In Modena, Theatre School “Iolanda Gazzerro”
From 10.00 to 14.00
Curator: Daniele Vianello
Languages of the Masterclass: Italian and French

Stage Writing and Actor’s Dramaturgy
The Masterclass includes four hours of work (from 10:00 to 14:00) dedicated to the actor’s dramaturgy, to the writing that comes from the stage and only after a long journey becomes a written and published page.
The Masterclass is addressed to performers, authors, directors, research fellows and scholars and it will combine theory with practice, discussing some of the modes of creation that brought Daria Deflorian and Antonio Tagliarini’s shows to life, such as Rewind, homage to Café Müller by Pina Bausch (2008), Reality (2012), We decided to go because we don’t want to be a burden to you (2013, Ubu Prize for best text 2014) – all collected in the book Trilogy of the invisible (published by Titivillus, 2015) –, The sky is not a backdrop (2016, published by Cue Press in 2017), Almost nothing (2018).
Daria Deflorian will explain some scenes from her creations and – thanks to the artist’s notebooks – she will deconstruct them in order to go back to the original materials to show her own way of working, also encouraging the participants to take the chance to have an immediate experience of the fil rouge, typical of the collective creation, which links acting, narrating and “writing” for the theatre. The Masterclass will also be a moment of debating and comparing theories and practices, “stage people” and “book people”, discussing on some of the themes investigated during the conference, which can be also found in the artistic path of Daria Deflorian and Antonio Tagliarini.

Biography
Daria Deflorian and Antonio Tagliarini are authors, directors and performers. The first work born from their collaboration is Rewind, homage to Café Müller by Pina Bausch (2008). Between 2010 and 2011 they worked on the Reality Project which gave life to two works: the performance installation czeczy/cose (2011) and the show Reality (2012), work for which Daria Deflorian won the Ubu Award for best actress 2012. We decided to go because we don’t want to be a burden to you: the show won the Ubu Prize for best Italian novelty 2014 and in 2016 the Critics’ Award for best foreign show in Québec, Canada. They then created two site specific: The place (2014) presented in Milan for the project Rooms and When I don’t know what to do what I do (2015) produced by Teatro di Roma and inspired by Antonio Pietrangeli’s film I knew her well. The sky is not a backdrop: Gianni Staropoli won the Ubu Prize for the best lights for this show. In 2018 Deflorian and Tagliarini presented two projects around the film Red desert by Michelangelo Antonioni: Excavations and Almost nothing, for which Gianni Staropoli won another Ubu Prize for the lights.

In Bologna, Biblioteca Archiginnasio: Stabat Mater Room
From 14.30 to 18.30
Curator: Sergio Lo Gatto
Language of the Masterclass: English
Technical requirements: if possible, participants should have a pc with them (not mandatory, however)

About Creating. The Kitchen of FC Bergman
In its Masterclass FC Bergman gives a glimpse into the internal kitchen of the company. Central is the way of working that the company has refined over the past 12 years. In a short period of time we try to go through the first steps of a creative process. We formulate a basic concept, collect a mood board, think about scenography and first scenes. Just like with our performance Het land Nod we take an existing space with its history and meaning as a starting point for the creation of a performance. How can we create a wordless, visual performance with the Stabat Mater Room of the Archiginnasio Palace as a starting point?

Biography
FC Bergman was founded in 2008 by six actors / theatre-makers / artists: Stef Aerts, Joé Agemans, Bart Hollanders, Matteo Simoni, Thomas Verstraeten and Marie Vinck. FC Bergman has been a permanent Toneelhuis theatre-maker since 2013. In a short time, this group of makers has developed a highly unique theatrical idiom, which apart from being anarchistic and slightly chaotic, is essentially visual and poetic. Their productions often give centre stage to the floundering, ever-striving human. The most recent and impressive production in that series, JR, literally and figuratively takes this theme to the next level. Simoni and Hollanders have since left the core team and now work on an adhoc basis with FC Bergman. In 2009 FC Bergman won the Young Theatre Prize at Theater Aan Zee with its adaptation of Harold Pinter’s The Homecoming. With Walking along the Champs-Elysées with a tortoise so as to have a better look at the world, but it is difficult to drink tea on an ice floe if everyone is drunk FC Bergman was short-listed for the Dutch Theatre Festival (2010). In 2011 FC Bergman created 300 el x 50 el x 30 el at Toneelhuis, a production still on the repertoire. Terminator Trilogy, created in 2012, was again a site specific work that toured internationally. Back in Toneelhuis (where FC Bergman is a collective in residence) they created an impressive music theatre project, Van den vos (December 2013), together with Liesa van der Aa, Muziektheater Transparent and Solistenensemble Kaleidoskop (DE). In 2015 FC Bergman made a site-specific show Het land Nod (The Land Of Nod): «In this atmospheric, scriptless production FC Bergman measures up to the greats: the mystical naturalism of Romeo Castellucci, the disconsolate absurdism of Christoph Marthaler, and the dancing dynamics of Pina Bausch. And all that gives Het land Nod visual grandeur» said Wouter Hillaert in De Standaard ***, May 9th 2015. The show was invited to participate in 2016 in the Festival of Avignon (FR) and the Zürcher Theater Spektakel (CH). Het Land Nod remains on the repertoire (and after Spain, France and Poland, is now also going to Russia and Italy). In March 2018, FC Bergman completed JR. This site-specific project based on the eponymous cult novel by William Gaddis has since been acclaimed as the major theatre event of 2018. Through an ingenious interweaving of film and theatre, powerful acting with strong dialogues and astounding scenography, FC Bergman has taken his work to another level. At the same time, the company has remained true to itself, in the course of the show painting a picture of a world in which man fights against the windmills of his existence in vain. The show has meanwhile met with success in Paris and in the 2019-2020 season it can be admired in Brussels. Plans for Hong Kong and New York are also taking shape… In the 2019-2020 season, FC Bergman is collaborating on Freud, a production by ITA: FC Bergan is making an adaptation of Sartre’s original script. What’s more, Stef Aerts, Marie Vinck, Matteo Simoni are playing the roles of a number of characters in Freud, including the lead role, performed by Stef Aerts. The members of FC Bergman are individually involved in various other theatre productions, TV projects and films or make productions, installations and videos under their own name.

In Bologna, Oratorio San Filippo Neri
From 9.30 to 13.30
Curator: Sergio Lo Gatto
Language of the Masterclass: English

Via Gluck
David Marton is both an established theater director and an accomplished musician.
His work focuses on exploring the possibilities of combining music and theater: How can a musical composition be a starting point for a theater piece? 
Can the structure of a fugue or a pop song be the base of a theatrical process, and vice versa?
What happens when a dramatic text is treated like music?
What are the narrative qualities in music, and can space, acting, text and music merge into a compositional form? These questions will be discussed during Marton’s workshop. The sessions will include analysing music videos and songs, as well as practical work.

Biography
Born in 1975 in Hungary, David Marton studied piano at the Budapest Academy of Music and the Berlin Art School. He studies conducting and directing at the Hanns-Eisler Conservatory of Music in Berlin. He worked as music director in various theater productions, in particular at the Volksbühne in Berlin. He collaborated with directors like Christoph Marthaler and Frank Castorf. Since 2004 Marton directed various musical theater projects for independent performance halls such as the Sophiensaele in Berlin, and in later years at municipal and national theaters such as the Volksbühne am Rosa-Luxemburg-Platz, the Burgtheater in Vienna, the Royal Theater in Copenhagen, the Schaubühne am Lehniner Platz, Kammerspiele in Munich, the MC93 in Paris or at the Ruhrtriennal 2019. He also works regularly as a director at the Opéra de Lyon and at the La Monnaie Opera House in Brussels.

In Bologna, Theatre of Moline
From 14.30 to 18.30
Curator: Daniele Vianello
Languages of the Masterclass: Italian and English

The Body of the Story: How I “Write” and Interpret my Texts
The Masterclass includes four hours of work (from 2.30 pm to 6.30 pm) dedicated to the dramaturgy of the author and of the actor, with particular reference to the narrative theatre. The Masterclass is addressed to performers, authors, directors, research fellows and scholars and it will combine theory with practice, discussing some of the modes of creation that brought Saverio La Ruina’s shows to life.
In order to give a tangible idea of the process of dramaturgical composition (both textual and acting), a few scenes from performances like Dissonorata, La Borto, Italianesi (these texts are collected in the book Teatro published by Titivillus), Polvere, Masculu e fiàmmina, Mario e Saleh will be executed.
After watching these fragments, cues and suggestions that have determined the scenic compositions themselves will be proposed: how they were born, how they evolved, the path of study and investigation that preceded them, up to the embodiment on paper and on stage.
As an example, the work with a group of participants will be focused on identifying the dramaturgical and interpretative cores.

Biography
Saverio La Ruina trained as an actor at the Bologna School of Theatre and worked with many important artists, for instance Leo de Berardinis and Remondi & Caporossi. He is among the young directors selected at the ateliers curated by Eimuntas Nekrosius for La Biennale di Venezia in 1999 and 2000.
Among the major awards: two Ubu Prizes in 2007 with Dissonorata (best actor and best Italian text), Ubu Prize in 2010 with La Borto (best Italian text), Ubu Prize 2012 with Italianesi (best actor), Hystrio Prize to Dramaturgy in 2010, Lo Straniero Prize in 2015, Enriquez Prize in 2012 for dramaturgy with Italianesi and in 2015 with Polvere for dramaturgy and interpretation. With Masculu e fiàmmina he made his debut in 2016 at Piccolo Teatro di Milano and was nominated for Le Maschere del Teatro Italiano Prize in 2017. In 2019 he premiered with his latest work, Mario e Saleh, at Romaeuropa Festival. His texts have been translated and performed in several countries around the world. Since 1999 he has been artistic director of the festival Primavera dei Teatri.

In Modena, Theatre School “Iolanda Gazzerro”
From 9.30 to 13.30
Curator: Sergio Lo Gatto
Language of the Masterclass: English

The Function of the Voice
The Masterclass is focused on two main functions that an actor’s voice can express; one related to body, the other to time and space.
A free voice is connected to a free body. All the sentiments that we want to express comes from the voice and its different intonations. The actors don’t have to feel something, but to know the real intonation of each feeling: the issue is not to feel, but to make the audience feel. Every society has its own collective memory of feelings. As the actor reaches the right intonation, the people can automatically recognize the feeling.
Unlike with the movies or the written text, in theatre there is no long time, the message must be very fast and effective, because if you miss it, it’s gone. Another function of the voice is, therefore, strictly connected to music: finding the right tempo and a strong energy of the speech. Making connections between body and voice, mastering a strong energy and a sharp tempo, and taking care of the perfect articulation are the keys to an effective result in making the audience feel and recognize a familiar memory of the feelings.

Biography
Actor of rare intensity, power and intellectual finesse, Aglaia Pappas testifies with her artistic path the deep rigour of her theatrical art, always open to explore new paths that have led her to work in the most important European theatres. She graduated from the National Theatre Drama School in Athens and, in French language and literature, from Aristotelian University in Thessaloniki. In her career she has dealt with different dramaturgies, spanning several contemporary writings, such as The Misunderstanding by Camus, Crave by Kane, Molly Bloom by Joyce (Grotowski Institute Award and Greek Critics Committee Award), but at the same time she has a long tradition with tragic language. She starred in Euripides’ Andromache directed by Jacques Lassalle for the Festival d’Avignon, in Aeschylus’ Oresteia and The Suppliants (here directed by Koek and Marmarinos for Epidaurus Festival and Veenfabrik). Her collaboration with Theodoros Terzopoulos is significant: among the shows, Alarme, stage composition based on the correspondence between Queen Mary of Scotland and Queen Elizabeth I; Amor, based on a text by Alevras. She was the narrator in French of the Opening and Closing Ceremonies of the 2004 Olympic Games in Athens.

In Modena, Theatre School “Iolanda Gazzerro”
From 15.00 to 19.00
Curator: Sergio Lo Gatto
Language of the Masterclass: English

The Quality of Presence. Between Body, Space and Imagery
In my multidisciplinary research I look for a quality of presence that is reflected in the actions of the performer as well as in the architecture of space and imagination. Through practical exercises and moments of theoretical reflection, we will try to focus on some physical, relational and sensorial elements that subtly contribute to transform the perception of different landscapes in the performer’s action and in the spectator’s experience.

Biography
Born in Italy, where she trained in dance, music and theatre and where she obtained three professional diplomas for Dancers and Actors and a Master in Performing Arts from the University of Bologna, Veronica Melis has over 20 years of career as a creator and 30 years as a performer.
As a performer, she has collaborated with numerous dance-theatre and/or circus companies including Abbondanza-Bertoni (Romanzo d’infanzia, Alcesti), Valdoca (Fuoco Centrale), Le Fils D’Adrien Danse (Les cousins), Cas Public (Barbebleue) and Daniele Finzi Pasca (Donka, a letter to Chekhov), performing in six languages on world tour. As a creator-choreographer and director, she has created about twenty projects that integrate different stage languages in a hybrid, poetic and “tragicomic” form. Her work is applauded and appreciated internationally and her personality is distinguished by charisma and versatility.
After moving to Canada in 2004, Veronica took part in several films (Hot Dog), television series (Les Maitres du Suspence, La planète des femmes, Lien Fatal 2) and supervised the actors’s movement for directors such as Brigitte Haentjens (Woyzeck, L’opera da quattro Soldi), René-Daniel Dubois (Les femmes de Bonne humeur), Hugo Bélanger (Hansel and Gretel).
In 2008 she founded the MAG Collectif of creations with the director Marie-Josée Gauthier and the composer Luzio Altobelli and began working in the world of the Nouveau Cirque, directing and creating various shows, including fHealing, Hommage à Magritte, Peter and the wolf, Circo Minimo, Hybride, Rosso di sera, Mi ricordo and Un bel di’ Vedremo.
Since 2009 his work has been recognized and granted by the Conseil des Arts et des Lettres du Québec, the Canada Council for the Arts. Parallel to her scenic activity, Veronica is also an artistic consultant at the National Circus School of Montréal, university professor, she teaches in many arts school and she’s a member of numerous interdisciplinary artistic juries and research committees in Dramaturgy, Circus Arts, Theatre and Dance. Since 2019 she has also been a member of the Circus and Street Arts Committee for the Arts Council of Montreal. She’s currently working at her next show « fHealing » and other projects between Canada and Italy.

In Cesena, Palazzo del Capitano
From 10.00 to 16.00
Curator: Claudio Longhi
Language of the Masterclass: English

Writing in Three Dimensions
Every time Vanishing Point creates a new work, we aim to develop content and form together, so that one shapes the other. Each show, each new subject matter, demands a different kind of acting. We think, “What will the ‘acting’ be for this show?”. In other Vanishing Point shows, actors have spoken silently behind a glass screen, or wearing prosthetic masks, or worked in total darkness, or with microphones picking up the tiny details of voices. Yet underlying all of these explorations are some basic recurring principles about acting and improvisation. Matthew will share and discuss some of these principles, making reference to his current and previous works. But it’s important to remember, in a creative process, there is method but there is also madness: desperate clawing around in the darkness. There is usually the moment when the method goes flying out of the window and the director asks, “Does anybody have any ideas?”. This workshop will try to represent all of these things in an involving, informal and participatory way. Participants will be invited to take part in simple improvisations, movement and perhaps work with text.

Biography
Matthew Lenton is the founder and Artistic Director of Vanishing Point. His work with Vanishing Point has been performed in over 20 countries across Europe, South America, Russia and China. Other recent work includes The Merchant of Venice (National Theatre of Kosovo), Striptease/Out at Sea (Citizens Theatre Glasgow), A Midsummer Night’s Dream (Royal Lyceum Theatre, Edinburgh), Mister Holgado (Unicorn Theatre, London) and Home (National Theatre of Scotland). Most recent theatre includes Charlie Sonata (Royal Lyceum Theatre, Edinburgh) and 1984, for Emilia Romagna Teatro in Modena, Italy. In 2010, Lenton became the first British director of the École des Maîtres, a European director-led theatre laboratory for young actors from across Europe. The same year he directed Boy, a short film for Channel 4. He works regularly at The Royal Conservatoire of Scotland, where he sees his work with students as a crucial part of his own continued experience and as an opportunity to explore new material.