November 30, 2021

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The body, the words, the things. Theater Workshop at Gioconda Space of Galatina :: Galatina

To play, we have to relearn how to do it. And at Spazio Gioconda, in Galatina, at the beginning of the road to Duca, we try to train ourselves to do this, whether by changing body weight, realigning posture, swinging batons, dancing, or climbing, jumping and walking in balance on a string . In the coming weeks, a new game proposal will begin, theatrical laboratory, entrusted by Fabrizio Pugliese and Fabrizio Saccomano to the Ora Teatro Company. The city is celebrating the opening of its historic theater, the Cavallino Bianco, and this workshop is also a way to celebrate the return to the stage, in front of the theater but also on stage. “Perhaps to clarify what is done in the theater workshop, it is better to say what theater is for us – they tell us – well, we will say that theater in the reality of the present moment, in the absolute sense of conviction can appear only when the union binds the performer and the audience. If we start from an empty space. , naked stage, this figurative act can be turned into a mirror of our time, so Hamlet will always have the opportunity to ask himself whether he exists or not. ” Thus the game is a valuable training in existence: “Theater exists or does not exist only in terms of the tensions it can create, as well as dramaturgy, which we understand not only as a set of spoken words, but also as the construction of narrative and emotional dynamics. We are hungry. for stories, but we can’t always say the same without never changing the tone.” The workshop is about to start and those who wish to join this weekly meeting can contact Spazio Gioconda at 3202481937 or Compagnia URA Teatro at 3395064559 or visit their social pages.

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Cultural Association URA teatro It was born as a natural continuation of the artistic partnership between Fabrizio Saccomano and Fabrizio Pugliese and from their desire to deepen this artistic path that began many years ago. In the URA, they immediately find two performances of “The House”, “Gramsci, Antonio called Nino”, by Sacumano, and “Per Obdenza, with the magic of Giuseppe frites” by Pugliese, born in this context of narrative that makes memory its poetic center. Thus two atypical characters, each in their own way, Gramsci and San Giuseppe da Cupertino, begin the project of the URA Theater: when the search for memory relates to the story of everyday life, to the problems of the present and the hopes for the future. , it becomes a contemporary act of creativity rather than a futile cult of the past to be perfect. URA is a loanword from neighboring Albania. It means bridge.