Terzo fascicolo dal 2021

The essay interrogates how the theatre is used to affirm and to problematize the construction of historical narrative and political discourse, specifically the creation of public assembly, counter- narrative and artistic activism. Through the performance of the Filipino play Nana Rosa, it is argued that the theatre has a potential to transform personal testimonies into a radical assembly by invoking a community, whose members possess a social responsibility to recognize the precarity of each other...

Born in Belarus, grown up in Israeli, based in France, Arkadi Zaides is an independent performer and choreographer. Together with artists, thinkers, and human-rights activists and combining theoretical research, creativity and activism on field, Zaides has been working for a long time on the role of political and social contexts in affecting bodies, gesture and movements and in producing, maintaining, legitimizing, representing, and aestheticizing structural violence...

The aim of this paper is to show the merits and limits of the model of political theatre that the ntS’ (Nuovo Teatro Sanità) has produced. In particular, since its foundation, the ntS’ has produced a series of political actions, inside and outside the institutions, with the aim of building a community around the theatre as a physical, social and symbolic place...

In recent years, cultural festivals have been enjoying great success: hundreds of cultural festivals are held every year all over Italy and Europe, some of them with an attendance of 100.000 or more. Moreover, there is a widespread consensus on the importance of cultural events for place marketing and economic development purposes, but also to encourage cultural engagement and social cohesion, often borrowing approaches and techniques from performing arts and performing arts festivals...

In March 2020, people were confined inside their homes, and wild animals regained urban spaces. But the insufficient problematization of the paradox, made these images “unthinkable”. In this delicate historical moment the human/non-human relationship seems to need a supplement of reflection. The author deals with the fruitful intertwining between Performance Studies and Animal Studies, defining it ‒ in accordance with Laura Cull – “Animal Performance Studies”...

Since the beginning of the 21st century, theatre collectives have been making a massive comeback on European stages. By taking up certain central concepts and rejecting others, today’s collectives are inscribing themselves in the historical legacy of the political theatre of the 1960s/70s. For their part, the collectives of the 1960/70s were linked to the conceptions of the proletarian theatre of the early 20th century in a nostalgic relationship...