complicités - Espace Catastrophe

La Bande de Z’OuFs
COMPLICITÉS
Today, I’m glad we are together !
3 years of work, within an ambitious and professional framework (trainings, researches and laboratories accompanied by
artists with varied disciplines, formations and artistic meetings…) allowed the creation of this unusual yet exceptional
show.
“Complicités” was created at Théâtre Varia, one of the
4 drama centres of the Wallonia-Brussels Federation, in
February 2011 and the 5 performances were sold out.
It then went on tour and was presented in Liège, Neerpelt
and Geel (Belgium), in Toulouse (France), in Fossano (Italy),
and even on the prestigious stage of the Yugoslav Drama The-
atre, during the Bèmus Festival in Belgrade (Serbia).
In February and March 2012, the show left for a tour of 12
performances in Wallonia, in collaboration with AssProPro,
the Association of the professional Programmers of the Wallonia-Brussels Federation (Beloeil, Soignies, Huy, Jodoigne,
Dinant, Verviers, Ottignies, Marche and 3 performances in
both Nivelles and Lessines). Afterwards, it conquered the
public of the Royal Theatre of Namur, during the Namur en
Mai Festival, as well as the public of the Humorologie Festival in Kortrijk-Marke and was warmly welcomed by the public
(2 standing ovations) and the many professionals at CIRCa,
Festival de Cirque Actuel à Auch (Gers/France) in October 2012.
Finally, In 2013, it comes back in Brussels, at Halles de Schaerbeek, from 6 to 8th December.
Introduction
Since 2008, the Espace Catastrophe is involved without reckoning in the creation and the diffusion of a show of contemporary circus which integrates - without difference – 11
intellectually-challenged persons and 7 accomplice artists
(4 circus artists, 2 actors & 1 musician), a show directed by
Catherine Magis with a score by Max Vandervorst.
In addition to the show on stage, La Bande de Z’Oufs created
“Vol au Vent”, an outdoor parade that was part of the “Toulouse en Piste” program on June 8 2013.
Diffusion
Les Productions Associées de l’Espace Catastrophe
Flavia Ceglie : [email protected]
T + 32 (0)2 538 12 02
W www.catastrophe.be/complicites
Contacts
“Complicités” & the “Vol au Vent” parade are available
for international diffusion in 2014 & 2015
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Musical score
Artistic advisors
Accomplice godfathers
Lights
Scenography and accessories
Stage management
With (performers)
Catherine MAGIS
Max VANDERVORST
Didier DE NECK, Jean-Michel FRÈRE & Jean-Luc PIRAUX
Micheline VANDEPOEL, Benji, Jordi L. VIDAL, Maria-Clara VILLA-LOBOS,
Leticia VETRANO, Miguel CORDOBA, Twiggy, Françoise CORNET, Sophie LESO,
Colm O’GRADY
Marc DEFRISE & Fred VANNES
Thyl BENIEST, Sébastien BOUCHERIT & Marco NICOLO
Cast & Crew
Stage direction
Françoise CORNET / Julie PETIT-ETIENNE / Nadège LIÉNARD
Sarah CUSSE, Edouardo DELLA FAILLE, Leslie DEMURGER, Thomas DESBAIX,
Damjan DIKLIC, Miraël FINKEL in alternance avec Enrico ASTEGIANO,
Philippe GAILLEZ, Colin JOLET, Lionel LEBLANC, Alessandro MAÏDA in
alternance avec Benjamin BERNARD & Mark Dehoux, Michel MALCHAIR, Kirill PATOU, Jean-Luc PIRAUX, Maxime PYTHOUD en alternance avec Quintijn KETELS,
Axel STAINIER, Claudia VAN BRUSSELEN, Max VANDERVORST &
Virginie VANDEZANDE
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“There are children tonight, that’s great ! They are so lucky to discover this. When I was little, handicapped people scared me. I think
the show can durably influence the way we perceive the handicap.”
– Louise (Liège/Belgium)
« The complicity of the clowns trio
was wonderful. Who is handicapped,
who isn’t? We don’t know and we
couldn’t care less: we just enjoy ourselves.” - Baptiste (Brussels / Belgium)
“Without the technique, they are already in research. Objects are diverted, the apparatus are used upside
down…It gives me ideas for my workshops. That’s what I was looking for: not being in the reproduction, not
imitating figures but being in the pure creation”. - Camille, circus educationalist (Toulouse/France)
“We often underestimate
them. We think they are not
able to do certain things. I’ve
worked with handicapped
persons during a training and
the first thing I’ve learned is
that they are able to improve
their abilities. ‘Complicités’
shows that in a live show, in
a ludic and spontaneous way.
It’s better than any speech !”
Loïc (Liège/Belgium)
A few words from the audience
“At first, when you discover the set, you think that the structure’s
heights is just there to show off. But then no : they all go up there!
I was mesmerized.” – Christelle (Liège / Belgium)
“Everyone express oneself in one’s
way. I didn’t imagine mad people
so free!”. – Giacchnio (Fossano/Italy)
“What touched the most is that the circus artists aren’t there
for them but to serve it all. They have a lot of humility. Everyone guides the other, helps her or him. It’s a team work where
there’s no hierarchy based on technique. What comes out of it
is simplicity and pleasure: they all live the moment.” – Pierre
(Fossano/Italy)
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“I’m all shaken up. It took me a while to get out of a feel of unease. I
thought that the show extremely ambiguous : what is shown exactly ?
Imperfection ? Fragility ? Then, I decided to let go, to let me be transported…and I cried until the very end. Our way of looking at things is
questioned. It moves me as an artist. The goal of any artistic work is often presented as a race to reach perfection. It’s deeply touching to see
a show where people begin with a certain ‘handicap’, where everybody
manages with who she/he is and where, at the end, everyone is there!
There’s a strong ‘savoir-faire’ here, as it is able to read what is powerful
and positive in each and every one.” – Eric, musician (Toulouse/France)
A few words from the audience
“It’s a magical show that we participated to ! Yes, participate indeed, as it was
impossible to remain a simple “consumer”. All the artists, filled with the
will to surpass themselves, offering
us an hour and a half of imagination,
sociability, performance, challenge,
joy but also “complicity”. Just pure
happiness. This show is to be shown
in schools, from where the look on the
other can become more human and
from which society can become more
fair. Thanks to all!” – Fernande and
Jean (Quevauchamps/Belgium)
“You showed us that in the society we live in, there are
still ways to share and be open. You succeeded at that
challenge by your work and complicity. You showed us
that every one of you takes pleasure to be together,
even beyond the show itself. Thanks to these extraordinary and ordinary artists. We wish you the very best”.
– Nadèje, Roycko et Psycho (Quevauchamps/Belgium)
“It’s extraordinary and educational. Our
Minister of Education should see this show !”
Piera (Fossano/Italy)
“What an incredible show that matches its title perfectly : ‘Complicités!’
Shivers from the beginning to the end. Extraordinary people in harmony with ordinary ones for an unusual show. Furthermore, my daughters
had the privilege to meet the artists in workshops on the Wednesday afternoon. They came back amazed by the sharing and the complicity that
they managed to establish with them in so little time. We wish you all
the happiness of the world.” – The mother of Mamy and Mistinguette de
Carabistouille (Quevauchamps/Belgium)
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Photos Exhibition
To invite the spectators to take a peek behind the scenes, a
photographic exhibition can join the show. Jean-François
Rochez followed the project almost since day one (back in
2008), shooting thousands of shots. With the about 40 stills
he chose for the exhibit, we are far from some quick look: it’s
a process through time that he shows us, with body changing
(and haircuts too!), different working spaces, the evolution
of the apparatus, the wondering looks and the large smiles.
A story without words, that invites us to discover through images three years of searches and what feed the group’ cohesion.
42 stills in B/W printed on plexi plaques (27 x 40 cm)
with aluminium grips in the back.
Documentary
Belgian director and journalist Philippe Cornet directed a
documentary based on Complicités, “Quel Cirque !” (52’) that
unveils the history and personality of several performers.
Armed with his camera, he tirelessly followed the team, from
Brussels to Liège, passing by Toulose or Belgrade. The film’s
premiere is set on November 20th 2012 at the Espace Delvaux in Brussels. The film will be aired on the RTBF, CANVAS & other channels.
spectators invite to live and understand from within an exceptional adventure. An adventure that opens the doors of
a more faire society.
A book edited by Présence et Action Culturelles in the
Les Voies de la Création Culturelles collection. (ISBN 9782-930524-24-25). 19 €.
In addition
The show can be completed by :
« Off-Stages »
The Off-Stages are direct meetings with the cast & crew.
Before or after the show, the audience is invited to chit chat
with the artists. And they have a lot to talk about! Happiness
is also shared through stories and through all the great questions the audience wants to ask; with their naturally easy
social contact, the intellectually challenged artists of ‘Complicités’ are just waiting for them. And through its human
and poetic power, the show helps to break the barriers that
sometimes impede our spontaneity. Therefore, the path for
these meetings is all set…
Workshops
The projection of the film by Philippe Cornet can be
imagined in parallel to the show’s diffusion.
If spectators ever want to get more than a glimpse of Complicités’ world, workshops are animated by the artists of
the show. “The Circus is mainly a transmission. The idea is that
they can all share what they’ve learned, that they can pass on
their virus ” explains Catherine Magis.
Book
Conferences
To read and think, a written trace of the creation path was
required, demanded by the PAC (Présence et Action Culturelles): “Complicités, Histoire d’un spectacle” by Laurent
Ancion, in Les Voies de la Créations Culturelles collection.
In images and stories, the work retraces the creation path
of Complicités, recalls the performances in Brussels and describes the first routes of diffusion in Liège, Toulouse and
Fossano. In the way, it’s as much contemporary circus art
than integration notions that forms the core of the book’s
reflection.
Finally, the experience earned through time by the artists
and the Espace Catastrophe turned them into pertinent
spokespersons in conferences and think thanks revolving around the handicapped person’s themes. It frequently
happens that the Bande de Z’Oufs and/or the show’s crew
are invited to take the floor during always rewarding meetings and debates.
The numerous stories of artists, relatives, programmers or
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Ideal dimensions :
Ground :
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•
14 meters of opening in the stage’s frame
+ 2 meters backstage on stage left & right
(18 meters wall to wall in total)
12 meters of depth at the stage’s frame
8 meters of height to the technical grid
(one aerial artist placed above the set)
Light structures at +/- 6 meters of height
Set :
•
•
These dimensions can be reduced to :
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Non-tilted floor with black dance mat.
•
12 meters of opening in the stage’s frame
+ 1 meter backstage on stage left & right
(18 meters wall to wall in total)
10 meters of height to the technical grid
7 meters of height to the technical grid
The main set is put together with an auto-lifted structure PROLIGHT of a 30/30 section, brought by the
company.
Dimensions : 7,20 meters of depth x 8,60 meters of
opening x 5,50 meters de height
The set is completed by various accessories (door, rolling furniture, rolling trolley, clothes rails, accessories
and circus apparatus hanged to the structure...).
Technical sheet
Stage
Staff
The staff needed to the decentralization of the show, from
technicians to accompanying persons, is made up of:
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•
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18 artists on the ring (11 intellectually-challenged
artists and 7 professional artists)
1 director
4 technicians
1 or 2 accompanying person(s)/educationalist(s)
1 tour manager
Schedule
Accommodation
Abroad diffusion :
Minimum 2 performances in the same location.
For performances beyond 125 km from Brussels, here are
our needs in terms of accommodation :
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D-2 : Equipment and technical crew arrives
D-1 : Technical assembly (set /lights / sound)
D-Day : Rehearsal during the day // 1 performance in
the evening
D+1 : 2nd performance (matinée or evening)
D+2 : …
D+3 : …
•
D-2 (1 night) 4 people (technical crew)
> 1 x double room (twin beds) + 2 x single rooms
D-1 + D-Day (2 nights) 25 or 26 people
> 12 x double rooms (twin beds) + 2/3 x single rooms
NB : Home stay or cottage accommodation possible.
In order to preserve the cast & crew and the quality of their
work, ‘Complicités’ can only be performed once a day.
Technical contact
Fred Vannes
T + 32 (0)477 20 03 56
E [email protected]
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“In this original approach, the ‘difference’ carried by the
intellectually challenged artists is being integrated as an
added value, far from any compassionate cliché. That met
challenge relies mainly on Catherine Magis’s level of demand as well as on all the artists who never take the “it’s
good enough for handicapped persons” attitude.
Then, it appears to me that the questioning on the boundaries, the difference and the monstrosity is an integral part
of circus in general. ‘Complicités’ doesn’t heavily stress
its intentions and that’s one of the keys of the project. It
doesn’t try to hit the “difference” note as much as it tries to
spread the idea of being together. It’s all about support,
transmission, understanding and every performer plays
that with all her/his life. The so-called “normal” artists support the intellectually challenged ones and vice versa.”
It’s all about boosting, creating the conditions for everyone to outperform her- or himself, assuming a collective
message and an original artistic language to create these
magic moments that make us laugh, cry, doubt and think to
our own connections to others and the world.”
Yanic Samzun
Secretary-general of Présence et Action Culturelles
(Belgium).
Marc Fouilland
Director of CIRCa (Auch/France)
“We are still in shock of this admirable show performed to
more than 420 enthusiast and stunned spectators. It was
a positive experience all the way and, in 18 years of various
projects for the Hall Baudouin, this one will remain as one
of the most successful.
I’m trying hard, and I don’t say this out of polite kindness
(not in my habits anyway) but I can’t find one negative remark about this adventure that ends the best way possible
for us. I can only hope and wish that it’s only the beginning
for them.
Choosing this show wasn’t always a path for the faint of
heart (even though I believed in it right away) and its success is all the more an achievement. But for me, success is
not only about the attendance or the show’s quality but
also what happens before and after it…
This project deserves to carry on, to tour, to be discovered
by as many audiences as possible so they can appreciate and
feel what all the people in Jodoigne felt, emotion without
any kind of compassion or deference; a well put together
show, balanced as it puts all the artists on a same level…
that is, I think, the show’s main strength…”
And when it comes to that, it’s all the crew revolving around
the show that needs to be thanked for the impressive
amount of work they handle and for their constant sympathy and great mood. I mix with far too many technicians that
are unpleasant, full of themselves and teaching lessons.
The crew of ‘Complicités’ matches the rest of the company:
professional, nice and available. It’s therefore quite normal that our welcome matched their expectation…As Catherine Magis, ‘the tornado’, says : it’s one of the top structure
today…
Professionals’ opinion
“In terms of professional diffusion, Complicités offers several pertinent roads. First of all, on a artistic quality level,
this is a different kind of circus but not some “sub-circus” by
any mean. The stage direction, the scenography, the acting
and the sideshows are extremely professional. There are a
lot of circus show that never match this quality !
Gilles Dombrecht
President of the Cultural Centre of Jodoigne
(Belgium)
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“These artists don’t ‘act’: they are themselves. Their work
is based on who they are. With its rigor and understanding,
the project turned them into professionals.”
Emmanuelle Greindl
Cultural Centre of Huy (Belgium)
Former director of Provinciaal Domein Dommelhof
Theater op de Markt (Neerpelt/Belgium)
What touched me the most is to see the desire to perform
in each and every one of the artists on stage. Audiences are
less and less witnesses of that kind of desire nowadays – for
the artists, it’s just a ‘job’.
the time to listen and to gently reunite us. This is the core of
this work more than the differences. Who is different anyway? A circus artist with funny-looking hair and a nomadic
life? A person with down syndrome ?
With Complicités, the desire to perform meets the desire to live. An incredible message for us, in the audience!
The show encourages us to believe in that; we need to have
the desire and the joy of living…
In presence of the show, we don’t care. Everyone is there
for who she or he is. Everyone is normal !
Everybody is equal, we all share a feeling of fraternity.
There is a respect for the intellectually challenged persons
but also for the circus artists and the public. In fact, I got
the feeling we were all a family. A family of human beings.
In our societies, we mix with handicapped persons. They’re
there, right? And yet, we put them aside. ‘Complicités’ took
Director of the Circus Centrum, Flemish centre for
Circus Arts (Ghent/Belgium) and programmer of the
Humorologie Festival (Marke/Belgium)
Marc Celis
Professionals’ opinion
« The complicity of the performers shows that we aren’t
smaller, bigger, weaker or stronger: we are only equals.
The world of the intellectually challenged and the one of
the valid have things to say and to learn from each other.”
Koen Allary
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9
Press Review
10
Press Review
La storia
La lezione di una «Banda di matti»
di RUGGIERO CORCELLA
P
A Milano
In veliero
con l’aiuto
di Zelig 2
C’è chi punta sul teatro per
sensibilizzare sui temi del
disagio e raccogliere fondi per
altri tipi di iniziative di
integrazione. È il caso degli
operatori del Centro
psicosociale 3 di Via
Settembrini, dell’Azienda
ospedaliera Fatebenefratelli di
Milano. Il 16 maggio prossimo,
il Centro proporrà la seconda
edizione di uno spettacolo di
comici del laboratorio di Zelig 2
e di altri gruppi milanesi al
cinema-teatro Palestrina (via
Palestrina 7, ore 21, info
02.63632852). L’obbiettivo della
serata è duplice: avvicinare la
cittadinanza alla psichiatria del
territorio, offrendo
un'occasione di divertimento
intelligente, e raccogliere fondi
per finanziare in parte un'altra
iniziativa, quella del progetto
«Sulla Cresta dell'Onda».
Per il terzo anno consecutivo
un gruppo di persone con
disagi psichici e operatori dei
Centri psicosociali
affronteranno l'avventura della
navigazione a bordo di un
veliero insieme a un equipaggio
della Marina Militare. Il
progetto, nato dalla
collaborazione tra il
Dipartimento psichiatrico del
Fatebenefratelli e la
«Fondazione Tender to Nave
Italia Onlus», vuole dare la
possibilità a persone fragili di
accedere a un percorso
riabilitativo attraverso
l'esperienza e le regole della
vela e del mare.
© RIPRODUZIONE RISERVATA
Per saperne di più Sulla «Banda dei
matti» e sullo spettacolo Complicités
basta cliccare il sito:
www.catastrophe.be/complicites
Handicap Dal Belgio arriverà presto in Italia lo spettacolo di una
compagnia d’eccezione: 11 disabili mentali e 7 artisti professionisti.
In scena la loro diversità si trasforma in straordinaria complicità
Integrazione
La recitazione
offre benefici
sia alle persone
fragili sia
ai «normali»
❜❜
Volevamo che ogni artista
trovasse semplicemente
il suo posto, così come era,
lasciando libero corso
al suo immaginario di follia
otete chiamarli con i loro nomi
d’arte: Yamakasi; l’Homme le +;
Ed & ses Envolées voilées; Fifì &
ses Bouts d’ficelles; Mine de
Ren; l’Acrobate et ses BBB; Dandy One, Roi du Rb; Dandy Two Ping; Papy
One, Homme orchestre; Papy Two, Prince
Royal; The Magician.
A loro scapperà uno sguardo compiaciuto o al massimo una di quelle risate, grasse
o cristalline, che in Belgio stanno trascinando il pubblico. Sono la "Banda dei
matti", spina dorsale di Complicités,
spettacolo a metà
strada fra teatro e
circo con una particolarità: la compagnia è composta da
11 artisti disabili
mentali, dai 25 ai
57 anni, e sette artisti professionisti
(un musicista, un
acrobata, un giocoliere, un equilibrista un
break-dancer e due attori).
Complicités arriverà anche in Italia e
aprirà "Mirabilia", il Festival internazionale di teatro urbano in programma a Fossano (Cuneo) dall’8 al 12 giugno. Sarà l’occasione per godersi il risultato di un lavoro
estremamente ambizioso, durato tre anni e
con un budget di produzione superiore ai
300 mila euro in partenariato europeo. In
Belgio, l’accoglienza di pubblico e di critica
è stata entusiastica. Ma sarà anche l’occasione di toccare con mano il livello di bravura e di professionalità raggiunto dagli artisti della "Banda dei matti". Dal 2007 al
2010, Kirill, Thomas, Edouardo, Sarah, Virginie, Claudia, Lionel, Philippe, Axel, Michel e Damjan hanno lavorato in media dalle 5 alle 7 ore al giorno fianco a fianco con i
colleghi "normali", creando appunto quelle complicità nate da un approccio fisico e
naturale alla scena da parte di tutti e poi
portate sul palco. Teatro, danza, numeri
acrobatici da circo e musica sono le tante
discipline toccate all’interno dello spettacolo.
Sul palco,
durante uno
spettacolo
della "Banda
dei matti",
l’artista
Virginie,
impegnata in
un esercizio
con il cerchio
e la palla,
in coppia con
uno dei
Complici, uno
dei sette attori
professionisti
In teatro
Complicités è
uno spettacolo
di teatro e circo
(nella foto
un’attrice della
compagnia).
Andrà in scena
a Fossano
(Cuneo) l’8 e
il 9 giugno
nell’ambito del
festival
«Mirabilia».
Lo show dura
dai 75 ai 90
minuti. È
accompagnato
da una mostra
fotografica di
Jean François
Rocher
Protagonisti e Complice
Sotto, Dandy Two ping, Dandy
One e Alessandro Maida
(Foto: Complicités@Antoinette
Chaudron, Eric Chagnon)
U
n risultato di alto livello, frutto di un percorso che dimostra ancora una volta come la
disabilità possa diventare
non un ostacolo ma un’occasione di crescita. In Belgio lo ha capito in
primo luogo il Créham, uno dei due centri
co-produttori dello spettacolo. Il Créham
(acronimo per Créativité et Handicap mental) è nato nel 1979 a Liegi ed ha aperto i
battenti nel 1983 anche a Bruxelles. Si tratta di una vera e propria accademia d’arte
per persone con handicap mentali. Attraverso laboratori creativi, tenuti da professionisti, e sulla base di un progetto artistico viene sviluppato un lavoro da proporre
al pubblico. Dal Créham, tanto per fare il
nome più noto, è uscito Pascal Duquenne,
l’allora 25enne ragazzo Down che nel 1996
vinse al Festival di Cannes come migliore
attore protagonista assieme a Daniel Ateuil
suo partner nel film "L’ottavo giorno" del
belga Jaco Van Dormael.
L’altro centro motore di Complicités è
stato Espace Catastrophe, un centro internazionale di ricerca e creazione di arte circense, sorto nel ’95 sempre a Bruxelles.
«Dopo aver praticato differenti discipline,
dalle arti plastiche alla musica, al teatro e
alla danza — spiega Véronique Chapelle, direttrice di Créahm Bruxelles — ci è venuta
voglia di allestire uno spettacolo di circo.
Lavorando con i disabili mentali da numerosi anni, abbiamo avuto l'opportunità di
osservarli nel loro percorso artistico. Ciò
che ci ha lasciato il segno, tra le altre cose,
è l'umorismo di cui danno spesso prova.
Questo umorismo ci tocca, ci fa ridere per
la sua generosità e la sua semplicità». Il
Créham ha cercato un partner e Catherine
Press Review
Salute 65
Corriere della Sera Domenica 1 Maggio 2011
Magis, direttrice artistica di Espace Catastrophe si è mostrata interessata al progetto. A fine 2007, sono stati organizzati alcuni laboratori per capire quanti tra i disabili
mentali che frequentavano il Créham fossero interessati alla proposta. Nei sei mesi
successivi c’è stata la selezione dei candidati e a conclusione undici sono stati invitati a "entrare in pista". Per Catherine, un
vulcano di idee con la fissa della contaminazione tra generi artistici, è stata la prima esperienza con persone disabili
mentali. «Ma è stato da subito un regalo, — racconta con entusiasmo —
un'opportunità rara di poter vivere
degli incontri artistici ed umani differenti, fuori dal comune. I primi incontri con gli artisti del Créahm hanno solo
confermato le mie impressioni: sincerità, spontaneità, umorismo, ritorno all’essenziale, precisione implacabile, generosità, capacità incredibile a vivere il momento presente, poesia, tenerezza da vendere». Tra i compagni di viaggio si sono aggiunti artisti noti a livello
europeo come l’attore Jean
Luc Piraux e il polistrumentista Max Vandervorst, i coreografi Jordi Vidal e Maria Clara Villa Lobos e il mago
Miguel Cordoba. La preparazione è stata
lunga, proprio per dare allo spettacolo il
tempo giusto di maturazione. «Volevo che
lo spazio di espressione dello spettacolo
restasse interamente libero e spontaneo
— aggiunge Catherine Magis che ha già lavorato in l’Italia —. Volevo che ogni artista trovasse semplicemente il suo posto
per quello che era. E mi sono subito convinta che gli 11 della "Banda dei matti"
non avrebbero faticato ad adattarsi allo
spettacolo che andavano a creare, lasciando libero corso al loro immaginario di matti appunto!».
E
adesso sì, hanno anche un "mestiere": artista di spettacolo,
con tanto di cachet per ogni
rappresentazione ma ad una tariffa che corrisponde ad una tabella speciale altrimenti perdono i loro
sussidi. Sotto la grande struttura metallica
da circo, storie e sogni degli attori di Complicités scorrono con linguaggi sempre diversi. «Io vorrei raccontare che vado a sposarmi su una barca al mare del Nord col
mio fidanzato Philippe» sussurra Virginie,
trapezista e sognatrice. In fondo, lei e tutti
gli altri della "Banda dei matti" invitano solo ad oltrepassare le frontiere che separano il normale dall’anormale, l’ordinario
dallo straordinario, la differenza dall’indifferenza, il sogno dalla realtà. Almeno per
una sera. Semplice.
© RIPRODUZIONE RISERVATA
Nel nostro Paese
T
Iniziò Basaglia coi laboratori in manicomio
Poi mille realtà, ma con pochi fondi
eatro e handicap non
sono un connubio
nuovo in Italia. Anzi. Il
nostro Paese vanta una
tradizione trentennale,
che prese impulso dai laboratori
teatrali di Franco Basaglia
all’interno dei manicomi. Proprio
in quell’ambito si formò il progetto
dell’Accademia della follia di
Claudio Misculin, una compagnia
formata da "matti", una delle
esperienze più note all’estero.
Altrettanto nota è la compagnia di
Pippo Delbono, che ha portato sul
palco Bobò, un sordomuto che
Delbono conobbe nel manicomio
di Aversa. E ancora il Teatro
Patologico di Dario D’Ambrosi a
Roma. «In generale però da noi c’è
un’eccessiva polverizzazione di
attività — dice Claudio Bernardi,
docente di Antropologia teatrale
all’Università Cattolica di Brescia
— . Abbiamo la ricchezza della
boscaglia, che soffoca però la
crescita del baobab». Insomma,
una miriade di attività, molte a
livello amatoriale, e finanziamenti
sempre più ridotti rendono
difficile mantenere una struttura
professionale in qualche modo
L’esordio
Nel ’95 Enzo Toma
allestì «Evangelio»
spettacolo con attori
normali e portatori
di handicap
paragonabile a quella belga del
Créham (vedi sopra). Sembrano
irripetibili esperienze come
«Evangelio» (liberamente ispirato
al Vangelo secondo Matteo di
Pasolini), il primo spettacolo
teatrale in Italia con attori
"normali" e portatori di handicap
allestito nel ’95 dal regista Enzo
Toma con la compagnia del teatro
Kismet di Bari da lui diretta per un
decennio, portato su tutti i palchi
nazionali e anche all’estero a
Tokyo. «Da noi si resta legati a una
visione di queste iniziative come
teatro di ricerca — sottolinea
Toma —. La cosa faticosa è che
ogni volta bisogna ricominciare da
capo, perché non abbiamo mai
risorse per sviluppare un progetto
organico». Così è accaduto al
Kismet che, come racconta l’attuale
direttrice artistica Teresa Ludovico,
da un anno ha dovuto sospendere
il suo percorso "sociale" per
mancanza di fondi comunali. La
carenza di finanziamenti aveva già
decretato nel 2002 la fine di
un’esperienza unica come il
Festival nazionale di teatro e
handicap al Franco Parenti di
Milano, con il coinvolgimento
della Ledha (Lega per i diritti degli
handicappati). «Possibile che non
ci sia un mecenate o una
fondazione che voglia investire
culturalmente in questo settore
solo perché ci crede?» si chiede
Angelo Fasani, presidente di Anffas
Milano e vicepresidente di Ledha,
che dell’iniziativa al Parenti fu uno
dei trascinatori.
R. Cor.
© RIPRODUZIONE RISERVATA
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