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coreocabaret on the absurdities of modern economy
Debut: November 2015 / TEATRI DI VETRO FESTIVAL - ROMA



technical direction: LUCA TELLESCHI
special video-appearance: ATTILIO SCARPELLINI
props-set realisation: PAOLO MORELLI
produzione: ALDES - in collaborazione con Sardegna Teatro
with the support of: MIBACT/Direzione Generale Spettacolo dal vivo, REGIONE TOSCANA/Sistema Regionale dello Spettacolo
lenght: 1h
  • © ilaria scarpa
  • © ilaria scarpa
  • © ilaria scarpa
  • © ilaria scarpa
  • © Ilaria Scarpa
  • © Ilaria Scarpa

Treaty of economy comes from the encounter of two artists of different generation, environment, formation and artistic path, who discovered by chance to grow the same wish: the one of realizing a performance about the science aiming to free the humanity from the slavery of the need. After more than one year of readings, meetings, doubts, enthusiasms and crisis the project starts taking shape, a structure where economy, art and ethics tangle themselves with paradoxical effects.
The result is a performative project combining word and gesture, questioning about money and its worth, about its invasive omnipresence, and about its substantial lack of relationship with reality.
Staying at the margin of the contract in order to reveal its paradoxes, creating boundary situations and unsuitable questions, is the way to take back control, at least symbolically, of what we don’t understand and cannot control, overwhelming it with a liberating laugh.
If it’s the unpleasantness of a work to determine its worth, than is fair not compensating who loves what he does and overpaying who hates it. And if absurdly it was the competence to determine the fee, or more realistically the social class? Ten euros are just the pocket equivalent of ten quintals of gravel or ten kilos of potatoes? Why can I char my potatoes and not destroying a ten euros bill? Is it really mine, my money? The yellow gum ducks are a good investment? And the penis toys? The self-elimination of the more conscious individuals may be the solution of the environmental and economic problems of the planet? And who are the artists. What kind of job is their? What is the purpose of luxury? How can sausages save humanity?
This kind of almost endless amount of questions generates a kindly iconoclast variety show where is proved once more how the confusion and the discouragement are absolutely the most prolific and comical subjects.

ROBERTO CASTELLO - Choreographer, dancer, professor of performing arts, protagonist of Italian contemporary dance scene for thirty years, repeatedly Ubu Prize with his works, is director of ALDES and SPAM! Network for the performing arts.

ANDREA COSENTINO - Actor, writer, comedian and theater scholar. Among his performances 'La tartaruga in bicicletta in discesa va veloce', 'Il dittico del presente’ made up of 'L'asino albino' and 'Angelica' (the texts of which are published in Carla Romana Antolini (eds), Andrea Cosentino l’apocalisse comica, Editoria e spettacolo, 2008), 'Antò le Momò-avanspettacolo della crudeltà', 'Primi passi sulla luna' (published by ICT editions, 2013) and 'Not here not now'. He is the founder of PROJECT MARA'SAMORT, acting on a hypothesis of the theater of-with-on the edge, and promotes the autarkic paratelevised format 'Telemomò'.


(ita) Review  >>>


Lorenzo Guadagnucci interview / ALTRECONOMIA (n.182 - May 2016) >>>



Nucleo art-zine - Speciale Tdv 9 - Valeria Loprieno - November 10th, 2015
“If we add together the unbridled irony and sagacity of one of the most influential comic actors of the Italian theatre scene and the irreverence and originality of one of the most appreciated contemporary dance choreographers, the result has to be surprising. [...] The comparisons between a rubber duck and a rubber phallus follow one another with disarming strength, an overflow of irony and comedy spiced with very serious concepts which, thinking about them as you leave the theatre, are the basis of our daily lives. [...] The grandeur of the performance proves to be the juxtaposition of this economic principle with the art world [...] In the meantime, you are enveloped in countless references which are more (Jan Fabre, William Forsythe and Pina Bausch) and less (Antonella Clerici) refined [...] A perfect work in timing, script and spatial and muscular dynamics, one that must absolutely be seen again and again.”