Frankenstein (a love story)

Idea and direction by Daniela Nicolò & Enrico Casagrande. With Silvia Calderoni, Alexia Sarantopoulou, and Enrico Casagrande. Dramaturgy by Ilenia Caleo. Text editing and subtitles Daniela Nicolò. Translation Ilaria Patano. Assistant director Eduard Popescu. Light design Theo Longuemare. Soundscapes Enrico Casagrande. Sound Martina Ciavatta. Graphics Federico Magli. Video Vladimir Bertozzi. Production Francesca Raimondi. Organization and logistics Shaila Chenet and Matilde Morri. Promotion Ilaria Depari. Communication Dea Vodopi. International distribution Lisa Gilardino. Press office comunicattive.it
a Motus production with Emilia Romagna Teatro ERT / Teatro Nazionale, TPE – Festival delle Colline Torinesi, Kunstencentrum VIERNULVIER (BE) and Kampnagel (DE), artistic residencies hosted by AMAT, Santarcangelo Festival, Teatro Galli-Rimini, Centro di Residenza dell’Emilia-Romagna “L’arboreto-Teatro Dimora | La Corte Ospitale”, Rimi-Imir (NO) and Berner Fachhochschule (CH) with the support of MiC, Regione Emilia-Romagna.

 

Of the nightingale I envy the fate

Idea and direction Daniela Nicolò, Enrico Casagrande. With Stefania Tansini. Dramaturgy Daniela Nicolò. Live and sound design Enrico Casagrande. Soundscapes Demetrio Cecchitelli. Light design and technical direction Theo Longuemare. Music track R.Y.F. (Francesca Morello). Latex props _vvxxii. Dress Boboutic Firenze. Photo Ilaria Depari. Assistant costume and set designer Susana Botero. Graphics Federico Magli. Illustration Lilsis.art. Production Francesca Raimondi. Organization and logistics Shaila Chenet. Communication Isabella Cruciani and Ilaria Depari. Promotion Marta Lovato. International distribution Lisa Gilardino. A Motus production with TPE / Festival delle Colline Torinesi. Artistic residencies hosted by  progetto residenze artistiche Lavanderie a vapore Torino, Centro nazionale di produzione della danza Virgilio Sieni, AMAT Marche. With the support of MiC, Regione Emilia-Romagna

 

You Were Nothing but Wind

Idea and direction Daniela Nicolò, Enrico Casagrande and Silvia Calderoni. With Silvia Calderoni. Soundscapes Demetrio Cecchitelli. Sound Enrico Casagrande. Lights Daniela Nicolò. Props scene sculptures _vvxxii. Video and graphics Vladimir Bertozzi. Production Francesca Raimondi. Organization and logistics Shaila Chenet. Communication Isabella Cruciani and Ilaria Depari. Promotion Marta Lovato. International diffusion Lisa Gilardino.
Production Motus with the support of MiC, Regione Emilia-Romagna.
Forlì, Crisalide Festival, 17th October 2021.

 

Tutto Brucia

Idea and direction Enrico Casagrande e Daniela Nicolò. With Silvia Calderoni, Stefania Tansini e R.Y.F. (Francesca Morello) for music and lyrics. Dramaturgical research Ilenia Caleo. Technical direction and lights Simona Gallo. Sound environment Demetrio Cecchitelli. Care of the space Francesco Zanuccoli. Props and scene sculptures in collaboration with _vvxxii. Video and graphics Vladimir Bertozzi. Production Francesca Raimondi. Logistics and organization Shaila Chenet. Communication Isabella Cruciani and Ilaria Depari. Promotion Marta Lovato. Press office comunicattive.it. International distribution Lisa Gilardino. A Motus production with Teatro di Roma – Teatro Nazionale, Kunstencentrum Vooruit vzw (BE). Residency project shared by L’arboreto – Teatro Dimora | La Corte Ospitale ::: Centro di Residenza Emilia-Romagna and Santarcangelo dei Teatri. In collaboration with AMAT and Comune di Fabriano int he frame of “MarcheinVita. Lo spettacolo dal vivo per la rinascita dal sisma” project by Mibact and Regione Marche coordinated by Consorzio Marche Spettacolo. With the support of MiBACT, Regione Emilia-Romagna. Thanks to HĒI black fashion.
Roma, Teatro India, 9th September 2021.

 

Rip it up and start again

Direction and dramaturgy Enrico Casagrande and Daniela Nicolò. With the students of La Manufacture – Haute école des arts de la scène Coline Bardin, Davide Brancato, Estelle Bridet, Arianna Camilli, Azelyne Cartigny, Guillaume Ceppi, Anastasia Fraysse, Aurélien Gschwind, Mathilde Invernon, Agathe Lecomte, Antonin Noël, Martin Reinartz, Elsa Thebault, Gwenaëlle Vaudin, Adèle Viéville. Assistant director Jonas Lambelet. Video Simona Gallo. Sound Enrico Casagrande, Ian Lecoultre, Micaël Vuataz
lights Simona Gallo and Daniela Nicolò. Costumes Doria Gómez Rosay. Technics Ian Lecoultre, Simona Gallo and Ludovic Fracheboud. Production La Manufacture – Haute école des arts de la scène with Motus. With the support of MiBACT, Regione Emilia Romagna and Fondation Ernst Göhner. Geneva, Comédie de Genève, 23rd May 2019.

 

Chroma Keys 

Directed by Enrico Casagrande, Daniela Nicolò and Silvia Calderoni. With Silvia Calderoni. Tech and video design Paride Donatelli, Andrea Gallo and Alessio Spirli (aqua micans group). Production Motus with Santarcangelo Festival. Creative residency L’arboreto – Teatro Dimora di Mondaino. Thanks to Matteo Marelli for the collaboration. With the support of MiBACT, Regione Emilia Romagna. Santarcangelo di R. (RN), Santarcangelo Festival, 7th July 2018.

 

PANORAMA

Devised and directed by Enrico Casagrande and Daniela Nicolò
. Dramaturgy Erik Ehn and Daniela Nicolò . With the actors of the Great Jones Repertory Company (Maura Nguyen Donohue, John Gutierrez, Valois Mickens, Eugene the Poogene, Perry Yung, Zishan Ugurlu). Assistant director Lola Giouse. Music Heather Paauwe. Sound design Enrico Casagrande. Light design Daniela Nicolò. Set design Seung Ho Yeong. Settings Damiano Bagli. Visual design Bosul Kim. Video design CultureHub NYC with Sangmin Chae. Technical assistance and consultation for video and lights Paride Donatelli, Andrea Gallo, Alessio Spirli (Aqua Micans Group). Technical direction (USA) Yarie Vazquez. Technical direction (Europe) Paride Donatelli. Production La MaMa Experimental Theatre Club with Motus in coproduction with Seoul Institute of the Arts, CultureHub, New York, Vooruit, Ghent, FOG Triennale Milano Performing Arts, Emilia Romagna Teatro Fondazione, Grec Festival, Barcelona, L’arboreto – Teatro Dimora, Mondaino. In collaboration with Under The Radar Festival, New York. With the support of MiBACT, Regione Emilia Romagna. New York, Under The Radar Festival, 3rd January 2018.

 

ÜBER RAFFICHE (nude expanded version)

Dedicated to Splendid’s by Jean Genet. Direction Enrico Casagrande and Daniela Nicolò. With Silvia Calderoni (Jean), Ilenia Caleo (Rafale), Sylvia De Fanti (Bravo), Federica Fracassi (the Policeman), Ondina Quadri (Pierrot), Alexia Sarantopoulou (Riton), Emanuela Villagrossi (Scott), I-Chen Zuffellato (Bob). The voice on the radio Luca Scarlini and Daniela Nicolò. Script Magdalena Barile and Luca Scarlini. Sound design Paolo Panella. Set design Andrea Nicolini. Set construction Damiano Bagli. Production Motus  with Santarcangelo Festival. With the support of MiBACT, Regione Emilia Romagna. Realized thanks to Ert, Emilia Romagna Teatro Fondazione, Biennale Teatro 2016, L’arboreto – Teatro Dimora Mondaino, Teatro Petrella Longiano, Comune di Bologna. Santarcangelo di R. (RN), Santarcangelo Festival, ITC Molari, 14 July 2017.

 

RAFFICHE | RAFALES | MACHINE (CUNT) FIRE

Dedicated to Splendid’s by Jean Genet. Direction: Enrico Casagrande and Daniela Nicolò. With: Silvia Calderoni (Jean), Ilenia Caleo (Rafale), Sylvia De Fanti (Bravo), Federica Fracassi (the policewoman), Ondina Quadri (Pierrot), Alexia Sarantopoulou (Riton), Emanuela Villagrossi (Scott), I-Chen Zuffellato (Bob). The voice on the radio: Luca Scarlini and Daniela Nicolò. Script: Magdalena Barile and Luca Scarlini. Production: Motus with Ert, Emilia Romagna Teatro Fondazione. In collaboration with: Biennale Teatro 2016; L’arboreto – Teatro Dimora, Mondaino; Santarcangelo Festival Internazionale del Teatro in Piazza; Teatro Petrella, Longiano. With the support of: Mibact, Regione Emilia Romagna, Comune di Bologna. Bologna, Vie Festival, Hotel Carlton, 18 October 2016.

 

L’Erba Cativa (l’an mor mai)

Collective performance directed by the artist Andreco and Motus (GoDeep workshop).
With Damiano Bagli, Simona Baro, Emiliano Battistini, Lucia Benegiamo, Carlotta Borasco, Iolanda Di Bonaventura, Viola Domeniconi, Julia Filippo, Francesca Fioraso, Diego Giannettoni, Francesca Giuliani, Kage, Biagio Laponte, Ileana Longo Goffo, Mattia Guerra, Valentina Marini, Francesca Macrelli, Federico Magli, Beatrice Monti, Filippo Moretti, Lucia Mussoni, Sara Oliva, Gianluca Panareo, Ondina Quadri, Caterina Paolinelli, Elena Ramilli, Sofia Rossi, Maria Giulia Terenzi, Michela Tiddia, Valentina Zangheri, Martina Zena. Santarcangelo di Romagna, Santarcangelo•15 Festival, 18 July 2015.

 

MDLSX

Direction: Enrico Casagrande and Daniela Nicolò. With: Silvia Calderoni. Dramaturgy: Daniela Nicolò and Silvia Calderoni. Sound: Enrico Casagrande. In collaboration with: Damiano Bagli e Paolo Panella. Lights and video: Alessio Spirli. Production: Motus. In collaboration with: La Villette – Résidence d’artistes 2015 Parigi, Create to Connect (EU project) Bunker/ Mladi Levi Festival Lubiana, Santarcangelo 2015 Festival Internazionale del Teatro in Piazza, L’arboreto – Teatro Dimora di Mondaino, MARCHE TEATRO. With the support of: MiBACT, Regione Emilia Romagna. Santarcangelo di Romagna, Santarcangelo•15 Festival, 11 July 2015.

 

King Arthur

Music: Henry Purcell. Text: John Dryden. Direction: Enrico Casagrande and Daniela Nicolò. Conductor: Luca Giardini. Dramaturgy and translation: Luca Scarlini. Consultancy on the project: Alessandro Taverna. With: Glen Çaçi and Silvia Calderoni. Soprano: Laura Catrani, Yuliya Poleshchuk. Countertenor: Carlo Vistoli. Ensemble Sezione Aurea. Set and light design: Enrico Casagrande and Daniela Nicolò. Sound design: Fabio Vignaroli. Video: Enrico Casagrande and Daniela Nicolò. Post-production video: Aqua Micans Group. Assistant director: Silvia Albanese and Ilenia Caleo. Costumes: Antonio Marras. Production: Motus, Sagra Musicale Malatestiana 2014. In collaboration with: Romaeuropa Festival, Amat/Comune di Pesaro, Rossini Opera Festival. Rimini, Sagra Musicale Malatestiana, 16 September 2014.

 

LIWYĀTĀN

Concept and Direction: Enrico Casagrande and Daniela Nicolò. With: Simon Bonvin, Mathias Brossard, Jérôme Chapuis, Cyprien Colombo, Marie Fontannaz, Lola Giouse, Judith Goudal, Magali Heu, Lara Khattabi, Simon Labarrière, Jonas Lambelet, Thomas Lonchampt, Emma Pluyaut-Biwer, Nastassja Tanner, Raphaël Vachoux. Drammaturgy: Daniela Nicolò. Assistant director and translator: Piera Bellato. Sound-design: Enrico Casagrande. Technical care: Nicolas Berseth, Robin Dupuis, Ian Lecoultre, Theo Serez. SINLAB: Andrew Sempere (Interactive video), Shih-Yuan Wang.
Show freely adapted from Leviatan by Paul Auster and realized within the atelier held by Daniela Nicolò and Enrico Casagrande at La Manufacture – Haute école de théâtre de Suisse romande (HETSR). Lausanne, La Manufacture, 21 May 2014.

 

Caliban Cannibal

Concept and Direction: Enrico Casagrande and Daniela Nicolò. With: Silvia Calderoni, Mohamed Ali Ltaief (Dalì). Video: Enrico Casagrande, Andrea Gallo, Alessio Spirli. Assistant director: Ilenia Caleo. Video contribution from the documentary Philosophers’ Republic by Med Ali Ltaief and Darja Stocker. Production: Motus / 2011 > 2068 AnimalePolitico Project, within Ateliers de l’Euroméditerranée – Marseille Provence 2013. With the support of: Santarcangelo •12•13•14, Face à Face / Paroles d’Italie pour les scènes de France, Angelo Mai Altrove Occupato and ESC Atelier Autogestito. Marseille, La Friche, Festival Actoral, 9 October 2013.

 

Nella Tempesta

Concept and Direction: Enrico Casagrande and Daniela Nicolò. Dramaturgy: Daniela Nicolò. Assistant director: Nerina Cocchi. Soundscape: Enrico Casagrande. Lights, sound and video: Andrea Gallo and Alessio Spirli (Aqua Micans Group). With: Silvia Calderoni, Glen Çaçi, Ilenia Caleo, Fortunato Leccese, Paola Stella Minni. Production: Motus, Festival TransAmériques – Montréal, Théâtre National de Bretagne – Rennes, Parc de la Villette – Paris, La Comédie de Reims – Scène d’Europe, Kunstencentrum Vooruit vzw – Ghent, La Filature Scène Nationale – Mulhouse, Festival delle Colline Torinesi – Torino, Associazione Culturale dello Scompiglio – Vorno, Centrale Fies – Drodesera Festival – Dro, L’Arboreto – Teatro Dimora – Mondaino. With the support of: ERT (Emilia Romagna Teatro Fondazione), AMAT, La Mama – New York, Provincia di Rimini, Regione Emilia-Romagna, MiBAC. In collaboration with: M.A.C.A.O – Milano, Teatro Valle Occupato – Roma, Angelo Mai Occupato – Roma, S.a.L.E. Docks – Venezia. Thanks to: Voina, Judith Malina, Giuliana Sgrena, Darja Stocker, Mohamed Ali Ltaief, Anastudio, Exyzt, Mammafotogramma, Re-Biennale and to all the participants to MucchioMisto Workshops. Montreal, FTA Festival TransAmériques, Place des Arts-Cinquième Salle, 24 May 2013.

 

W.3 Atti Pubblici: Where (Atto-assemblea), When (Atto-solitario), Who (Atto-corale)

Concept: Daniela Nicolò, Enrico Casagrande, Silvia Calderoni. Direction: Daniela Nicolò and Enrico Casagrande. Technical support: Massimiliano Rassu and Aqua-Micans Group. With: Enrico Casagrande, Silvia Calderoni, Marco Baravalle, Ciro Colonna, Giorgina Pilozzi, Camilla Pin, Laura Pizzirani. In collaboration with: Angelo Mai Altrove, Macao, Nuovo Cinema Palazzo, Sale Docks, Teatro Valle Occupato. Production: Motus / 2011>2068 AnimalePolitico Project. Dro, We Folk Drodesera Festival, Centrale Fies, 20 July 2012.

 

When

Performance. Concept and Direction: Enrico Casagrande and Daniela Nicolò. Dramaturgy: Daniela Nicolò. Sound: Damiano Bagli. With: Silvia Calderoni and Enrico Casagrande. Production: Motus, Les Subsistances. Lyon, Ça tremble, Les Subistances, 28 March 2012.

 

The Plot is the Revolution

Exceptional Event. Concept and Direction: Enrico Casagrande and Daniela Nicolò with Silvia Calderoni and Judith Malina (Living Theatre) and the participation of Thomas Walker and Brad Burgess. Production: Motus. With the support of: 41 Morra Foundation (Naples) Santarcangelo Festival and Cristina Valenti. Longiano, Santarcangelo Festival 41, Teatro Petrella, 8 July 2011.

 

Alexis. Una tragedia greca

Concept and Direction: Enrico Casagrande and Daniela Nicolò. With: Silvia Calderoni, Vladimir Aleksic, Benno Steinegger and Alexandra Sarantopoulou and in collaboration with Michalis Traitsis and Giorgina Pilozzi. Assistant director: Nicolas Lehnebach. Script: Daniela Nicolò. Video editing: Enrico Casagrande. Sound engineer: Andrea Comandini. Music: Pyrovolismos sto prosopo by The Boy. On screen: Nikos from the Centro Libertario Nosotros, Stavros from the band Deux ex machina. Lights and set design: Enrico Casagrande and Daniela Nicolò. Technical director: Valeria Foti. Production: Motus, ERT Emilia Romagna Teatro Fondazione, Espace Malraux – Scène Nationale de Chambéry et de la Savoie – CARTA BIANCA, programme Alcotra coopération France Italie, Théâtre National de Bretagne/Rennes and the Festival delle Colline Torinesi. With the support of: Rimini Provincial Administration, Emilia-Romagna Regional Administration and the Ministry of Cultural Heritage and Activities. Modena, Vie Scena Contemporanea Festival, 15-16 October 2010.

 

IOVADOVIA (antigone) contest#3

Concept and direction: Enrico Casagrande and Daniela Nicolò. With: Silvia Calderoni, Gabriella Rusticali and the participation of Bilia. Rythmic environment: Enrico Casagrande. Director’s assistant: Giorgina Pilozzi. Live music and sound: Andrea Comandini. Technical management: Valeria Foti. Production: Motus. In collaboration with: Festival Théâtre en Mai, Théâtre Dijon Bourgogne – CDN e Festival delle Colline Torinesi Motus thanks Thomas Walker, Brad Burgess, Judith Malina from The Living Theatre NY and the Délégation Culturelle Alliance Française – Bologna. Dijon, Festival Thèâtre en Mai – Thèâtre Dijon Bourgogne, 21-23 May 2010.

 

Too Late!(antigone)contest #2

Concept and Direction: Enrico Casagrande and Daniela Nicolò. With: Silvia Calderoni and Vladimir Aleksic. Script: Daniela Nicolò. Sound: Enrico Casagrande. Technical management: Valeria Foti. Thanks to: Cecilia Ghidotti (director’s assistant), Luca Scarlini for the literary advice and the people who took part in the workshop Non siamo una famiglia for their generous collaboration.
Production: Motus. In collaboration with: Fondazione del Teatro Stabile di Torino and Festival delle Colline Torinesi. With the support of: Magna Grecia Festival ’08, L’Arboreto – Teatro Dimora di Mondaino, Regione Emilia-Romagna and Ministero della Gioventù – Progetto GECO. Torino, Teatro Stabile di Torino, Prospettiva 09, 20- 21 October 2009.

 

Let the Sunshine In_(antigone)contest #1

Concept and Direction: Enrico Casagrande & Daniela Nicolò. With: Silvia Calderoni and Benno Steinegger. Technical management: Valeria Foti. Thanks to: Giorgina Pilozzi (director’s assistant), Luca Scarlini for literary consultancy, Nicoletta Fabbri, and all the partecipants to the Non siamo una famiglia workshop for their generous collaboration. Production: Motus. With the support of: L’Arboreto di Mondaino, Festival delle Colline Torinesi, Progetto GECO – Ministero della Gioventù and Regione Emilia Romagna. A special project for Festival delle Colline in collaboration with Fondazione del Teatro Stabile di Torino. Torino, OGR Officine Grandi Riparazioni Torino, Festival delle Colline, 12-13 June 2009.

 

Di quelle vaghe ombre_ prime indagini sulla ribellione di Antigone.

Concept and Direction: Enrico Casagrande and Daniela Nicolò. With: Vladimir Aleksic, Silvia Calderoni, Nicoletta Fabbri and Claudio Balestracci, Giuseppe Bonifati, Anna Carminati, Ida Alessandra Vinella. On screen: Silvia Calderoni and Enrico Casagrande. Texts edited by: Daniela Nicolò. Lights, video and stage spaces: Enrico Casagrande and Daniela Nicolò. Live music: Giancarlo Bianchini & Mathilde N.Poirier (azt/Hotel Nuclear). Sound design: Roberto Pozzi. Lighting system: L.M. Cineservice Cesena. Production: Motus and Magna Grecia Teatro Festival. With the support of: progetto Geco, Ministero della Gioventù and Regione Emilia Romagna. Cirella Diamante (CS), Magna Grecia Festival, 13 August 2008.

 

X(ics) Racconti crudeli della giovinezza [X.04 forth movement – Napoli]

Concept and Direction: Daniela Nicolò and Enrico Casagrande. With: Silvia Calderoni, Sergio Policicchio, Mario Ponce-Enrile, Monica Riccio (from the band Nocturna from Scampia), Marina Napoletano, the band Roca Luce (Pasquale Fernandez, Antonio Conte, Giuseppe Capasso, Giuseppe Monetti) with the song L’esistenz è nu martirio produced by Mario Ponce Enrile and Giuseppe Capasso. On screen: children from the Gipsy camp in Via Cupa Perillo; Dario Cristiano from the band Arancia meccanica and the crew UNS from the social center Placido Rizzotto in Melito; The writers crew of Marano: Corrado Lamattina, Luigi Davino, Fabiana Vardaro, Davide Giuffrè; the dancers from the social center TCK in San Giovanni, the chairman of the Structured Unemployeds Association from San Ferdinando district, the bands Linea periferica and Sotto zero. Camera: Daniela Nicolò, Enrico Casagrande. Video compositing: Francesco Borghesi. Text compositing: Daniela Nicolò. Audio compositing: Enrico Casagrande. Sound design: Roberto Pozzi. Lights: Daniela Nicolò. Technical management: Valeria Foti. Props: Giancarlo Bianchini-Arto-Zat, Erich Turroni-Laboratorio dell’imperfetto. Architectural advise: Fabio Ferrini. Back-stage photos: Mario Spada, End&Dna. Project: Motus, Mercadante Teatro Stabile di Napoli, Progetto Punta Corsara, Fondazione Campania dei Festival. In collaboration with: Galleria Toledo Teatro Stabile d’Innovazione, L’ Arboreto di Mondaino. Production: Motus, Theater der Welt 2008 in Halle, La Biennale Danza di Venezia, Lux-Scène National de Valence, Istituzione Musica Teatro Eventi-Comune di Rimini Progetto Reti. With the support of: Provincia di Rimini, Regione Emilia Romagna POGAS – Politiche Giovanili e Attività Sportive, Ministero per i Beni e le Attività Culturali.

 

X(ics) Racconti crudeli della giovinezza [X.03 third movement – Halle-Neustadt]

Concept and Direction: Enrico Casagrande and Daniela Nicolò. With: Lidia Aluigi, Silvia Calderoni, Sergio Policicchio, Mario Ponce-Enrile, Ines Quosdorf. On screen: Silvia Calderoni, Sergio Policicchio, Denis Kuhnert, Karl Haußmann, Sabine Bock, Toni Bernhardt, Susanne Sudol, Adreas Berger and the Bands: Foulse Jockers (I), Tomorrow Never Come (F), Types of Erin (D) Bring me to my 2nd burial (D). Video production: Motus and Francesco Borghesi (p-bart.com). Camera: Francesco Borghesi, Daniela Nicolò. Video compositing: Francesco Borghesi. Text compositing: Daniela Nicolò. Audio compositing: Enrico Casagrande. Sound design: Roberto Pozzi. Technical management: Giorgio Ritucci. Live music: Ines Quosdorf, Sergio Policicchio, Mario Ponce-Enrile. Props: Giancarlo Bianchini Arto-Zat, Erich Turroni-Laboratorio dell’imperfetto. Lights: Daniela Nicolò. Set concept: Fabio Ferrini. Production: Motus, Theater der Welt 2008 in Halle, Mittelfest 2008, Istituzione Musica Teatro Eventi- Comune di Rimini Progetto Reti, Lux-Scène National de Valence (France), La Biennale Danza di Venezia. In collaboration with: L’Arboreto of Mondaino, Teatro della Regina – Cattolica, Teatro Petrella – Longiano. With the support of: Provincia di Rimini Ministero per i Beni e le Attività Culturali, progetto GECO – Ministero della Gioventù and Regione Emilia Romagna. Halle, Theater der Welt 2008 Festival, Neues Theater, 26 June 2008.

 

Crac

Performance. Concept and Direction: Enrico Casagrande and Daniela Nicolò. With: Silvia Calderoni. Visual design: Francesco Borghesi. Sound design: Enrico Casagrande and Roberto Pozzi. Props: Giancarlo Bianchini/Arto-Zat. Production: Motus. In collaboration with: L’Arboreto di Mondaino, Galleria Toledo Napoli, Museo d’Arte Contemporanea MADRE Napoli, Progetto Geco – Ministero della Gioventù Regione Emilia-Romagna. Museo Madre di Napoli, 25 May 2008.

 

X (ics) Racconti crudeli della giovinezza [X.02 second movement – Valence]

Concept and Direction: Enrico Casagrande and Daniela Nicolò. With: Silvia Calderoni, Dany Greggio, Sergio Policicchio, Mario Ponce-Enrile. On screen: Adriano Donati, Sid-Hamed Mechta, the bands Foulse Jockers and Tomorrow Never Came. Video: Motus & Francesco Borghesi (p-bart.com). Camera: Francesco Borghesi, Daniela Nicolò . Video compositing: Francesco Borghesi. Text compositing: Daniela Nicolò. Sound compositing: Enrico Casagrande. Sound design: Roberto Pozzi. Lights: Daniela Nicolò. Props: Erich Turroni – Laboratorio dell’imperfetto. Set consultancy: Fabio Ferrini. Technical Management: Giorgio Ritucci. Production: Motus, La Biennale Danza di Venezia, Lux-Scène National de Valence, Theater der Welt 2008 in Halle, Istituzione Musica Teatro Eventi – Comune di Rimini Progetto Reti. In the collaboration with L’Arboreto di Mondaino, La Comédie de Valence. With the support of Provincia di Rimini, Ministero per i Beni e le Attività Culturali, progetto GECO – Ministero della Gioventù e Regione Emilia Romagna. Comédie de Valence – Théâtre de la Ville, Valence, 15 November 2007.

 

X (ics) – Racconti crudeli della giovinezza [X.01 first movement]

Concept and Direction: Enrico Casagrande and Daniela Nicolò. With: Silvia Calderoni, Nicoletta Fabbri, Dany Greggio, Sergio Policicchio, Alexandre Rossi. On screen: Adriano and Lucio Donati and the band Foulse Jockers. Video: Motus & Francesco Borghesi (p-bart.com), with the collaboration of Camera Stylo. Camera: Francesco Borghesi, Daniela Nicolò, Stefano Bisulli. Video compositing: Francesco Borghesi.
Text compositing: Daniela Nicolò. Audio compositing: Enrico Casagrande. Sound design: Roberto Pozzi. Live music: Dany Greggio and Sergio Policicchio. Technical management: Giorgio Ritucci. Props: Erich Turroni – Laboratorio dell’imperfetto. Lights: Daniela Nicolò. Set consultancy: Fabio Ferrini. Production: Motus, La Biennale Danza di Venezia, Lux-Scène National de Valence (Francia), Theater der Welt 2008 in Halle (Germania), Istituzione Musica Teatro Eventi – Comune di Rimini Progetto Reti. With the collaboration of: AMAT, Civitanova Danza, Comune di Fano – Assessorato alla Cultura, Provincia di Rimini – Assessorato alla Cultura, Santarcangelo 07 International Festival of the Arts, La Comédie de Valence. With the support of: Regione Emilia Romagna, Ministero per i Beni e le Attività Culturali Venezia. La Biennale Danza di Venezia, Tesa delle Vergini, 27 June 2007.

 

Junkspace –performance

Concept and Direction: Enrico Casagrande and Daniela Nicolò. With: Silvia Calderoni and Sergio Policicchio. Video: Francesco Borghesi.
Audio compositing: Enrico Casagrande. Sound design: Roberto Pozzi. Production: Motus. Prato, Festival Contemporanea, Museo Pecci, 5 June 2007.

 

Rumore Rosa

Concept and Direction: Enrico Casagrande and Daniela Nicolò. With: Silvia Calderoni, Nicoletta Fabbri, Emanuela Villagrossi. In the collaboration with: Dany Greggio. Illustration: Filippo Letizi. Visuals: p-bart.com. Technical assistance: Pier Paolo Paolizzi. Sound: Nico Carrieri. Costume design: Ennio Capasa for Costume National. Production: Motus. In collaboration with: Festival delle Colline Torinesi, Drodesera>Centrale Fies, L’Arboreto di Mondaino. Technical and creative support from: Istituto Europeo di Design of Milano, IED Moda Lab, IED Arti Visive. With the support of Regione Emilia Romagna, Provincia di Rimini. Torino, Festival delle Colline Torinesi, Cavallerizza Reale, 7 June 2006.

 

A place. [that again]

Performance dedicated to Samuel Beckett. Concept and Direction: Enrico Casagrande and Daniela Nicolò. Video: Simona Diacci and Daniela Nicolò. Motion graphics and video editing: p-bart.com. On screen: Silvia Calderoni and Gaetano Liberti. Voice over: Emanuela Villagrossi and Dany Greggio. Scandicci (FI), 1906 Beckettcentoanni 2006 Teatro Studio, 6 March 2006.

 

Dammit!

Performance inspired by Toby Dammit by Federico Fellini. Concept and Direction: Enrico Casagrande and Daniela Nicolò. Video editing: Enrico Casagrande. Lights: Daniela Nicolò. Sound: Nico Carrieri. With: Nicoletta Fabbri, Dany Greggio, Elisa Bartolucci e Ofelia Bartolucci. Rimini, Rocca Malatestiana, 16 December 2005.

 

Piccoli Episodi di Fascismo Quotidiano, enquiries on Pre-paradise sorry now by Rainer Werner Fassbinder.

Ideazione e regia: Enrico Casagrande e Daniela Nicolò. Consulenza letteraria e musicale: Luca Scarlini. Assistenza alla regia: Marco Di Stefano. Editing audio e fonica: Nico Carrieri ed Enrico Casagrande. Immagini video: Daniela Nicolò e Simona Diacci. In scena: Dany Greggio e Caterina Silva. Partecipazione in video di: Silvia Calderoni e Gaetano Liberti. Produzione: Motus. Con il sostegno di: L’Arboreto di Mondaino. Mondaino (Rn), Teatro Dimora – L’arboreto. 21 maggio 2005.

 

Mamma mia!

Performance/Reading based on the novel Petrolio by Pier Paolo Pasolini. Concept and Direction: Enrico Casagrande and Daniela Nicolò. Audio editing: Daniela Nicolò, Enrico Casagrande. Video: Simona Diacci and Daniela Nicolò. Video editing: Daniele Quadrelli and Simona Diacci. With: Emanuela Villagrossi. On screen: Emanuela Villagrossi and Daniele Quadrelli. Production: Motus and TNB Théâtre National de Bretagne, in collaboration with Teatro Mercadante – Progetto Petrolio. Roma, Raccordi Letteratura e Teatro, Casa delle Letterature, 13 July 2004.

 

L’ ospite

Based on Pier Paolo Pasolini’s novel Teorema. Concept and direction: Enrico Casagrande and Daniela Nicolò. Literary consultation: Luca Scarlini. Script: Daniela Nicolò. Sound: Enrico Casagrande. Video shooting: Simona Diacci and Daniela Nicolò. Video editing: Simona Diacci and Enrico Casagrande. Motion Graphics: p-bart.com. Set designer: Fabio Ferrini. Stage setting: Plastikart Istvan Zimmermann and Amoroso. Technical management: Michele Altana. Sound: Carlo Bottos. Light project: Gwendal Malard. Costume design: Ennio Capasa for Costume National. With: Catia Dalla Muta, Dany Greggio, Franck Provvedi, Daniele Quadrelli, Caterina Silva, Emanuela Villagrossi. Production: Motus and Théâtre National de Bretagne, Rennes. In collaboration with: Festival di Santarcangelo, La Ferme du Buisson – Scène National de Marne-La-Vallée, Teatro Sanzio – Urbino, Teatro Lauro Rossi – Macerata and A.M.A.T. With the support of: Provincia di Rimini, Regione Emilia Romagna. Rennes, T.N.B. Théâtre National de Bretagne, 20 April 2004.

 

Come un cane senza padrone

Notes for the upcoming show L’ospite. Concept and direction: Enrico Casagrande and Daniela Nicolò. Texts and graphics editing: Daniela Nicolò. Audio editing: Enrico Casagrande. Video editing: Simona Diacci. Video contribution engineering: Giovanni Girelli. Sound: Carlo Bottos. Technical assistance: Michele Altana. Suits: Ennio Capasa for Costume National. With: Emanuela Villagrossi, Dany Greggio and Franck Provvedi. Production: Motus, Théâtre National de Bretagne. In collaboration with: Teatro Mercadante di Napoli – Petrolio project. With the support of Provincia di Rimini and Regione Emilia Romagna. Napoli, Petrolio project by Mario Martone for Teatro Mercadante, Ex Italsider of Bagnoli, 29 November 2003.

 

Splendid’s

Inspired to Jean Genet’s Splendid’s, devised for the project Rooms. Direction: Daniela Nicolò and Enrico Casagrande. Italian translation: Franco Quadri. Literary and musical consultancy: Luca Scarlini. Costume design: Ennio Capasa for Costume National. With: Vladimir Aleksic, Enrico Casagrande, Renaud Chauré, Dany Greggio, Tommaso Maltoni, Francesco Montanari, Daniele Quadrelli, Damir Todorovic. The voice on the radio: Luca Scarlini. Production: Motus, Kampnagel Internationale Kulturfabrik – Hamburg, Santarcangelo dei Teatri, Teatro Sanzio/Municipality of Urbino. In collaboration with: Ente Teatrale Italiano, Infinito ltd Gallery – Torino, Xing – Bologna, Comune di Rimini, Provincia of Rimini, Regione Emilia Romagna. Roma, Cercando I teatri, Grand Hotel Plaza, 3 May 2002.

 

Twin Rooms

Devised for the project Rooms. Concept and direction: Enrico Casagrande and Daniela Nicolò. Stage design: Fabio Ferrini. Audio editing: Enrico Casagrande. Sound: Carlo Bottos. Lights: Daniela Nicolò. Video consultancy: Frederic Fasano, Massimo Salvucci (Studio Nino). Operator: Barbara Fantini, Frederic Fasano. Mixer video: Tommaso Maltoni. Construction and technical management: Tommaso Maltoni in collaboration with Dany Greggio. With: Vladimir Aleksic, Renaud Chauré, Eva Geatti, Dany Greggio, Caterina Silva, Damir Todorovic. Production: Motus and La Biennale di Venezia. In collaboration with: Teatro Sanzio/Comune di Urbino, Kampnagel Internationale Kulturfabrik – Hamburg, Santarcangelo dei Teatri, Infinito ltd Gallery – Torino, Xing – Bologna. With the support of: Ente Teatrale Italiano, Provincia di Rimini, Regione Emilia Romagna. Venezia, Temps d’Image – La Biennale di Venezia Theatre section, Teatro Piccolo Arsenale, 9 February 2002.

 

Vacancy Room

Concept and direction: Enrico Casagrande and Daniela Nicolò. Sound design: Enrico Casagrande with the collaboration of Teho Teardo. Lights: Daniela Nicolò with the collaboration of Fabrizio Piro. Sound: Carlo Bottos. Stage design: Fabio Ferrini.
Construction and technical management: Tommaso Maltoni, Dany Greggio and Nicola Toffolini. With: Vladimir Aleksic, Renaud Chauré, Eva Geatti, Tommaso Granelli, Dany Greggio, Caterina Silva, Damir Todorovic. Production: Motus. In collaboration with: Teatro Sanzio/Comune di Urbino, Kampnagel International Kulturfabrik – Hamburg, Santarcangelo dei Teatri, Infinito ltd Gallery – Torino. With the support of: Xing – Bologna, ETI Ente Teatrale Italiano, Provincia di Rimini, Regione Emilia Romagna.
Rimini, Santarcangelo dei Teatri, Teatro degli Atti, 6 July 2001.

 

Room 393, we’ll slide down the surface of things

Performance designed for the project Rooms. Concept and direction: Enrico Casagrande and Daniela Nicolò. Room design: Fabio Ferrini. Room building: Tommaso Maltoni in collaboration with Dany Greggio. With: Dany Greggio and Cristina Negrini. Prato, Alveare/Contemporanea ’01 project, Museo Pecci, 25 May 2001.

 

Visio Gloriosa

Inspired to Le parole dell’estasi by Maria Maddalena de Pazzi. Direction: Enrico Casagrande and Daniela Nicolò. Water Machines: Tommaso Maltoni and Luca Mazzali in collaboration with Stephan Duve. Music: Massimo Carozzi and Enrico Casagrande. Sound: Carlo Bottos. Clothes: Manuella Nisca Bonci and Olivia Spinelli. With: Vladimir Aleksic, Anna De Manincor, Catia Dalla Muta, Dany Greggio, Tommaso Maltoni, Cristina Negrini, Anna Rispoli, Damir Todorovic. Production: Motus and Teatro di Roma. Roma, Sette spettacoli per un nuovo teatro italiano per il 2000, Teatro Argentina, 19 July 2000.

 

Good Morning

Performance inspired to the show Orpheus Glance. Concept and direction: Enrico Casagrande and Daniela Nicolò. With: Dany Greggio and Cristina Negrini. Riccione, Riccione TTV, 9 June 2000.

 

Orpheus Glance

Dedicated to J.Cocteau and Nick Cave. Script and lights: Daniela Nicolò. Direction: Enrico Casagrande. Music: Enrico Casagrande and Massimo Carozzi. Sound: Carlo Bottos. With: Dany Greggio, Enrico Casagrande, Cristina Negrini, Tommaso Maltoni, Mackita. Production: Motus, CRT di Milano. Bari, Teatro Kismet Opera, 30 March 2000.

 

L’occhio belva – remake

Direction: Enrico Casagrande. Focus: Daniela Nicolò. Floor graphics: Francesco Riccioli. Sound entities: Claudio Bandello, Marco Montanari. Sound editing: END. Sound: Giancarlo Bianchini. With: Enrico Casagrande, Katiusha Fantini, Tommaso Maltoni, Daniela Nicolò, Cristina and Daniela Negrini, Monica Pratelli, David Zamagni. Verona, Prototipo project organized by Fanny & Alexander, Masque Teatro, Motus, Teatrino Clandestino and Interzona in collaboration with Biennale di Venezia – settore Teatro, Stazione Frigorifera Specializzata Interzona – Ex Magazzini Generali, 7 October 1999.

 

Êtrangeté. Lo sguardo azzurro

Special event for Santarcangelo Festival. Direction and music: Enrico Casagrande, Daniela Nicolò. With: Giancarlo Bianchini, Enrico Casagrande, Tommaso Maltoni, Cristina and Daniela Negrini, Daniela Nicolò, David Zamagni, Mackita.
Santarcangelo, Santarcangelo dei Teatri, Palazzo Cenci, 3 July 1999.

 

étrange (être-ange)

Performance/installation inspired to the Duino Elegies by Rainer Maria Rilke. Direction: Enrico Casagrande, Daniela Nicolò, David Zamagni. Scenography: AZT. Music: Enrico Casagrande. With: Enrico Casagrande, Cristina Negrini, Daniela Nicolò, David Zamagni. Milano, Teatri 90, Teatro Franco Parenti, 5 February 1999.

 

Aureole

Performance. Direction and music: Enrico Casagrande. With: Daniela Nicolò and David Zamagni. Urbino, Teatri Altrove, 1 December 1998.

 

Overhead Orpheus

Closing show for a workshop inspired to Sonnets to Orpheus by Rainer Maria Rilke.
Direction: Enrico Casagrande and Daniela Nicolò. Script: Mirella Violato, Maia Salkic. Sound: Giancarlo Bianchini. With: Mirza Pasic, Miralem Musabegoric, Sead Zuhric, Ramajana Denanovic, Meida Supuk, Adriana Gligorijevic, Tatiana Mazali, Duarte Barrilaro Ruas, Cristina Negrini, Susanna Scarpa, David Zamagni, Giancarlo Bianchini. Sarajevo, Biennale of Young Artists from Europe and the Mediterranean, Skenderje, 8 October 1998.

 

Merry go Round

Performance inspired to Orlando Furioso by Enrico Casagrande, Daniela Nicolò, David Zamagni. Scenes e music: AZT and Enrico Casagrande. Lights: Enzo Fascetto Sivillo. With: Giancarlo Bianchini, Enrico Casagrande, Cristina Negrini, Daniela Nicolò, David and Cristina Zamagni. Milano, Subway, Galleria Vittorio Emanuele, 23 June 1998.

 

O.F. ovvero Orlando Furioso impunemente eseguito da Motus

Direction: Enrico Casagrande, Daniela Nicolò, David Zamagni. Scenes and music: AZT and Enrico Casagrande. Lights: Enzo Fascetto Sivillo. With: Giancarlo Bianchini, Enrico Casagrande, Cristina Negrini, Daniela Nicolò, David and Cristina Zamagni. Milano, Teatri ‘90, Rotonda della Besana, 20 February 1998.

 

Blur

Installation/performance by Motus for Laundromat Onda Blu. Milano, Bologna, Rimini, 16 October 1997.

 

Tracce verso Orlando Furioso

Direction: Enrico Casagrande, Daniela Nicolò, David Zamagni. Scene and sound: AZT and Enrico Casagrande. Light: Enzo Fascetta Sivillo. Music: LOST LEGION. With: Giancarlo Bianchini, Enrico Casagrande, Cristina Negrini, Daniela Nicolò, David and Cristina Zamagni.
TK. n.1. Rimini, Iperbolica, QUICK , 31 May 1997;
TK. n.2. Asti, Asti Teatro, palestra comunale, 4 July 1997;
TK. n.3. Volterra, VolterraTeatro, palestra Docciola, 24 July 1997;
TK. n.4. Bologna, Bologna Sogna, Torri di Kenzo Tange, 1 August 1997;
TK. n.5. Bergamo, Chiesa Sant’Agostino, 20 September 1997;
TK. n.6. Urbino, Teatri Altrove, Rampa di Palazzo Ducale, 6 December 1997.

 

Expeau

Performance for the Occupied Social Center Conchetta. Direction: Enrico Casagrande and Daniela Nicolò. Sound: AZT. With: David and Cristina Zamagni. Milano, CSO Conchetta, 22 March 1997.

 

Radio Trance

Stage setting and lights for the concert/rave of Mau Mau, Omega Tribe and Gnawa. Torino, Salone della Musica, Lingotto, 10 October 1996.

 

Catrame

Inspired to The Atrocity Exhibition by James G. Ballard.
Direction: Enrico Casagrande. Scenes and music: AZT. Images: Barbiturici. Graphics: Daniela Nicolò. With: Giancarlo Bianchini, Enrico Casagrande, Daniela Nicolò, David e Cristina Zamagni. Longiano (FC), Teatro Petrella, 19 April 1996.

 

Maremmosso

Performance by Daniela Nicolò for voice and computer LC630. Tredozio (FC), Giardini, 16 August 1995.

 

Crash

Installation/performance dedicated to James G.Ballard. Edited by: Enrico Casagrande, Daniela Nicolò, David Zamagni. Rimini, Contemporary Art Gallery (Ex hospital), 2 August 1995.

 

Acts

Installation super 8. By: Enrico Casagrande, Daniela Nicolò, David Zamagni. Rovigo, Opera prima – Martino Ferrari Festival, 9 June 1995.

 

L’occhio belva

Inspired to the latest literary production by Samuel Beckett
Direction: Enrico Casagrande. Focus: Daniela Nicolò. Sound: Claudio Bandello, Marco Montanari. Super 8: Motus/Sistemi Rudimentali, David Zamagni. With: Giancarlo Bianchini, Enrico Casagrande, Nicola Fronzoni, Daniela Nicolò, Sabrina and Simona Palmieri, Monica Pratelli, David Zamagni. Verona, Stazione Frigorifera Specializzata Interzona, Ex Magazzini Generali, 2 December 1994.

 

Strade secondarie

Script: Daniela Nicolò. Direction: Enrico Casagrande. Sound: Eugenio Sideri. With: Giancarlo Bianchini, Daniela Nicolò, Nicola Fronzoni, David Zamagni, Sabrina and Simona Palmieri. Organization: Cristina Zamagni, Luisa Zani. Roncofreddo (FC), ExCasa del Fascio, 6 September 1994.

 

Onda d’urto. Accadimento III.

Script: Daniela Nicolò. Direction: Enrico Casagrande. Sound: Eugenio Sideri. With: Enrico Casagrande, Daniela Nicolò, Remigiusz Dobrowolski, Alessandro Zanchini, Sabrina and Simona Palmieri. Senigallia (AN), Senigallia Arte Viva, 1 August 1994.

 

Never see, never find, no end no matter. Accadimento II.

Script: Daniela Nicolò. Direction: Enrico Casagrande. Video: Tecniche Blu. With: Enrico Casagrande, Daniela Nicolò, Remigiusz Dobrowolski, Alessandro Zanchini, Sabrina and Simona Palmieri. Ravenna, Valtorto Autogestito, 29 May 1994.

 

In-giuria. Accadimento I.

Script: Daniela Nicolò. Direction: Enrico Casagrande. Music: Massimo Casadei Dalla Chiesa. With: Enrico Casagrande, Daniela Nicolò, Remigiusz Dobrowolski, Alessandro Zanchini, Sabrina and Simona Palmieri. Bertinoro (FC), Ramo Rosso, 8 April 1994.

 

Cassandra. Interrogazioni sulla necessità dello sguardo

Inspired to Cassandra by Christa Wolf. Script: Daniela Nicolò. Direction: Enrico Casagrande. Music: Massimo Casadei Dalla Chiesa. With: Enrico Casagrande, Daniela Nicolò, Remigiusz Dobrowolski, Alessandro Zanchini, Abdelhak Elbauddiui. San Giovanni in Marignano (RN), Santarcangelo per Sarajevo, Motus residence house, 30 October 1993.

 

Kataba

Performance inspired to Fantasia by Abdel Wahab Meddeb.
Direction: Enrico Casagrande and Daniela Nicolò. With: Abdel Kader Bouzaffour, Abdelhak Elbauddiui, Daniela Nicolò, Noureddine, Alessandro Zanchini. Ravenna, In centro c’é spettacolo Festival, 6 September 1993.

 

Aid. Zona ad alta tensione

Inspired to texts by Tahar Ben Jelloun and Assia Djebar. Script: Daniela Nicolò. Direction: Enrico Casagrande. Scenic U-topos: Francesco Riccioli. Super 8: Alan Crescente. Sound: Eugenio Sideri. Lights: Simona Palmieri. With: Enrico Casagrande, Daniela Nicolò, Alessandro Zanchini. Ravenna, Teatro Rasi, 27 May 1993.

 

Sistemi rudimentali

Performance/video installation. Direction: Enrico Casagrande and Daniela Nicolò. Music: Fernando Del Verme. With: Emiliano Ceccarini, Daniela Nicolò, Francesco Riccioli, Alan Crescente. Rimini, Ex Chiesa S.Maria ad Nives, 4 December 1992.

 

Ripartire da lì

Inspired to Texts for Nothing by Samuel Beckett.
Direction: Enrico Casagrande and Daniela Nicolò. Music: Fernando Del Verme. With: Emiliano Ceccarini, Daniela Nicolò, Francesco Riccioli, Alan Crescente. Ravenna, In centro c’è spettacolo Festival, 16 September 1992.

 

Strada principale e strade secondarie

Inspired to Paul Klee and Samuel Beckett.
Direction: Enrico Casagrande. Music: Fernando Del Verme, Domenico Filizzola, Coco. With: Emiliano Ceccarini, Daniela Nicolò, Francesco Riccioli. Forlì, Sogni Onomatopeici Festival, Gym in Piazzale della Libertà, 31 March 1992.

 

Stati d’Assedio

Inspired to The state of siege by Albert Camus.
Direction: Enrico Casagrande and Daniela Nicolò. Music: Roberto Galvani. With: Alessandra Carlini, Enrico Casagrande, Emiliano Ceccarini, Daniela Nicolò, and the partecipation of Marco Bertozzi, Mimmi Bertozzi, Riccardo Maneglia. Rimini, Cortile degli Agostiniani, 8 March 1991.

About FRANKENSTEIN (A LOVE STORY)

 

Frankenstein (a love story) is properly “une valse à trois temps” played out between wakefulness and sleep,
between three figures that end up overlapping. “I contain Victor who contains the Creature who contains Mary Shelley who contains Victor,” and so on, like Russian dolls inside each other. But to whom does that “I” belong? In the end all three are on stage, united by the mask of a monster claiming the right to have another companion similar to her, the right to reproduce freely. We are symbionts on a symbiotic planet, they had already said. What distinguishes the human from other biological creatures? What distinguishes him from machines? Perhaps it is time for a new species, to give life to inanimate matter, to think of an artificial machine capable of growing, of multiplying. Perhaps it is the last door that opens in front of the viewer.

Gianni Manzella – Il Manifesto – 21^th October 2023

 

 

Motus have continued to challenge the consciousness and prejudices of their audiences on issues of diversity and identity with imaginative and radical performances, such as this Frankenstein (a love story)(..) which rereads the legend of the monster invented in the laboratory by scientist Victor Frankenstein from Mary Shelley’s mighty novel. Philosophical and sci-fi, visionary and (almost) technological, that story is intertwined in Motus’ work with the author’s restless, complex and often painful biography, and with recent gender studies, posthuman philosophy, and theories of interspeciesism, merged in a dramaturgy by Ilenia Caleo.

Anna Bandettini – La Repubblica – 20^th October 2023

 

 

In this game of mirrors, the Rimini-based company inserts a whole series of scientific-anthropological and science fiction visions-through the work of dramaturgical rewriting, such as those of philosopher Donna Haraway, head of the cyborg theory (a branch of feminist thought that studies the relationship between science and gender identity) or Lynn Margulls the biologist creator of “Endosymbiotic Theory,” visions aimed at integrating and jolting the myth of Frankensteinin a total “here and now,” transforming it into a work immersed in the madness of the world, a body-work on which are reflected all the nightmares of a reality that, unfortunately, no longer struggles to contain them, so much so that it is invaded and impregnated by them. A reality in which more and more human and other species creatures who do not have power, possessions, money do not even have rights. In the end, the real and only monster in this story is egotism.

Alessandro Fogli – Corriere Romagna – 17^th  October 2023

 

The term “monster” comes from the Latin word “monstrum,” which means, according to the Treccani dictionary,
“prodigy,” “portentous, exceptional fact or phenomenon, in either a positive or negative sense” (…) I mean, in short, that I believe that “Frankenstein (a love story)” – conceived and directed by Daniela Nicolò and Enrico Casagrande, dramaturgy by Ilenia Caleo – is based, with extraordinary acumen and inventiveness, on this stance, at once surprising and convincing: the “monster,” here, is the creative act of the artist, considered both at the point of conception and at the point of execution.
This is, almost needless to add, an absolutely well-founded stance: given the fact that the story of the Creature and its creator does not unfold naturally, that is, by itself, but always results from the mediation of someone.

Enrico Fiore – Controscena.net – 14^h  October 2023

 

Press Review FRANKENSTEIN (a love story)

 

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About TUTTO BRUCIA

 

“With each new creation of Motus, there are questions that remain and that they pursue through the theatrical resource as political and poetic activism. The tragedy of migrants is one of these themes.[…] A play that carries with it a trans-feminist manifesto, announced at the end by Hecuba (Silvia Calderoni), which opens up the possibility of a new world, founded and raised by strong women, with a voice and much to say. It is also a hymn to transformation, to reconnection with nature, to attachment to those vital issues that are part of the landscape of the planet we are destroying.”

Claudia Galhós – Expresso – 5^th October 2022

 

“A lunar play, because perhaps we have turned the world into an uninhabitable place like the moon. A play that takes Euripides’ The Trojans as its starting point to say things about the darkness of our world. Motus is one of the most interesting companies on the European stage. It makes dark and animalistic pieces, plays that are concerts, dances on fire.”

Javier Hernando Herráez – Teatron – 28^th September 2022

 

“With Jim Morrison tragedy met rock. Motus grabbed Nick Cave for the myth, shook Artaud to give us Antigone, and now Tutto brucia, that Enrico Casagrande and Daniela Nicolò extract from Euripides’ Trojan Women with Sartre’s pure words, is an authoritative scenic and sound bonfire.”

Rodolfo di Giammarco – La Repubblica – 16^th September 2021

 

“In Tutto brucia the two performers become bearers of tensive epigraphs, of a hypertrophic and ruinous phonetic gesture that shows the nakedness of the bodies and their surrender to destiny.”

Paolo Ruffini – liminateatri – 26^th September 2021

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About RIP IT UP AND START AGAIN

 

“We are born inside a stream made of images, words and sounds where everything is already a trading good and a signifier. Nothing is authentic anymore, and yet nothing is hopelessly lost. Because the great bet of Rip It Up and Start Again is that in the midst of all this retro passion it is still possible to find a longing for something absolutely new and unique”.

Pietro Bianchi – Dinamo Press – 07^th June 2019

 

“Motus do not stand as theatre veterans with a magical knowledge, but they cohabit the scene instead […] and cooperate to the writing alongside the students. They do not convey the bodies of the youths in a recitative mode, nor do they box them in a saleable product: they let them free to be themselves, to present themselves in the simplicity of a disruptive routine”.

Luca Sant’Ambrogio – Ktapp’s Last Post – 12^th June 2019

 

“The 15 young performers alternate at the microphone, they stand with their faces and voices, to make the rush of a race to the last karaoke resonate – a race that raffles the most desired prize: self-assertion, the struggle for existence and a transgressive resistance”.

Alessandra Pace – Milano Teatri – 10^th June 2019

 

Press Review RIP IT UP AND START AGAIN

 

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About PANORAMA

 

“A wonderful melting pot of ethnicities and cultures, everybody is a migrant. Mixed somatic traits spread on the screens, in the center and on the two sides, while there is a feverish activity at the tables on the scene sides. The entire world gets composed. To the point that Panorama becomes a political shout for the people’s right to be what they feel they are, right where they want to be”.

Mariateresa Surianello – Il Manifesto – 3^rd November 2018

 

“A corrosive intelligence which claims the freedom to transition, the right to non-belonging and to our irremediably mixed condition and declares that a place guaranteeing this freedom already exists: the Theatre, which is by definition the space of the nomadism of the self, of multiple and complex identities, without borders, a welcoming shelter”.

Anna Bandettini – la Repubblica – 6^th May 2018

 

“We are taught from childhood, if we’re lucky, that individuals are never merely the sum of their biological and sociological parts. But I have rarely seen a warmer or more engaging example of this defiance of statistics than “Panorama” […] You always leave a Motus production feeling you have spent time amid an ever-multiplying throng. Everybody onstage contains multitudes. […]  A strip tease in “Panorama” inevitably involves taking off a whole lot of layers. Once you hit bare flesh, though, you have by no means arrived at the end of the process. The shape, texture and color of that skin may offer some clues to the person within. But by now you’ve learned — more deeply than any ethics class could teach you — that surfaces are only the beginning, and that skins are made to be shed”.

Ben Brantley – The New York Times – 12^th January 2018

 

“Motus returns to one of its favorite haunts, La MaMa in the East Village, to consider the possibility of a world unfettered by nationalism — and, heck, even nationhood — in the sprawling performance piece “Panorama,” which suggests that to migrate is simply to do what comes naturally”.

Ben Brantley – The New York Times – 11^th January 2018

 

“Motus, as a touchstone of contemporary truth-telling, is ferocious and unflinching”.

Bob Schuman – Stage Voices – 11^th January 2018

 

“Animation, dance, music, and cheetos bring to life an infinitely imaginative world dominated by curiosity instead of borders. Panorama culminates in a dizzying and dazzling palimpsest of cross-body experiences leaving the audience gleefully unsure of where they begin or end”.

Adil Mansoor – Contemporary Performance – 10^th January 2018

 

“The show uses complex technology (video projections combining live feeds and recorded footage) in a way that feels organic throughout, but also has plenty of moments that feel decidedly scrappy. This paradox makes for incredible theater”.

YesBroadway – 7^th January 2018

 

Press review PANORAMA

 

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About ÜBER RAFFICHE (nude expanded version)

 

“As children that end up being unable to tell reality apart from fiction, blending art and life in their imagination, thus in « Über Raffiche » the spectator finds himself bewitched and unable to make an apparently logical gesture: that of standing up after having realized that the selfsame action is being repeated for the second or third time. […] In other words, the spectator is enthralled by the dramaturgy and wishes it would never end. An example of this adult magic which only theater can create, because only theater directly connects the performers’ emotions to the public’s emotions”.

Wlodek Goldkorn – L’Espresso – 17 July 2017

 

“The complexity of the atlas outlined by the vision and the writing of MOTUS is met with a determined directing choice which turns repetition, motor stereotypy, irony and hyperrealism into its strong points. […] The ability of the actresses to navigate among the elements of the score, the different speeds of the script, the rythm of the music and the reactions of the public, mesmerizes and leaves the spectators glued to their seats”.

Joele Sahel Schiavone – L’Amletico – 14 September 2017

 

“The wait is made lively by a growing climax, which is probably never carried to the extreme, yet includes a peak and an ending. These two elements, that are so opposed to the wonderful and endless suspended wait, to the enjoyable and insatiable growing rhythm, produce a break that is in sharp contrast with the loop effect”.

Manuela Rossetti – Krapp’s Last Post – 19 September 2017

 

Press review ÜBER RAFFICHE

 

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About MDLSX

 

“Silvia Calderoni must be made of mercury, or some improbably liquid element that has yet to be discovered. Surely no body of mortal flesh could undergo the quicksilver transformations achieved by this remarkable performer in “MDLSX,” a perceptions-scrambling work from the Italian revolutionary theater troupe Motus”.

Ben Brantley – The New York Times – 10^th January 2016

 

“I fell in love with a glossy lyricism that shines with fluorescent reflections, fleshy and inebriating colors; it seduced me with an exploded and embracing intimacy that subjugates distraction, gags it and forces it to watch”.

Lucia Medri – Teatro e Critica – 4^th September 2015

 

“Motus works on today’s open faults in a dense historical and cultural fabric, as they try to rethink the tools and the practices of theatre. […] The traits of Silvia’s character dissolve in a theatrical character, whose gender is fickle, because this is that to which the actor has been submitted, since the dawn of time. […] Motus and Silvia Calderoni remind us with disconcerting power that, once in character, the actor is neither male nor female”.

Jean Louis Perrier – Mouvement – 4^th August 2015

 

“On that slope one slips towards a heart of darkness that tells the difficult conquest of one’s own identity, outside of stereotypes and prejudice. That’s how we can make theatre in a political way”.

Gianni Manzella – Il Manifesto – 25^th July 2015

 

“A work on borders, music, the body, a gunky self, the image projected on a round on the back wall, that re-evokes and unveils details -like in glorious Rooms– that deviates, brings elsewhere, a giving oneself between truth and fiction, between waste and calculation, that asks of the audience to let themselves go on fire, to succumb, to put order back in those strong sensations, those just as strong conceptual stimuli, those existential slaps, those uncertain borders”.

Massimo Marino – Doppiozero.com – 23^rd July 2015

 

“… the audience remains hypnotized, moved, surprised, not so much because of the undoubtable formal beauty of what we see on stage, but more because of the performer’s extreme and radical courage. And also because of her talent, that brings together an almost animal spontaneity (since always one of her greatest gifts) and a quasi maniac control of each gesture and movement. […] It isn’t exhibitionism, on the contrary it is a radical embodiment (without the self-destruction that sometimes accompanies these kinds of performances) of one’s own gender identity”.

Wlodek Goldkorn – L’Espresso – 22^nd July 2015

 

Press review MDLSX

 

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About NELLA TEMPESTA

 

“The Motus Theater Company of Italy is the most truly revolutionary troupe in town. […] Nella Tempesta, which runs through Dec. 21 at the Ellen Stewart Theater at La MaMa, is a full-throated cry to the young and disaffected to get off their collective duffs, shake off their shackles and do something. Conceived and directed by Daniela Nicolò and Enrico Casagrande, this production turns a cast of six and an assortment of blankets into an 80-minute youthquake that seems likely to leave even cynical audience members shaken and stirred”.

Ben Brantley – The New York Times – 12^th December 2014

 

“BEST BET…A mind expanding new production from Italy’s Motus Theatre Company that masterfully illuminates contemporary political and climate change issues alongside text borrowed from Shakespeare”.

Keith Paul Medelis – Theatre Is Easy – 15^th December 2014

 

“An act of resistance not to get lost in this damned storm”.

Paolo Cervone – Il Corriere della Sera 

 

“Unconventional and provoking, for some irreverent, for most engaging, poetic and moving; in one word, Motus brings on stage, with Nella Tempesta, the last leg of an international creative process constantly hanging between past and future, and where classical masterpieces serve a reflection on the deformations of the present”.

Roberto Canavesi – TeatroTeatro.it

 

“Italian company Motus proposes an incursion in the lands of utopia, of dream, of theatre, but also of a certain activism… the initiators of the project and performers multiply the mises en abyme, but also attempt to gently awaken our social conscience”.

Lucie Renaud – lucierenaud.blogspot.com 

 

“Motus assimilated the lesson of the Living Theatre, but also made it pertinent to our contemporary cultural and media landscape”.

Laura Gemini – Dars

 

Press review NELLA TEMPESTA

 

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About SYRMA ANTIGONES

 

“For me, the biggest revelation this year is the ferocious Italian company Motus, whose Too Late! (antigone) contest #2 takes a series of well-worn parts (acting school animal exercises, modern spin on a classic text, meta-commentary) and plays them with such abandon and skill that they feel fresh. Acted (with supertitles) by two swaggering performers, Silvia Calderoni and Vladimir Aleksic, it boils down Greek tragedy to high-stakes power plays communicated in visceral theatrical gestures. It begins with a very tight hug that in an instant encapsulates the mix of love and violence that characterizes the relationships onstage”.

Jason Zinoman – New York Times – 12nd January 2011

 

“They lay siege to non-places in the outer cities or they stage different expressions of political anger, from Genet, Pasolini and Fassbinder to Antigone today. They dissect the texts, fragment them, the better to make the events speak which are shaking our world. The Italian company Motus is asking us direct questions”.

Bruno Tackles  – Mouvement – October-December 2010

 

“Motus seem to be really listening, able to note this willingness as a new urgency and to explain it, both interpreting the world by means of authentic theatre research and seeking to clarify and understand what their position might be in this world”.

Paolo Randazzo – Dramma.it – 13rd August 2010

 

“Refusing to do theatre that is sheltered from the world or to assume that “the outside doesn’t exist”, Motus adapts its formal research to the deterioration of the moment’s explosive political and social situation, making the theatre a place of memory for reflection as well as for action. Having become creators on the European scene who cannot be ignored, the members of the company Motus, poets of urgency, should be seen without delay!”

Catherine Robert – La Terrasse – February 2011

 

Press review SYRMA ANTIGONES

2021 – Motus wins the prestigious Critics’ Award of the National Association of Theatre Critics

 

 

October 2020 – MDLSX is awarded the prize Anima 2020 | theatre section

 

 

December 2018 – Enrico Casagrande and Daniela Nicolò are nominated as best director for Panorama at the UBU 2018 awards

 

 

July 2018 – New York: Panorama is nominated for Outstanding Innovative Design and Outstanding Performance Art Production at the Innovative Theatre Award

 

 

October 2017 – Sarajevo: Silvia Calderoni wins the prize as best performer for MDLSX at MESS Festival.

 

 

September 2017 – Dublin: Silvia Calderoni wins the prize as best performer for MDLSX at Dublin Fringe Festival.

 

 

March 2017 – Barcelona: Recomana awards the Premis de la Crìtica 2016 to MDLSX as best international show seen in Catalonia.

 

 

December 2016 – Bologna: MDLSX receives from Teatri di Vita the audience prize as best show of the year.

 

 

December 2016 – MDLSX is selected as one of the 10 best dance shows in Brazil by the magazine Jornal O Globo.

 

 

May 2014 – Paris: Nella Tempesta is finalist at the Prix Du Souffleur

 

 

April 2014 – Premio Turroni Città di Cesena per il teatro to Silvia Calderoni

 

 

November 2012 – Montréal (Canada): Jury of the Association of Theatre Critics of Quebec (A.Q.C.T.) has awarded to Motus’s Alexis. Una tragedia greca the prize for Best Foreign Performance for the season 2011-12. Reason: This theatre, grounded in the current socio-political reality as well as in the timeless figure of Antigone, has deeply shaken us. The creators dared staging their doubts, their questioning, while also showing and letting hear the inner process of the work. We salute the highly clever way in which the representation echoed the situation in Québec, linking, in a concrete and symbolic but also very touching way, the “Maple” Spring (le Printemps érable québécoise) to the popular demonstrations going on in the entire planet.

 

 

March 2010 – Milan: Silvia Calderoni was awarded the prestigious Ubu Prize (2009) as best actress under 30. Silvia has been with Motus uninterruptedly since 2006, becoming the leading figure in all the works.

 

 

December 2007 – Rimini: Motus received the “Sigismondo d’oro 2007″, a tribute paid to Rimini citizens whose activity has brought honour to the city. Reason: for having built up, setting out from the cultural matrix of the City and with a great deal of work, a significant group in the field of contemporary theatre which dialogues constantly within and outside this field; for the singularity of language and words, special expressions with which Motus affirm their own poetics at international level; for having taken the name of Rimini into the world, linking it to the art of theatre.

 

 

December 2002 – Milan: The Ubu Prizes judges awarded Motus the Special Ubu Prize for “the play of splitting images and narrative in the evolution of the Rooms Project”.

 

 

November 2000 – Milan: The Ubu Prizes judges awarded the Special Ubu Prize to the project “Prototipo”: “The project prototipo, independently run by Fanny&Alexander, Masque Teatro, Motus and Teatrino Clandestino at Interzona in Verona, in the context of the Venice Biennale, for the planning and implementation of a profitable experience of collaboration, in an extraordinary space, among young theatre companies “.

 

 

December 1999 – Milan: The Ubu Prizes judges awarded Motus the Special Ubu Prize: “For the insistent and creative coherency of visionary research into redesigning spaces and filtering myths through a spasmodic use of the body and the recovery of waste materials, on the sweeping wave of music “.

 

 

June 1999 – Naples: Prize awarded annually by the magazine “Lo Straniero” to “young talents” emerging in the fields of art and science. Motus was given the prize for the following reason: “After interesting and provocative rehearsals the group put on Orlando Furioso which, with a brilliant visual-sound aesthetic reminiscent of Romagnol origins (from Fellini to Casadei) but also sharing a post-modern collective imagination that runs from comics to photography, painting and fashion, tackled an ironic interpretation of the “crisis of the male”, particularly underscored by Deleuze and other analysts of our bizarre and troubled contemporaneity”.

 

 

May 1999 – Riccione: at the Riccione TTV Video-festival the Concorso Italia judges awarded Motus the Production Prize for the video “Orlando Furioso”, a reworking of the stage show “O.F. or Orlando Furioso”.