1996 PROGETTO SHERWOOD Theatre Festival Production, Artistic Direction, Image ROMA
Anonima Progetti - Roma City Council, Sport and Culture Department - VII Cirscoscrizione
Acea - Radio Città Futura -ass Civita
Teatro e Necessità: Artaud memorial 1896 - 1996
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Translation from Italian of the presentation in the folder: The mythical forest here becomes synonymous of difficult, outcast (pristine maybe?) international zones, revealing its richness in ferments, needs, urges, honest creativity endeavours, dreams, communication, (quickly becoming human calls). In these zones, in time, we discover the essential humus, where the original - anthropological, social, ethical - creativity ripens. The creativity of the new-within-the-ancient world. From many years I work with/for these zones, fostering the exchange between various hidden art forms which generate from real needs - i.e. not ruled, ready-made, imposed by theoretical market laws. Unknown languages, extraneous-stranger cultures and other forms, underground messages, through which tracing new paths to link countless neighbouring worlds, often totally isolated each other. Then, in my practice, I try to be careful to always define the deep difference between the term Culture (multiculture) and the term Integration. The latter a flat accumulation of individually and socially useless stiff induced notions, Culture (personal, or reached from external sources) as deep track - in the whole variabile of possibilities of exchanges and influences - marking the history of individuals and societies, a flexible, alive matter to enrich knowledge and formative skills. Cultures express not pre-arranged, unified, sweetening, poor of significance, coded, one way forms, as broadcasted from media, and as typical of the baby-sitter TV. To deal with non-commercial productions, though, doesn’t mean they can’t be produced or distributed, nor that they can’t reach wider audiences (or, precisely, they all have their own peculiar audience or followers of relevance). |
The quality of my own research is not aimed to only identify a new idea in itself (wondering curiosity) but, without refusing innovation, to identify it within its careful application (co-ordinated and strategic as possible) in a specific context.
Events directed for that unnatural and deserted contexts of the “ready-made” suburbs, so detaching from a human dimension:
Places dropped to negligence, or bare subjects for colonial cultures. These are places in which often artists are born.
To stimulate all the possible curiosity towards new perceptions, is a due challenge, direct consequence of such elaboration.
The first step is, then, to promote unseen events (contamination with the extraordinary or with the magic ordinary).
But following steps include exchange meetings with more diverse and mature creativities of the experimentation - building foreigner groups events - international, interactive workshops - to forge collaborations between artists and, also, links with and through any training zone, like schools, community/cultural centres, streets, squares…
It is my care to allow artists, whose production is already established, even where fringe, to work together, to gain opportunities to achieve events where to mark deep tracks in the city.
I trust that it is an urgent endeavour not to tour just mass popular phenomenas around, prestigious windows for well wrapped, empty products, made to catch customers in search of special effects (as fast-food festivals):
Opening new zones to deeper and farer contexts, funding creativity on years of research, stimulating interest through wide-open and innovative ideas, I am sure that no make-up or aesthetic surgery is required.
I hope to stimulate the craving for new creativity and perceptions, inventing together, in time, places where to exchange and create, in order to allow the recognition of the value of a true, professional, long-term informal training, for the upcoming forms of production.
Elisabetta McBett Jacomini
Events directed for that unnatural and deserted contexts of the “ready-made” suburbs, so detaching from a human dimension:
Places dropped to negligence, or bare subjects for colonial cultures. These are places in which often artists are born.
To stimulate all the possible curiosity towards new perceptions, is a due challenge, direct consequence of such elaboration.
The first step is, then, to promote unseen events (contamination with the extraordinary or with the magic ordinary).
But following steps include exchange meetings with more diverse and mature creativities of the experimentation - building foreigner groups events - international, interactive workshops - to forge collaborations between artists and, also, links with and through any training zone, like schools, community/cultural centres, streets, squares…
It is my care to allow artists, whose production is already established, even where fringe, to work together, to gain opportunities to achieve events where to mark deep tracks in the city.
I trust that it is an urgent endeavour not to tour just mass popular phenomenas around, prestigious windows for well wrapped, empty products, made to catch customers in search of special effects (as fast-food festivals):
Opening new zones to deeper and farer contexts, funding creativity on years of research, stimulating interest through wide-open and innovative ideas, I am sure that no make-up or aesthetic surgery is required.
I hope to stimulate the craving for new creativity and perceptions, inventing together, in time, places where to exchange and create, in order to allow the recognition of the value of a true, professional, long-term informal training, for the upcoming forms of production.
Elisabetta McBett Jacomini
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