choreography Andrea Costanzo Martini
performances Gary Reagan, Alexandria Clair, Zina Nichenko
dramaturgy Yael Biegon-Citron
music A. Badalamenti, Pierre Bastien, Giacinto Scelsi, C. Gluck
costumes Shira Weiss 
lights Yoav Barel - Studio LaVoile
co-production Curtain Up Festival Israel, Balletti Martini

Emotional mimicry is the process by which we understand the other's emotion by mimicking their expressionor movement. The road to the other passes, even before language, through their face and thejoy, fear, disgust, curiosity, anger sadness it expresses. The performance/exhibition of feelings outwards helps us navigate, understand and express our needs to one another. But could they also be controlled and virtuosically manipulated to one's advantage?

Supported by
 

concept, choreography and direction Salvo Lombardo
performance Daria Greco, Salvo Lombardo
dj set Daniele Spano
dj set Bunny Dakota (aka Martina Ruggeri\Independent industry)
Chiasma production, Rome
with the support of MIC – Ministry of Culture
in collaboration with the Romaeuropa Foundation

Salvo Lombardo is an associate artist of the Laundry steam and of MILANOLTRE

Salvo Lombardo's Outdoor dance floor performance is conceived as a dance platform for spaces not dedicated to clubbing, through which the ballroom space is reinterpreted in unconventional spaces. Continuing the research on how the spaces of club culture open up a dimension in which dance and music become a territory of liberation of bodies, the performers Daria Greco and Salvo Lombardo invite the audience to join the dancing action after their performance.

Regional Premiere

Direction, scenes, costumes: Giorgia Cerruti
Adaptation of Pirandello's work by Fabrizio Sinisi
With Davide Giglio, Giorgia Cerruti, Woody Neri, Silvia Ferretti
Stage design, light design: Lucio Diana
Sound design, composition, sound: Guglielmo Diana
Company technician: Marco Ferrero
Light giver: Adriano Antonucci
Organization manager: Angelo Pastore
Company secretary: Emanuela Faiazza
A performance by Piccola Compagnia della Magnolia, in co-production with CTB/Centro Teatrale Bresciano, Operaestate Festival; with the support in residence of Scarti / Centro di Produzione Teatrale di Innovazione, La Spezia.

Part of the "Progetto Vulnerabili", this reinterpretation of the famous Pirandello's pièce arises from the director's curiosity for the architecture, for those masked characters who move in a fake palace and that no one seems to recognize. But also from the awareness that perhaps Enrico's madness is just a way to see better and live an alternative existence: a desire for transformation that is also a biological, theatrical, spiritual theme. From Enrico's hermitage, during which he  loses the only love of his life, his friends, his memories, accompanied by the anxiety of escaping the flowing time, a journey is born for four actors inside Pirandello's words.

"It seems that Enrico completes a hermitage of twelve years, during which he loses the only love of his life, his friends, his memories. And  the anxiety of escaping the flowing time increases. So, while everything passes , she - the loved woman - instead remains there, stuck in a frozen beauty, perfect in memory and in a feeling not experienced enough to become corrupted. There is something sinister in this plasticization that refuses death and corruption. I would try to understand the reason of this terror.
Giorgia Ceruti

National Premiere
Aerowaves 2023 selection

Concept & Choreography: Ioanna Paraskevopoulou
Performance: Georgios Kotsifakis, Ioanna Paraskevopoulou
Dramaturgy: Elena Novakovits
Audio Technical Support & Live Sound Design: Danis Chatzivasilakis
Lighting Design: Eliza Alexandropoulou
visual design: Bois Futuri
Video Engineer: Efthimis Tikellis
Set & Costume Design: Ioanna Paraskevopoulou
Wooden Constructions: Miltos Athanasiou
Poster Design: Bois Futuri
Photography: Pinelopi Gerasimou
Production Onassis STEGI
first performance part of the Onassis New Choreographers Festival 9
The presentation of ”MOS” and “LARSEN-C” at Operaestate Festival, is supported by Onassis STEGI, Athens, Outward Turn Program

Two performers play with a disparate series of images seeking to impart their own interpretation, resulting in an experience that is intensified by being distorted, paused and repeated. Paraskevopoulou’s MOS is a scenic game operating among the many hidden relations that exist between movement, sound, and image. Amplifying narratives that arise out of the mutual interplay and co-existence of seemingly incongruous archival sources, this piece brings visibility to elements that cannot easily be seen or heard.