Teatro Metastasio di Prato - Contemporanea 2020

Contemporanea Festival 20 s'inserisce in un quadro decisamente diverso e inaspettato, come eccezionale è la realtà che stiamo attraversando. Lo stato delle cose ci ha imposto uno sforzo straordinario di immaginazione, dove la nuova progettazione dei luoghi richiede una diversa modalità di fruizione e di comunicazione per accogliere gli spettatori in un nuovo paradigma spaziale. In questo quadro, fondamentale è stata l'attenzione rivolta alla capacità di riscrivere, produrre e reinventare il processo creativo da parte di tante artiste e artisti, a cui abbiamo affidato il compito di interpretare lo spazio della scena condizionato dai nuovi codici. Ancora una volta ci siamo a ffidati alla loro visione poetica e politica del nostro mondo, alla loro connaturata essenza di continuare a svolgere quella funzione di sguardo imprevedibile. Queste/i le/i protagoniste/i di questa edizione: Milo Rau/IIPM, Davide Valrosso, Teatro delle Ariette, TPO/MET, Masako Matsushita, Olimpia Fortuni, Agrupaciòn Senor Serrano, Claudia Caldarano, Elisabetta Consonni, Kinkaleri, Greta Francolini, Giorgia Ohanesian Nardin, Vico Quarto Mazzini, Industria Indipendente, Luna Cenere, Trickster_p, Massimiliano Civica/MET, Sergio Blanco, Marco Chenevier, Alessandro Sciarroni, Laura Simi/Silenda , Monica Demuru. Gli incontri, i momenti teorici di appr ofondimento, le esperienze laboratoriali, le conferenze, i seminari di studio, le produzioni site specific, sono le azioni che ci guideranno per tutta la durata del progetto. Time is the element that has been constantly at the centre of the events of this difficult period that we have gone through; certainly, the pandemic does not belong to the sphere of the conceptual or the imaginary, it is something tangible, monstrous, but we can say with some certainty that the story that has been made of it has a constant reference to the dynamics of time. There is one condition before the health emergency: too little time available, how many times we complained we didn't have enough time to do everything. Then, the lockdown, everything changes: too much free time, we are owners of a new time, infinite, almost a horror vacui. The point is that we continued to act almost in the same way but our doing was clearly meaningless, our behaviors were compulsive and stereotypical. The feeling is that we continued almost by force of inertia. We have acted according to habits and customs which, however, in our innermost self, we no longer see the meaning and purpose. Time represents a crucial dimension of our existence, a precious resource that possesses not only a quantity, but also a quality. Today perhaps it is more necessary than ever to report at the centre of the reflection the question of the quality of our time, which has nothing to do with duration, but states that each point of time, or section of time, has a certain quality and uniqueness. Expressed in other words, this means that very often qualitative time is linked to experience, in an attempt to understand and interpret it, and that consequently quality directly affects quantity. A reflection that calls us back to a principle of awareness in order to face a different perception of time, finding its natural reference in the theatre and in particular in the capability that specifically concerns the suspended time of the scene. To acknowledge to time the possibility of being different, as it happens in theatre where each act corresponds to the creation of a specific, unique space, where the encounter between the action of the scene and the spectator's enjoyment takes on an extraordinary meaning, where the quality of the relationship is always at the centre of the evolving knowledge. A complex thought that does not stop at the event, but builds an idea of community, which believes that the quality of time is the qualifying value, a necessary nourishment for the development of the community itself. 3