- about us
- our work
- shows
- festivals
- organization
- pedagogy
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The
Teatro Due Mondi project was founded in 1979 and since then the group has continued
a long journey of research on how to do and think theatre. In the beginning,
the only thing one knows is what one does not want to be and what one
does not want to do. Thus, we have little by little attempted to understand
our needs and our desires seeking the verification in our work. From the very
first performances we have been inspired by the experiences of "the group theatre",
which followed the movement of "theatrical collectives" in Italy and at the
same time continued to work in the direction traced by the historical avant-garde.
This seemed to us to be the right path: an attempt to construct a theatre starting
from the actor, seen as a machine of a hundred thousand technical solutions.
From 1986-88 we stopped the production of performances and made an attempt to reflect upon the results of the first five years of work. The fruits of this reflection were a performance (King Ubu ) and a book (Like a child in revolt, the Book of Ubu). After Ubu, and for the following ten years, our work has made us what we are today: a group which creates three principal types of performances. Street theatre performances (Ay l'amor!, Fiesta, Oriente, Marquez' s The candid Erendira...), children' s theatre (Brecht's The circle of chalk, Orwell's Animal farm, Cyrano of Bergerac ( or the different knight), Beautiful clowns, lectures for libraries etc.), and prose theatre (The little house of the crickets). Our group has deep roots in the town where it was born and where it resides. Here we have founded a House of Theatre which annually organizes courses, performances, seminars and conferences. We create performances which are characterized by social commitment, and we do not hesitate to incite political action with our activity in the town.
As a group, we still try to work collectively, and we are a collective. If the artistic roles are distinct (director, writer, actor, artistic director, collaborator), we still confront many decisions with our companions, and we discuss together all aspects of production and organization. Research remains our top priority, the "experimentation" is always present in our work and the improvisation is essential in our creative and autopedagogic process. We research because we are still looking for answers to many questions.
We know that these choices are common to many, but we do not want to belong to any specific theatrical genre.
We try to demonstrate this independence even in our dealings with the market. After a long period in which we directly controlled the production and the distribution of the performances, we began to collaborate with various Production Centres, concentrating our efforts on ideas and projects, and not only on money (since 1994 we have had a production arrangement with Emilia Romagna Teatro Fondazione- Teatro Stabile Pubblico Regionale, to which Accademia Perduta Romagna Teatri contributed for Animal farm). We do not pretend to be ingenuous, so we never forget the nature of the market, its presumed strengths, the battles for subsidies, how situations can change...we are conscious of the fact that these contradictions are inseperable from our work and that avoiding problems does not solve them. The manifestation of our poetry and our politics derives from our work; from the quality of our work, from the choices we make, from the dialectic between the productive moment and all of the moments we live (as when we organize pedagogy or performances). All of these moments are of equal dignity and importance.
The spectators
If we do not refuse to collaborate with important structures, public as well as private, it remains very important for us to seek strategies for the distribution of our performances which bring them out of the official circuits. We want to be present in places where one can find a different "sense" , a spectator who is different from who usually goes to the theatre. We want to go to social centres, to clubs, to schools, to places which are often forgotten.
We have worked in front of different kinds of audiences, always with the precise intent of creating an intense dialogue which is more than simple consumption.
We work in theatres, but we also need the streets, the squares, the hidden and difficult places where it is a challenge to create the conditions for a useful encounter with the audience.
| 1984 | Memories | |
Il Capitano Lappus (The Captain Lappus) |
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| 1985 | Primo studio sul silenzio (The first study on silence) |
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Festival, il fantastico mondo dei clowns (Festival, the fantastic world of the clowns) |
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| 1986 | Viaggio nelle geografie del cuore (A journey in the geography of the heart) |
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Nora o della delimitazione dell'acqua (from The Doll's House) |
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| 1987 | Secondo studio sulla memoria (Second study of memory) |
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1988
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(King Ubu) |
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| 1991 |
(The sea of the lost time) |
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(Beautiful clowns) |
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| 1992 |
La piccola casa dei grilli (The little house of the crickets) |
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(Guided visit in...) |
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| 1993 |
L'incredibile storia della candida Erendira e della sua nonna snaturata (The unbelievable story of Erendira and...) |
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| 1994 |
Il cerchio di gesso (The chalk circle) |
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| 1995 |
(The tales of men and animals) |
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(The Cheshire cat) |
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| 1996 |
La fattoria degli animali (The animal farm) |
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| 1999 |
Il Cyrano di Bergerac (ovvero il cavaliere diseguale) (Cyrano of Bergerac ( or the different knight) |
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| 2001 |
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| 2004 |
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| 2005 |
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| 2006 |
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| 2008 |
show for open space
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| 2008 |
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| 2010 |
parade |
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The places which have offered us their hospitality are many and it is impossible to mention them all. Here is a list of some noteworthy cities and festivals in which we have performed.
2011
2010
2009
2008
2007
2006
2005
2004
2003
2002
2001
2000
1999
1998
1997
1995
1994
1993
1992
1991
1990
1989
1988
1987
1986
1985
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The activities of programming and organizing projects of theatrical pedagogy and theatre festivals in collaboration with various towns or with the Province of Ravenna, may appear marginal, but they are fundamental to the life of the group. These moments are essential for us because they allow us to meet other companions, researchers, theatre people and common people; to get to know and to become known.
For more than ten years we conduct theatre laboratories in schools, youth centres and therapeutic communities thus presenting theatre as a moment of growth and awareness. These activities have always been directed towards groups composed by participants of different age and with different needs (students, teachers, actors, children, adolescents, adults). Over time, we have developed a strong network of collaboration with various administrations and with the environment of the schools. This collaboration is a testimony of the validity of the work and of our necessity to intervene in the territory assuming a positive and provocatory role.