"CITTADINE STRANIERE" - PROMOhttps://youtu.be/DxCRYK8SDiA

1. LO SPETTACOLO, LE TEMATICHE, LA SUA STORIA

2. CHI SIAMO

3. PERCHE ILCROWDFUNDING OSSIA PERCHE' FINANZIARLO

1. LO SPETTACOLO, LE TEMATICHE, LA SUA STORIA

Melissa (Giulia Bornacin) e Neera (Maria Teresa Di Clemente) sono figure di donne prese dal saggio “Grecia al femminile” a cura della storica Nicole Loraux.

Melissa è la straniera, moglie del tiranno (VI sec. a C.), estranea a se stessa, uccisa e profanata dal marito dopo morta; attraverso un tale efferato delitto si riposiziona come persona, donna e moglie.

Neeraè la straniera prostituta del IV sec. a.C., presente a se stessa, che riesce a riscattarsi fino a diventare moglie amata e madre, ma è per tale riscatto che rischia la condanna di “appropriazione illecita di diritti civili”; in quel periodo nasce la “democrazia” ma i cittadini ateniesi erano forse soltanto 1/3 degli abitanti della città, abitata anche da molti stranieri e schiavi, esclusi dalla “Cittadinanza”.

In scena, all’inizio, ognuna è nel proprio vissuto ma per un inspiegabile cortocircuito, una entra nello spazio dell’altra. Rapportandosi ai trascorsi e al presente, le due donne si confrontano e riconoscono, mentre si evidenziano le stratificazioni a noi giunte, relative alla comune morale e alle sue perversioni e la negazione dei diritti civili per le donne, gli schiavi e gli stranieri: le problematiche che le riguardano sono ancora radicate e attive; in particolare le tematiche della violenza sulle donne, la prostituzione minorile e l’ingiustizia civile.

“Cittadine Straniere è stato scritto nel 2007 per andare in scena subito dopo come mise en espace alla Rassegna “La Scena Sensibile” del T eatro Argot e in estiva al XXVIII° Festival di Benevento “Città spettacolo” (d. a. di Enzo Moscato). Riallestito, nel mese di novembre 2012, dal 19 al 21 è in scena al Teatro Due di Roma, nella rassegna “Sguardi S-velati”, va in onda integralmente a R adio Onda Rossa , è tradotto in inglese per partecipare al “XXI Festival of image and words On Diasporas and Retuns”. Nel 2014 la traduzione inglese del testo viene pubblicata dalla casa editrice “Antares/Sargasi” di Toronto.

2. CHI SIAMO

Rosi Giordano regista, scenografa e autrice basa la sua attività sulla speculazione tra azione-spazio-recitazione con contaminazioni da diversi generi espressivi. Partecipa a rassegne e festival come Sant’Arcangelo dei Teatri, La genie de la Bastille, Palermo di scena, Città spettacolo di Benevento….Ha rappresentato Copi, Benni, Perec, Pessoa, Scaldati, rielaborato Jarry, Thomas, Sofocle,Weiss. Cofondatrice del Laboratorio Femmine dell’Ombra di F. Scaldati con pratiche di ricerca dal testo alla scrittura scenica. Docente di tecniche teatrali in corsi CEE e del Ministero del Lavoro, autrice e conduttrice di programmi radiofonici sul teatro RaiRadio2. Formazione Acc. di B.A.:Scenografia e Arti Sceniche; Propedeutica pluriennale con il mimo di Lecoq e pratica del metodo Feldenkrais (J. Krauss)

Maria Teresa Di Clemente autrice , attrice e regista, trae il suo lavoro dalla ricerca su tematiche sociali. Laureata in Lettere, si è perfezionata sul kathakali (India) con una borsa di studio del Ministero degli Affari Esteri (’81-’82). Come attrice, ha lavorato con registi quali: R.Giordano, W.Pagliaro, G.Dall’Aglio, M.Ferreri, G.Marchesini, L.Cavani… E’ docente (Acc. D’Arte dramm. P. Scharoff) e conduce laboratori teatrali. Ha scritto e diretto diverse rielaborazioni (da Omero, Dostoevskj, Fenoglio, Saramago, Siba Shakib...) Ha Scritto, con il gruppo “Le Filosofe”, tra gli altri, Rifrazioni: Premio Roma 2009, di scrittura al femminile. E’ stata co-fondatrice e co-direttrice dell’Ass.ne Cult.le - prod.ne - Art.ca - Indip.te STUDIOS (BO-‘84/’94).

Giulia Bornacin , attrice e cantante si forma all’Accademia Sharoff di Roma, diversi gli stages e master class (P. Clough, E. Dante, R. Mortellitti …). Ha studiato canto lirico-jazz con A. Bonetto, improvvisazione jazz con E. Bacchia e stages con C. Anderson. Esperienza di danza contemporanea, Mo-dern jazz, HipHop, Teatro Argentino e Flamenco con N. Andreosso e Danza Classica con Sauri-Carboni. Ha lavorato con diversi registi, in teatro (S. Caldana, F. Graziadei, G. Leonetti, M.G. Rosati Hansen, F. Tiezzi…), Cinema e TV (D. Melani, Superquarq..) Docente di Danza e di Laboratori Teatrali. Ha vinto nel 2005 il premio Gemini d’Oro come miglior attrice al Roma Teatro Festival.

La Compagnia Macroritmi E’ attiva dal 2008. L’interesse del gruppo è per Autori poco conosciuti e poco rappresentati il cui leitmotiv è l’essere umano nel rapporto complesso e irriverente con la propria e altrui identità. Le scritture sceniche, definite dalla critica di segno classico-sperimentale privilegiano il visionario, l’evocativo e l’irridente, sempre segnate da un ritmo espressivo “no-stop action”, dove basico è il flusso sonoro, immagini e parola. Formazione e attività dei componenti differenziate rispetto ai diversi ambiti di spettacolo con il fine di creare esperienze multidisciplinari derivate dalla dialettica e dal confronto.

3. PERCHE ILCROWDFUNDING OSSIA PERCHE' FINANZIARLO

Perché il teatro indipendente non è assoggettato a produzioni esterne che impongono metodi e pratiche che piegano il fare e l’essere delle compagnie

Per esprimere il dissenso rispetto alle attuali politiche istituzionali pronte a lasciar andare alla deriva il teatro indipendente

Per rafforzare e condividere nuove prassi di partecipazione collettiva a sostegno della cultura

Perché sosteniamo chi si occupa delle frange deboli della società, infatti il 10% dei finanziamenti raccolti saranno devoluti a Save the children : nella nostra pièce denunciamo l’infanzia negata

Perché è appassionante tutto ciò che ricorda l’antica Grecia, definita culla della civiltà e della democrazia, ma non per tutti gli aspetti del vivere sociale e noi ve ne parleremo

Perché la cultura fa riflettere, fa crescere, aumenta la conoscenza, innalza il senso critico, stimola la sensibilità, trasforma…

Perché sostenere vuol dire essere sostenuti

Perché contribuire ad una ri-nascita che in teatro è chiamata ri-presa è il fondamento della condivisione

ENGLISH PRESENTATION  of "Two Foreign Women" by Maria Teresa Di Clemente

1. TRANSLATE PHOTO-CLIP

2. BACKGROUND, SYNOPSIS, MAIN CHARACTERS AND DRAMATIC STRUCTURE

3. WHO WE ARE

4. WHY CROWDFUNDING OR WHY SUPPORT IT

5. REWARDS

1. TRANSLATE PHOTO-CLIP

R.G. …As often happens, I read by chance a book by the historian Nicole Loraux “Femmine Greece” and almost immediately the idea of using 2 of the characters in the book for a new production came to me and this is where the author comes into play

M.T. D.C. ...We were immediately interested in Melissa and Neera 2 very different figures and distant from one another due to social extraction and experience

R.G. – Creating a text is an interesting and complex process, historical and social research of the period and on how women, slaves and foreigners were treated at the time inspired us to delve into these issues

M.T.D.C. – issues that are very pertinent today ….2600 years later and we still face the same debates and problems

G.B. – denial of rights for women, slaves, children and foreigners and civil rights issues, we speak of women but also of robbed infancy

M.T.D.C. – in our play Melissa and Neera are present-day women in their approach to others and relationships, in defending their rights and in their search for their rightful place...

G.B.- The project was staged in 2007 at the Festival of Benevento “ Città Spettacolo”. The cast and sets were different from the current production...

M.T.D.C. – and it was funded ! Being paid for one's own work. We simply lived off our work, it's normal!

G.B. – In 2012 the show was restaged

R.G. - ...and shown on “Sguardi S-velati”...organized by Teatro Due in Rome and since it is our intention to bring that play back to life

M.T.D.C. – we are facing self production, revisiting both the cast and art direction

G.B. – It is hard times for culture and even darker days for independent theatre which takes on thorny issues often neglected by official theatre, entertainment theatre.

R.G. - Independent theatre does not want to yield to production companies whose main mission is commercial.

M.T.D.C. - In 2012 Cittadine Straniere was translated and presented at the XXI Festival of Image andwords on Diasporas and Returns in Toronto. The English translation was published. It seemed like a dream, in Italy one often publishes at one's own expense.

G.B. - In this theatrical production the relationship between the 2 women and their experiences trace the layering of common mores and perversions that have reached us in present day.

R.G. - …this is another reason why we want to stage it again.... theatre awakens a critical approach towards issues that remain unresolved like no other means...

M.T.D.C.- and your participation in the project means that you hold the megaphone with us...

R.G. - Crowdfunding means sharing, and the joint participation of sensitive and cultured individuals who support the original idea

G.B. - idea which …draw us in involve us fully

M.T.D.C. - Crowd funding doesn't make compromises one participates to share

R.G. - ...Just as Independent Theatre speaks, expresses itself when it believes in the idea, our voices join

G.B. - Crowd funding unites us for a wonderful cause ! Your support is fundamental!...

M.T.D.C.- ...not only because it will give us the economic means but it means that you will be part of this idea and this show will belong to you

R.G. - ...Yes, when you participate financially supporting the creation of a work of art, that work of art will belong to you...

G.B. - ...by supporting this project you will voice issues that have social and civic impact

M.T.D.C. - ... you will be a part of this venture among producers, YOU and the creators of the cultural project, US, which will last in time since every spettacle leaves its mark

G.B. - ...voice your disapproval for current institutional policies which have put aside culture

M.T.D.C. ...become a coproducer of our project ...and discover your reward!

R.G. - ...nourishing culture and being nourished by culture allows us to grow, satisfies and fulfills us and is revealing...

2. BACKGROUND, SYNOPSIS, MAIN CHARACTERS AND DRAMATIC STRUCTURE

Melissa and Neera , two "female figures", featured in this text by Maria Teresa Di Clemente, are drawn from the ancient Greek chronicles which do not refer directly to them. In fact, their stories were not even discovered in the chronicles written about important women, such as priestesses of high rank. Only partners or mothers of wellknown men were recognized and accredited by the Greek or Latin "reporters". In her publication "Grecia al femminile", using epitaphs and the stories of the lives of women in Greek culture, ranging from the archaic to the classical period, with a variety of social positions and customs, Nicole Loraux and here colleagues, have structured and given a characterization of the characters that we, today, take into account. We have chosen two of the female figures historicized by Loraux and given them psyche and character: Melissa and Neera.

Melissa , the foreigner, wife of a king and tyrant, was brutally murdered by him. In Di Clenmente’s text we see that Melissa, a stranger to herself, now realizes her value as a person and a woman. Neera , the foreign (hetaera) prostitute, sells and uses her body because it is her only possession; however, it is with this survival strategy that she is able to become a wife and mother and possibly have her daughter reigned queen. Neera’s fully aware of her situation and objectives. Melissa and Neera see and recognize themselves in each other’s lives. Through their life journey we are made aware of the negation of the most basic civil rights, particularly for women, but also for slaves and foreigners. Although they belong to a far gone era, it becomes apparent that the problems that afflicted them are still present in our multiethnic society today. (Rosi Giordano - Director)

Melissa, of the ancient Greek period and Neera, of the classical Greek period, each from different social classes, enter into history thanks to their relationship with well known male protagonists and historical figures. The women meet in a place where time is undefined. In the beginning each woman is in her own reality (separated on stage by a fifth virtual wall). An unexplained shortcircuit causes one woman to enter into the space of the other. At this point it is no longer clear if they are in the same space or time period. In an attempt to understand each other and discover who the other woman is, they question each other and share stories about their lives. Unexplained events occur blurring timelines, and the women often share similar feelings but also clash. The women grow emotionally and are able to establish an understanding relationship. (Maria Teresa Di Clemente - Authoress )

Writen in 2007, was initially a mise en espace for “La Scena Sensibile” Festival at Teatro Argot, in Rome,and after a concrete show for the XXVIII° edition of “Città Spettacolo” Festival in Benevento (art directed from Enzo Moscato). In november 2012, took part of “Sguardi S-velati” at Teatro Due, in Rome, and was integrally trasmited on Radio Onda Rossa, in Rome.

Was translated in English to participate at “XXI° Festival of Images and words On Diasporas and Returns” in Toronto. In 2014 the English version was published from “Antares/Sargasi” publishing house of Toronto.

3. WHO WE ARE

Rosi Giordano Director, art director and author, she bases her activity on conjecture between plot-space-acting with contaminations from different genres. Took part in many festivals : “Sant’Arcangelo dei Teatri”,” La genie de la Bastille”, “Palermo di scena”, “Città spettacolo” of Benevento… Represented authors such as Jarry, Copi, Benni, Perec, Pessoa, Scaldati, Thomas, Sofocle, Weiss. She co-founds the “Laboratorio Femmine dell’Ombra” by F. Scaldati about research from the text to the scene. Teaches theater, classes for EEC and Welfare Ministry. Author and host of radio shows about theatre for RaiRadio2. Education: Academy of Fine Arts and Performing Arts. Propaedeutic: Lecoq mime and Feldenkrais method.

Maria Teresa Di Clemente Author, director and actress, bases her operas on social themes. Degree in Literature, Master in Kathakali Dance through a two-year scholarship from the Ministry of Foreign Affairs (’81-’82). She has worked as an actress with: R.Giordano, W.Pagliaro, G.Dall’Aglio, M.Ferreri, G.Marchesini, L.Cavani… she  teaches at the Academy of Dramatic Art "P. Scharoff" in Rome.  She has written and directed different adaptations (Omero, Dostoevskj, Fenoglio, Saramago, Siba Shakib...) She has written “Rifrazioni”, “Premio Roma 2009 di scrittura al femminile",  with a female group “Le Filosofe”. She has been co-founder and co-director of Cultural Association STUDIOS in Bologna (’84-’94)

Giulia Bornacin Performer. Studied ballet at “La Fenice”, in Venice. After modern-jazz, contemporary dance, hip hop, flamenco, tango, tap dancing, butoh dance. Studied opera with M A. Bonetto, jazz with E. Bacchia and C. Anderson. Acting degree at Academy of dramatic Art  P. Scharoff in Rome and masterclasses (P. Clough, E. Dante, R. Mortellitti…). Performs as a percussionist and vocalist in many concerts and shows, she has worked as an actress with many directors (F. Tiezzi, S. Barbarino, R. Giordano, G. Leonetti, M.G. Rosati Hansen…). She teaches ballet and mime and theatrical therapist. In 2005 won Best Actress Award at “RomaTeatroFestival”.

Macroritmi Company Born in 2008. Bases the productions on unknown or rarely represented authors which leitmotiv is the complex and irreverent relationships between identities. The scripts, classical-experimental, privilege the visionary and evocative, disrespectful  themes, “no-stop action” with sound and images stream and words. Multidisciplinary experiences created from dialectic and comparison.

4. WHY CROWDFUNDING OR WHY SUPPORT IT

Because the Independent Theatre is free from external productions that impose methods and practices that could condition the company's strategy.

Because the 10% is devolved to SAVE THE CHILDREN. In our pièce we denounce the denial childhood.

Because we want to express our disapproval with Institutional Policy behavior and their indifference toward Independent Theatre

Because culture makes as ponder, grow, increases awareness, develops critical understanding, arrouses sensitivity and transforms…

Because supporting means being supported.

Because to contribute to the our re-birth, which in theatre is called re-stage, is the base of sharing.

5. REWARDS

5 € Thanks

10 € Thanks + 1 Bookmark

20 € Thanks + 2 bookmarks + pdf Theatrical poster with your name like supporter

(max 200 rewards)

40 € Thanks + 3 Bookmarks + 1 Reduced-price ticket + pdf Theatrical poster with your name like supporter

(max 100  rewards)

50 € Thanks + 4 Bookmarks + 1 Reduced-price ticket + pdf Theatrical poster with your name like supporter + DVD

(max 70 rewards)  

100 € Thanks + 8 Bookmarks + 2 Reduced-price ticket + Theatrical poster with your name like supporter + DVD

(max 40  rewards)

500 € Thanks + 10 Bookmarks + 2 free ticket + Theatrical poster with your name in Pole Position + DVD + private Mise en espace over 200 km from Rome, travel and accommodation at your cost

(max 8 rewards)