The body of the city in suspended time

Saturday 26 September - 9:00
Exibitions - Gratuito
Palazzo del Governatore - Parma
Antropology Architecture Fine arts Culture
Tutte le date:
Saturday 26 September 2020 - 9:00 /19:00
Sunday 27 September 2020 - 9:00 /19:00
Monday 28 September 2020 - 9:00 /19:00
Tuesday 29 September 2020 - 9:00 /19:00
Wednesday 30 September 2020 - 9:00 /19:00
Thursday 1 October 2020 - 9:00 /19:00
Friday 2 October 2020 - 9:00 /19:00
Saturday 3 October 2020 - 9:00 /19:00
Sunday 4 October 2020 - 9:00 /19:00
Monday 5 October 2020 - 9:00 /19:00
Location: Indoor
Adatto a Everyone.
Una produzione di: Fondazione Teatro Due

The photographic creation that Fondazione Teatro Due entrusted to Luca Stoppini thanks to the special project 2019 of the Reggio Parma Festival was realized from October 2019 to January 2020 involving - in an extraordinary anthropological journey that saw the participation of over 100 people - the Theatre, the actors and the least visible inhabitants of the City.

An investigation to discover places and humanity that through the point of view of the actors could reappropriate the Body of the City less spectacular, spaces in which time suspends: places of the City as theater of the heart for actors, Theatre spaces as a magnifying glass for daily hidden figures, often powerful but invisible protagonists in the daily media.

The Abbey of San Giovanni, the Church of the Annunciata, with its Soup Kitchen, the Library of the Centro Torri, the Bar Gianni, meeting place of the fans of Parma, the Railway Station, the National Gallery, the Botanical Garden, the Osteria Artaj, the Tempietto d'Arcadia of the Ducal Park, the Istituto d'Arte P. Toschi are some of the places that have become the scene of an unexpected visual dialogue between artists and their habitual inhabitants.

The global changes taking place are redesigning the geography of our Cities, of the relationships that take place there and therefore of the places of culture. The various fragments that compose them fail to give a stable image of the complexity of concretized sedimentations, often by juxtapositions. If the theater wants to be a critical reactivation of the existing through its artistic transformation, a reflection of identity is necessary that starts from the history of the places, but also from their mutations in progress. As the Theatre continually forges new spaces of action in relation to the semantic construction of the actors who live there, the City, like Theatre, is permeable to transformations according to the livability of citizens. By changing the perception of places, the theatrical gaze can suggest a way forward: as the actor appropriates the space in which he acts by listening to it, so we can create a new memory, collective and individual, active, that not only photographers the existing, but stimulate visions of a "possible" of the City. 

"Creating a new memory" also means reactivating a cultural experience that can be configured as a powerful additive for the definition of a New Time, in which the community is called to meet and rethink its sociality after the trauma of these months.

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