TRICKSTER-P
- Accessibilità: Si
- Sottotitolo: The Game
- Summary: Trickster-p torna ad approfondire la sua ricerca sul gioco come possibile forma artistica.
- Data evento: 2024-08-22
- Dove: Spazio Corona
- Prezzo: € 8
- Orario: 17.45
- Tipologia: Teatro
Creation Trickster-p
Concept and realization Cristina Galbiati & Ilija Luginbühl
Artistic collaboration Maria Da Silva, Yves Regenass
Associated game designer Pietro Polsinelli
Sound space Zeno Gabaglio
External eye Martina Mutzner
Graphic design, video and design consultants Studio CCRZ
Photos and trailer Giulia Lenzi
Production Trickster-p, LAC Lugano Arte e Cultura
Co-production Theater Chur, Theater Casino Zug, Theater Stadelhofen Zürich, ROXY Birsfelden, TAK Theater Liechtenstein, Triennale Milano Teatro
In collaboration with Casa degli Artisti Milano
Supported by Pro Helvetia – Swiss Arts Council, DECS Repubblica e Cantone Ticino – Fondo Swisslos, Città di Lugano, Comune di Novazzano, SWISSLOS/Kulturförderung Kanton Graubünden, Amt für Kultur Kanton Zug, Stadt Zug, Göhner Stiftung, Migros Kulturprozent,
Landis & Gyr Stiftung, GKB BEITRAGSFONDS, Boner Stiftung für Kunst und Kultur, Stiftung Dr. Valentin Malamoud, Fondazione Agnese e Agostino Maletti, Stiftung Casty-Buchman – Chur/Masans, Fondazione Winterhalter
After the positive feedback received by the Eutopia project, Trickster-p deepens and expands the research on games as potential art forms: The game investigates the relationship between performance, game and society. The leading question is what potential might be revealed in the creation of performative devices that focus on these very aspects.
Long perceived as trivial and irrelevant, games have struggled to achieve the same cultural prominence as “legitimate” art forms. Only in recent times philosophers, sociologists and anthropologists made them the subject of serious debates newly discovering their impact and value also in artistic terms. Based on these reflections, Trickster-p creates a privileged space in which spectators can “play” the dynamics of complexity and, at the same time, build collective tools of possible changes. The playground we are invited to interact with through The game is contemporary society itself and, in particular, its relationship with the organizational structures and economic dynamics on which it is based.
How much can we participate in the game of the system we are immersed in, or how much are we being played instead? To what extent do we have room for intervention and change through our choices? If traditional theatre performances allow us to experience lives we have not lived, games allow us to experience new and unexpected forms of agency.
The game is a participatory and intergenerational project which not only advocates existing social and cultural positions but opens up spaces for possibilities to shake and transform them, showing how playing is (also) about questioning our own views and perspectives.
with the support of Pro Helvetia
Reservation is required
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