concept, coreography and direction Silvia Gribaudi
performer Claudia Marsica
outline and lights Leonardo Benetollo
costum Erica Sessa
production Associazione Culturale Zebra, La Corte Ospitale
in collaboration with Armunia Centro di residenze artistiche, Castiglioncello/Festival Inequilibrio, AMAT – Ass. Marchigiana attività teatrali, Teatro delle Moire/Lachesi LAB, Milano, Operaestate/CSC – Bassano del Grappa

R.OSA centers on a challenge: to continuously overcome one's limits. It's a revolution of the body in action, rebelling against gravity and revealing its lightness.

R.OSA draws inspiration from Botero's imagery, the 80s world of Jane Fonda, and the concepts of success and performance. This is a show where the performer is a "one-woman show" who shifts the audience's gaze into a dramaturgy composed of 10 exercises in virtuosity. It's an experience where the spectator is invited to be a voluntary or involuntary protagonist of the artistic action on stage.

The performer in R.OSA is the extraordinary Claudia Marsicano, who explosively unleashes all the lightness, freedom, and willingness to expose her physicality in an emotional performance that can both entertain and provoke thought.

From an original idea by Emmanuel Jouthe
Choreography Chiara Frigo
Dance Well Dancers in definition

National Premiere

A spectator, a performer, an iPod and two pairs of headphones: ÉCOUTE POUR VOIR is an artistic experience that connects people through the sharing of a song.
Connected through dance and movement, performers and audience give life to singular encounters, where each brief exchange turns into an intense dialogue, an interaction that is both unique and intimate.
ÉCOUTE POUR VOIR is a project by Médiation Culturelle of the Danse Carpe Diem company, which originated in Montréal in 2009, and in 2022 won the prestigious Prix à la Collaboration Internationale de Cinars award. After having traversed numerous cities and continents, it arrives for the first time in Italy curated by Chiara Frigo.

scenes from ‘Caduto’ by Emilio Vacca
adaptation of the text Emilio Vacca
with Valerio Pietrovita, Emilio Vacca
production Operaestate, Interno 5
co-production NutArt
support C.re.A.Re Campania/MUD 2023, Operaestate

National Preview
Focus contemporary dramaturgy

Emilio Vacca's dramaturgy takes its cue from the life and works of the artist Alberto Giacometti, and adds further value by presenting it at the Palazzo Sturm Museum in Bassano, which preserves almost all of Dürer's engraving work, from which Giacometti himself took inspiration for one of his most symbolic works: Le Cube.
When he sculpted Le Cube in 1934, it was because he was gripped by melancholy, due to the death of his father. A symbolic moment for Giacometti's evolution, which was followed by ten years of research, of crisis, of an inability to sculpt what he sees, of so-called ‘empty years’. Years characterised by war, dictatorships, the tragedy of everyday life, and which will profoundly influence Giacometti's artistic development. The Empty Years moves from this crisis, which leads Giacometti to seek a new way of sculpting what he sees. Surrealism had led him to look at the world of dreams and imagination, the crisis will lead him to look at reality.

for ensemble
with seven Interludes for narrating voices and instruments
inspired by the short story “Nevi” by Mario Rigoni Stern
music by Giovanni Bonato
narrating voice and playwriting by Guido Barbieri
with the voices byMaria Maddalena Rigoni Stern, Gianni Rigoni Stern, Daniele Zovi, Andrea Nicolussi Golo, Sergio Vellar
Ensemble Musagète Gabriele Dal Santo (director), Massimiliano Tieppo (violin), Matteo Zanatto (violin), Michele Sguotti (viola), Simone Tieppo (cello), Michele Gallo (double bass), Fabio Pupillo (flute), Remo Peronato (oboe), Luigi Marasca (clarinet), Enrico Barchetta (horn), Paolo Guelfi (bassoon)

Sentieri sotto la neve is inspired by the short story by Mario Rigoni Stern, in which he explores eight different ways to convey the concept of snow in the cimbran language, today almost forgotten. Stern regretted the loss and, with it, the culture that was able to catch the most subtle nuances in the complex relationship between man and nature. This research thus delves into those eight 'magical and true' words, by listening to the inhabitants of the Altopiano di Asiago discuss their current relationship with snow. The composer Giovanni Bonato has created eight musical pieces based on those ancient names. These are soundscapes, contemplative, as if we were in the middle of a forest or on a mountaintop. They're punctuated by Guido Barbieri's text and performed by the Ensemble Musagète, exploring a territory of memory balanced between theater, music, and literature.

With the support of