invention and direction Matteo Maffesanti
assistant director Irene Cordioli
with Jessica Pasetto, Mirko Tomezzoli, Teresa Noronha Feio
soundscape Davide Pachera
choreographic consulting Andrea Rampazzo
dramaturgical consulting Elisabetta Consonni
light design Luca Serafini
styling Luciana Gastaldelli
costumes Il Giracose
conversations Beatrice Bresolin
stage photos Anna Kushnirenko
curation Carlo Cordioli
organisation Giulia Conforto
administration Claudia Casalini
production Cultural Association Zebra / Elevator Bunker
co-production Operaestate Festival Veneto
with the support of Logistica uno s.r.l.
project partners La Corte Ospitale, FDE Festival Danza Estate

National Premiere

Flamingo, the new show by the Elevator Bunker collective, is built around the idea of how the gaze is transformed when the known escapes its expected form and, at the same time, reflects on the mechanisms of judgement that emerge when what seemed known is presented as other. In the attempt to pursue an identical, as a response to a norm imposed by an external director, the plurality, the diversity of desires manifest themselves: everything is the same but different.
The choreographic structure is a modular sequence of eight actions, repeated several times. The repetition opens up the possibility of variations and interferences of rhythm, dynamics, presences and meanings in a potentially infinite sequence of possibilities of identities and relationships.

Elevator Bunker is an artistic collective supported by the cultural association Zebra.
It was born in 2008 from an idea by Davide Pachera and Matteo Maffesanti as an active response to the desire for artistic research in the field of cognitive disability. Since 2013, with the support of Operaestate Festival Veneto, the collective has realised the performances Shoe and Bestiario Universale. These projects mark an important moment in its artistic history and anticipate the deepening that characterises subsequent works. Elevator Bunker is part of Europe Beyond Access Italia, a network that promotes accessibility and inclusion in the performing arts, raising awareness, sharing good practices and encouraging the participation and leadership of artists and cultural workers with disabilities. In 2023 he realised the performance Delivery, produced by the cultural association Zebra and co-produced by Fondazione Teatro Comunale di Vicenza, with the support of Operaestate Festival Veneto and La Corte Ospitale.

concept, artistic direction Benjamin Kahn
performance Théo Aucremanne
dramaturgy Youness Anzane
light design Jan Fedinger
sound design Gagi Petrovic
sound engineer Sammy Bichon
light engineer Neills Doucet
executive production Actoral Marseille
touring Sandrine Barrasso
co-production and residencies KLAP Maison pour la danse, Festival de Marseille, Les Halles de Schaerbeek
thanks to Studio Thor, with the support of la Compagnie Thor / Thierry Smits, Les Halles de Schaerbeek, Léonard Degoulet and Louis Daurat

The Blue Hour is part of a trilogy of three solos choreographed by Benjamin Kahn for the three dancers taking part: Cherish Menzo, Sati Veyrunes and Théo Aucremanne, and painting the picture of a generation grappling with ecological, political and social emergencies. In counterpoint to the two previous solos, The Blue Hour is a portrait of the young dancer Théo Aucremanne. The performance and the original soundtrack suggest the different states that Benjamin Kahn invites us to explore. The substance of the dance seems to be constantly reshaped in a process of construction and deconstruction. Sleepy and fragile, we are at the dawn of a new awakening. Here there is neither fear, nor protest, nor struggle, but an intense, silent waiting fuelled by hope in another world: the world after silence.

conception, choreography, direction Jacopo Jenna
choreography collaboration Mattia Quintavalle SLY
dance Simone De Giovanni, Petra Audrey Mangoua Youaleu, Phex
sound Alberto Ricca / Bienoise
technical direction and lighting Mattia Bagnoli
organisation Luisa Zuffo
production KLM - Kinkaleri
with the support of OperaEstate Festival, MilanOltre Festival, Fabbrica Europa

National Premiere

Jacopo Jenna's new project is a research on the composite, rhythmic, plastic, relational use of hand movement and arm articulations.
Hands are the distinctive organ of mankind, they are faces without eyes, but seeing and speaking. They pass something from one body to another, they are the main form of non-verbal communication, they help us to tell a story, to reveal our innermost thoughts. The hand transforms invisible energy into the world of form, and the Latin ‘manifestus’ (clear, manifest) includes the word manus: manifesting is the moment in which we catch a fleeting stretch of reality with our hand, and present it to the public. A group of three dancers will be engaged, searching for an abstract form of representation through the hybridisation of certain practices of street dance, defining a complex system of ‘alternations’ that leads to constantly changing figurations.

text, direction and performer Jacopo Giacomoni
sound design Alessandro Gambato
video and visual Furio Ganz
set design Arianna Sortino
costumes Ambra Accorsi
assistance and graphics Eleonora Bonino
text winner of the special mention Franco Quadri of the Riccione Prize 2023
co-production Teatro Stabile di Bolzano
in residence at Teatri Riflessi/IterCulture, in partnership with gARTen (Lugano), with the support of Eu-ropean Festivals Fund for Emerging Artists - EFFEA, of the European Festivals Association (EFA)
support of IntercettAzioni - Centro di Residenza Artistica della Lombardia, Operaestate/CSC of Bassano del Grappa
text written thanks to the residency ‘Futuro Passato’ by Tinaos in collaboration with CSS of Udine

National Preview
Focus contemporary dramaturgy

Awarded the Franco Quadri mention (Riccione Prize 2023), È solo un lungo tramonto (It's just a long sunset) is an innovative theatrical work realised through the mechanical reiteration and disintegration of dialogues between the author and his father, who suffers from Alzheimer's disease. By dictating those conversations on the computer and redacting the transcripts, the text absorbed the same losses and repetitions that the father's memory returned, creating an intense relationship with time and forgetfulness. The result is a theatrical hauntology in which the past hovers over an off-axis present. There are no tensions, no twists, there is, after all, no dram-ma. It is just a slow disintegration. It is just one long sunset.