which can always be improved - but also to put into practice a direct involvement of the public and encourage the formation of a critical, proactive and expert gaze.
The need to carry out a clear act of democratization of the performing arts is aimed at the definition of a project that puts interactivity at the center: the work is presented to the public not closed in a finiteness, but susceptible to change and able to find a form only in public interaction.
The viewer is emancipated when - the philosopher Jacques Ranciere tells us, in the work of the same name- is capable of going beyond the convention of uncritical passivity to which a certain theatrical tradition nails him, to understand instead that the evidences that structure the relationships between saying, seeing and tare belong in turn to the structure of domination and subjection.
The spectator is emancipated when he understands that the act of looking is also an action capable of confirming or transforming this distribution of positions, like the pupil or the scholar. He observes, selects, compares, interprets and connects what he sees to a myriad of things he has seen or imagined elsewhere. The spectator participates in the performance by remodeling it in her own way and the hybrid formats, which allow new uses and perceptions, open to the immediacy of this awareness.
With IN SITU artists
|> 600 HIGHWAYMEN (USA)||with 'A Thousand Ways: An Assembly'|
|> Kaleider (UK)||with 'The Money'|