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Biennale College Teatro 2022


Introductory note

Project for the development and enhancement of the activities of La Biennale di Venezia in order to build a permanent pole of national and international excellence in Venice

(Decree-Law No. 59 of 6 May 2021, converted, with amendments, into Law No. 101 of 1 July 2021)

Plan for strategic investments in cultural heritage sites, buildings, and natural areas

Biennale College Teatro 2022

The project Biennale College Teatro, an integral part of the artistic project 2022, in keeping with the spirit of the recent editions, is a place of hypothesis and comparison, constantly open to encounter and experimentation, in a process that can involve scholars, spectators and enthusiasts. A real factory of ideas on the possibilities of theatre: languages, codes, techniques, technologies, and sciences of the scene are the guidelines of a systematic verification entrusted to the Masters.

In addition to the chosen Masterclass, participants will also be required to attend - depending on their course and their stay in Venice - to scheduled activities, which will be subsequently detailed to the selected participants, together with the daily schedule of their course.

Thus, participants will fully live the educational experience with their favourite Maestro while widening their own experiential background. The whole festival will be used as a platform for comparison and growth of cultural values.


2022, Biennale TEATRO SEES ROT
second draft

After a long theatrical fast, from 24 June to 3 July, a new page will open for the 50th edition of the Biennale Teatro, marked by a salvific exit from the tunnel. The time has finally come to meet and find each other again; to come together and walk, hand in hand, along the red carpets of our theatres, sitting side by side on the red seats (which will once again be populated by passionate hearts and no longer by the inert cardboard silhouettes). The red curtain is ready to open completely, the time of a performance, on our battered yet conscious, combative, and vigilant community.

This is why the Biennale College 2022 will continue to be a forge, a workshop in which to lift and remove the veil of Isis. A welcoming place to support young creators - bricoleurs of possible ideas, according to Gilles Deleuze - in experiencing without prejudice new ways out, in focusing on horizons not perceivable to the naked eye, in affirming their singularity and artistic identity, in deconstructing crystallized geometries with surprising shifts and flourishes, in order to transfigure a world in full mutation. These new languages, hybrid and poetic, will be arranged as a counterpoint to the everyday unhealthy/naturalistic one and will open the way to further worlds in which to germinate a multifaceted imaginative capacity.

" Not only to train, but also to transmit "
Jerzy Grotowski


For Biennale College 2022, thus placed under the sign of transmission and training, as artistic directors, we will reiterate our responsibility and concern to support emerging creation, both in theatre and in contemporary dramaturgy and performance. We will continue with our commitment to be close to young people and their needs in order to help them identify the fundamental pillars on which the roots of their thinking and their expressive and communicative potential will rest, to point out their projects and make their works known. With a mosaic of 7 Masterclasses (including one dedicated exclusively to the finalists of the Call for Authors) we will also deploy, as a link between territories, cultures and generations, an eminent international corpus of Maîtres who will reveal to the new weavers of dreams the universes, the utopias and the decisive solutions of their personal specific languages. They will investigate the harsh borderlands between fantasy and reality, they will question the things they sincerely believe in, blur the ordinary vision to make the "miracle" explode in unexpected places and unveil the fascination of the invisible. They will also undertake a poetic perspective research and question the active principles of the ambivalent pigment ROT, which will embody, more than any other colour, the heuristic guideline of this edition of the Festival. Thus, armed with our personal experiences, Maîtres, disciples, artists and the public, all together we will give ROT the colour and firmness of common action and militant resistance, we will lend it the flame of strength of an ethical and barricaded struggle with a vital injunction to always act and rise up, overcoming the limits of a self-centred/individualistic positioning to conquer a collective breath - a providential bridge thrown in the abyss of loneliness that divides us one from the other - to abandon ourselves to a plural approach that does not obscure the painful truth of the many wounds, physical and not, that like red poppies stand out in the great ditch of blue thistle  of these last two years of darkness.

Stefano Ricci  Gianni Forte

Terms of participation

Only one workshop may be applied for.

Applications for more than one workshop will NOT be accepted and only the first application sent will be considered.

The deadline for sending applications is April 20, 2022.

The outcome of the selection process will be communicated to all candidates by the second half of May 2022.


All candidates are required to fill in the online application form in its entirety and to attach the required digital documentation preferably in Italian (for Italian Masters) or English (for international Masters), unless otherwise specified by the Master.

For all workshops for which you are required to submit videos or attach documentation, please refer to the requirements indicated by each Master.

The workshops will be held in the language indicated by each Master.

Participation in the workshop implies compulsory attendance for the entire duration of the workshop.

Target group

The call is open to candidates aged 18 years or over.
Specific requirements are indicated in the presentation of each workshop.

The selection will be made at the sole discretion of the Artistic Directors of the Theatre department of the Biennale Stefano Ricci and Gianni Forte in agreement with the Masters, based on the objectives and requirements of each workshop.

Each successful candidate will only be required to pay the secretariat fee (€ 80.00 VAT included, non-refundable) once they have been notified of their admission.

Participants will have the opportunity to buy a pass for a selection of the shows scheduled at the Festival at a reduced price.

The costs of participation (travel, food, accommodation) will be borne by the participants.

The Biennale will cover, for all selected participants, the costs of local public transport (vaporetto) for the duration of the workshop as well as related insurance during the activity.

For further information


Dates: 24 June – 3 July
Language: Italian and English
Target group: opera singers
Age: +18 > 40
Participants: up to 10

Verdi called it the ‘scenic word’: everyone knows how to perform an opera aria, but it is in the wonderful gaps between a duet and a concertato that the dramaturgical heart of any melodrama lies.
Let's start with DON GIOVANNI, the opera that more than any other escapes from a conventional dramaturgy and where each character draws its own character in the recitatives: from here we can range from baroque and then bel canto recitatives to declamation to 20th century music; everything will contribute to creating that fundamental red thread that unites music and stage action, body and voice. (Rosetta Cucchi)

My contribution will be to use movement as a language. To construct workshop labourite’sinvolving movement and acting. To devise work to help the singer become more freer to contribute to the production process. To help the singer feel much more comfortable with their body… and to facilitate movement and vocal exercise.
I intend to do use a lot of theatre and or dance improvisational techniques to help the singers break through into a more dynamic creative process.
Building scenes, exploring acting techniques, researching character, and playing with different theatrical dynamics. (Ron Howell)


Red paints the passion that sometimes becomes anger, exaltation or despair for everything you deeply love. This passion, which has run through my entire life as a musician and director, has directed my choices for better or worse. (Rosetta Cucchi)

To me Red has quite a few meanings and significance: Danger. Stop. Anger. Hate. Sex and Violence.
All these emotion states we use on a daily basis and in differing quantities and qualities. Of course for an actor (which an Opera singer has to be, to be successful) these primary Red states are fundamental to character analysis. Isolating these states and using them in a much more sophisticated manner can enhance nuance and subtlety to a performance. (Ron Howell)


Rosetta Cucchi studied at the Conservatorio "G. Rossini" in Pesaro and at the DAMS University in Bologna. Graduated in Piano and History of Music. Master's degree at the Scuola di Alto Perfezionamento Pianistico di Imola. Winner of numerous piano competitions in Italy and abroad, she has collaborated as a pianist with the Orchestra Sinfonica della RAI in Rome and has been involved in several RAI opera productions.
Her career as pianist for singers such as Mariella Devia or Sonia Ganassi or Juan Diego Florez has taken her to the most important theatres in the world.
She soon embarked on a parallel career as a director, making her theatre debut with Il passo dell'anima, her text and direction, music by Carlos Gardel and the participation of Lella Costa, and in the world of opera, with a successful production of Rossini's La scala di seta.
Known both as an inventive producer and as a pianist, Rosetta Cucchi has established herself as one of the most innovative Italian opera directors of her generation.
In 2021 she produced, in collaboration with Teatro Comunale Bologna and RAI Italian Radio and Television, an Opera-Movie of Adriana Lecouvreur by F. Cilea broadcast by Rai 5.
In 2022 she will be involved in the revival of Adriana Lecouvreur at Oviedo Opera and Sydney Opera, a new production of L'amico Fritz at Maggio Musicale Fiorentino, Eugene Onegin at Opera Omaha (US) and Rossini's Otello at Rossini Opera Festival.
From 2005 to 2018 she was Artistic Director of the Fondazione Arturo Toscanini in Parma.
Since 2020 she has been the new Artistic Director of Wexford Festival Opera.


British Choreographer Ron Howell studied at the London Contemporary Dance School. He was the founder member of ARC Dance and later founded his own company The Dance Collective. In his extensive work in opera he has choreographed for companies including the Metropolitan Opera (New York); Mariinsky Theatre, Lyric Opera of Chicago, Teatro Real (Madrid); La Scala (Milan); Glyndebourne Festival, The Rossini Opera Festival (Pesaro); Teatro Nacional de São Carlos (Lisbon); The Royal Opera House (Covent Garden, London); and Teatro Massimo (Palermo).
Howell is Associate Director, Movement Director and Choreographer of Birmingham Opera Company.
Opera productions include:
The Queen of Spades, Eugen Onegin, Manon Lescaut, The Marriage of Figaro, Così fan tutte, Don Giovanni (Glyndebourne Festival); The Marriage of Figaro (English National Opera); Mitradate, Re di Ponto, Die Meistersinger, Arianna, Midsummer Marriage, Falstaff, Tamerlano (Royal Opera House); The Ring, Zaide, Les Boréades, Silas Marner, Vixen Sharp Ears (C.B.T.O.); Falstaff (Welsh National Opera); War and Peace (Kirov); The Queen of Spades (Chicago); Macbeth, Eugen Onegin, Luciano Berio’s World Premiere Outis, Die Tote Stadt (La Scala); Candide (Batignano); Lady Macbeth of Mtsensk, Moses and Aaron (Metropolitan Opera); King Arthur (Châtelet, Caen, Royal Opera House); Mitridate Re di Ponto (Sydney); Parsifal (Opéra National de Paris); Transformations (St. Louis); Moïse et Pharaon, Guillaume Tell (Pesaro); La Traviata (Verona, BOC); Les Troyenst, Idomeneo, Tamerlano, Macbeth (Florence); Woytsek, Mortal Combat, Don Giovanni, Il Ritorno d'Ulisse, Fidelio, Il ballo delle ingrate, Le Sacre du Printemps, Idomeneo, Otello, Mitwoch aus Licht Kovansky Gate, The Ice Break, Dido and Aeneas, Lady Macbeth of Mtsensk (BOC); Manon Lescaut, Lauriane, The Ring Alceste (Lisbon); L’Orfeo (Ravenna); Tannhäuser (Los Angeles/Athens); Sea of Souls (Royal Opera House 2), La Rodine, Manon Lescaut (Venice); Die Gezeichneten, The Ring (Palermo); Idomeneo + Lady Macbeth of Mtsenk (Gottenburg); Death of Venice (Berlin StatsOper); Stufelio (Parma); Wake a New World Premiere by Italian Composer Giorgio Battistelli (BOC); Magic Flute (Macerata, Italy); Don Giovanni, Zaide (Como); Mahagonny, Figaro, Don Giovanni, Zaide (Rome Opera); Paria (Poznan)
Future works include:
Opera Workshop (Biennale Teatro, Venice)
Robert the Devil (Palermo)


Acclaimed by international critics, she is considered as one of the most interesting orchestra conductors of the new generation. (Photo © JRAW STUDIO)
In addition to conducting, Maria Luisa Macellaro La Franca is a well-known pianist, her repertoire ranges from ancient music on old instruments to modern music.
She began to study piano, composition and conducting at the V. Bellini Conservatory of Palermo where she graduated with honors in 2000. Then she specialized in the prestigious Zurich Musik Hochschule in Zurich where she also graduated in jazz, composition, chamber music and early music, with honors. Winner of innumerable prizes in national and international piano competitions (Osimo Coppa Pianisti d'Italia 1996, IBLA Grand Prize 2000 New York , Elsy Mayer Stiftung Zurich 2003) a very young career began that led her to perform in various countries and theaters such as the Teatro Politeama of Palermo, the Opera of Bordeaux, Theater of the MAM Museum and Institute of Italian Culture of Rio de Janeiro, Synagogue of Berlin and Halle of the Upper Conservatory of Dusserldorf, Auditorium de Los Andes Mendoza, Halle of the Banco Hipotecario Lujan in Argentina, Grosser Saal Zurich , Boccadoro Theater in Lugano, Collado Villalba Culture Center in Madrid, Grand Theater Osaka in Japan, Presidential Hall in Ankara (Turkey) and others.
As a composer, Maria Luisa was honored with several awards: for the "Cantate pour la mort de Falcone et Borsellino" she received the "Envie d'Agire" award for best musical creation in 2009, LABEL IDDAC 2009 for the best French theater opera 2009 and she was then appointed Ambassador of Culture in the world 2012 for Italy. For the composition "Emes Symphonie" she received the “Prix du Conseil General de Gironde”, Ambassador Human Rights I.H.R.O.2013, Ambassador for the women rights in Music 2014, International Human Rights Commission IGO as Goodwill Ambassador for Peace and ART Solunto festival Price 2016 . She won in 2019 Premio DONNA di Fiori ( for her engagement for women composer) and « Torre Normanna Solunto art festival » ( for her brilliant career 2019).
She is regularly invited as an artist in different international festivals both as a pianist and as a conductor: Rio International Harp Festival (Brazil), Swiss Harp Festival, Festival d'Arles, Semaine Musical de Bayonne, Estivales en Charente Maritime, Cap Ferrat Music Festival ( France), Armonie d'Autunno (Italy), IBM International Berlin (Germany) For the 2011/2012 season she was the permanent conductor of the "Molto Assai" orchestra, with which she performed on several tours in southern France. From September 2015 Maria Luisa has been the Principal Conductor of the prestigious UNISSON ACME Orchestra of Bordeaux and « Les virtuoses de Bordeaux » chamber orchestra . Her original lyrical and Symphonic works are regularly performed by French and Italian Orchestra (CSF33 chamber orchestra Bordeaux, Polyphonie à Eysines , Orchestra Sinfonica Sanremo, Orchestra Sinfonica Siciliana, Unisson Acme Orchetra) and her chamber music pieces are performed by great French personalities: her last piece for cello "Sharade" was recorded and performed on a world tour by the great French cellist Etienne Peclart and recorded with the Triton label. Maria Luisa has recorded in 2017 for the Da Vinci Classic Osaka, "Liszt Erard 1852" on fortepiano Erard ( one of the most downloaded titles from spotify 2017 ) and in 2018 a CD with the Nocturnes of Fauré et Charlotte de Rotschild. In December 2017 she made her debut in Japan with a recital on the romantic repertoire at the Grand Front Theater in Osaka. In April 2018 she made her debut as a conductor in Ankara (Turkey) conducting the Baskent Akademik Orkestra. Maria Luisa also made her debut in June 2018 with The Orchestra Sinfonica Siciliana in world streeming TV with a great succes ( 2500 persons came). Maria Luisa made her debuts as conductor, December 27 in Naples with Bulgaria Classic Symphony orchestra and 7 march Sanremo Symphony orchestra (with a prima of the Ina Boyle's violin concerto, in collaboration with Ina Boyle fondation in Dublin and Razvan Stoica as violin soloist). Maria Luisa made her debut too in June with Pitesti Philarmonic orchestra and Craiova Philarmonic orchestra ( Romania).
For the season 2019-2020 she toured Australia, Hong Kong and Europe as conductor.


In addition to the requested personal data, applicants must provide the following:
· Curriculum vitae (in Italian or English)
· Motivational letter and ideas on what the candidate expects from the workshop (in Italian or English)
· Video (also amateur) with an aria from your own repertoire
· List of arias or duets from your repertoire

Date: 27 June – 3 July (except 30 June)
Language: Italian
Target group: actors, performers, directors, playwrights
Age: +18 > 40
Participants: up to 10

“A look at one of the many aspects of the actor/performer's work: how to make precision and openness dialogue. How to fix certain issues without exhausting in repetition the vital force that lives, instead, of stumbles and surprises.
The hours of work will focus on some tools to play with this opposition, sometimes in favour of rigour, since the actor's work is not to create, but to re-create, other times in favour of freedom, of breaking the sense to train an ever wider range of possibilities of presence on stage.
Each participant is asked to bring a short scene, some material - not necessarily a text, but also a physical sequence - even in the elaboration phase that becomes the personal basis of the work for the days of the workshop".

In the childhood game of hell/paradise, you had to decide to open in one verse a folded sheet of paper. Heaven was blue and hell was red. Hell inevitably led to penance. Paradise was a moment of contentment and then vanished. Penance brought games, performances, laughter, shame, it lasted and cut, as wounds do. The theatre.


Daria Deflorian and Antonio Tagliarini (photo: Luca Del Pia) are authors, directors and performers. Since 2008, they have created a series of projects, performances and site-specific works. Their first work together was Rewind, a tribute to Pina Bausch's Cafè Müller (2008).  In 2011, they worked on the installation/performance czeczy/cose and in 2012 on the show Reality, for which Daria Deflorian won the 2012 Ubu Award as best leading actress. Ce ne andiamo per non darvi altre preoccupazioni debuted in 2013 at the Romaeuropa Festival and won the 2014 Ubu Prize as Italian breakthroughand in 2016 the Critics' Award as best foreign performance in Quebec, Canada.
Since 2015, they regularly take their work on tour in Europe.
Il cielo non è un fondale debuted in 2016 in Lausanne, then presented at RomaEuropa festival and Festival d'Automne in Paris, which earned Gianni Staropoli the 2017 Ubu Prize for lighting. In 2018 they presented the performance Scavi and the show Quasi Niente, premiered nationally at Teatro Argentina in Rome, both inspired by Antonioni's film Il deserto rosso. In February 2020 their adaptation of the text Chi ha ucciso mio padre  by Edouard Louis, performed by Francesco Alberici, debuted at Festival Vie in Modena. They then worked on the film Ginger e Fred by Fellini, from which they created in 2021 the show Avremo ancora l'occasione di ballare insieme and the performance Sovrimpressioni, and in 2022 the documentary film Siamo qui per provare, directed by Jacopo Quadri.


Candidates must provide the following in addition to the requested personal data:
· Curriculum vitae (in Italian or English)
· Motivational letter (in Italian or English)

Dates: 27 June – 3 July
Language: English
Target group: multihyphenated theatre artists. Actors and actresses, Writers, Performers, Directors, Dramaturgs, and Dancers of any combination interested in group work and ensemble collaboration.
Age: +18 > 40
Participants: up to 10

Frameworks is a set of techniques in live digital creation and mediated strategies for contemporary performance. It incorporates a new and expanding vocabulary for performance that reflects and embodies our hyper-connected world; it includes exercises for creators, collaborators, and participants in performance works; and it engages in working with contemporary technology. In FRAMEWORKS, we will explore and train in concepts and exercises focused on the “The Hybrid Body” (training the body for simultaneous presence and the double event) and “Performance After The Internet” (embracing new narrative strategies in developing performance and embodying the digital/analog divide).

My work thrives at the red intersection of meatspace and the crisis of the internet. It is a collision of flesh, blood, bone, and the body’s digital and networked doppelganger. My performance strategies live in the flashing red lights of the warning zone, where time has run out. The work agitates and toys as it weaponize technology to vivisect and recombine story, time, site, and bodies. My performances are Frankenstein’s monster, spliced flesh and sutures, displaying the method of it’s making.  What do you believe in this information battlespace? The performers, the media, or the margins? I exploit the image against itself, to disrupt and corrupt a dominating vision. I don’t celebrate technology, I contaminate our roles as image consumers, data bodies, and surveilled networked identities.


He is a performance maker (Big Art Group), curator (Contemporary Performance Network and Special Effects Festival), and educator. Their performance work creates radical narrative structures and embodiments to construct and aid transitory generative critical space for participants and audience. Their work is dense, fast, multi-layered, and traverses multiple genres and forms, often using interference, slippage, and disruption strategies. Manson’s work has been presented throughout 14 countries and over 50 cities in Europe, Asia, and North America.  They has been co-produced by the Vienna Festival, Festival d’Automne a Paris, Hebbel Am Ufer, Rome’s La Vie de Festival, The Kitchen NYC, and Wexner Center for The Arts. Caden is a Foundation For Contemporary Art Fellow, Pew Fellow, and a MacDowell Fellow. Their writing, with Jemma Nelson, can be found in the publications PAJ, Theater Magazine, Theater der Zeit, and Theater Journal. Manson is the Director of The Theatre Program at Sarah Lawrence College, BA, MFA.


In addition to the requested personal data, applicants must provide the following:
· Curriculum vitae (in English)
· Link to website or video of previous work (optional)

Dates: 25 June – 30 June
Language: Italian, English, French, Spanish
Target group: Singing actors and actresses (lyrical or not) who like physical theater. Without fear of flying (aerial suspension practice – max 1 meter from the ground – could be part of the program). Video creators who want to investigate the possibilities of makeup or video mapping on the body.
Age: +18 > 40
Participants: up to 10 (3 actors, 3 actresses and 4 video artists)

We will work on how to express the fear that alters the perception of reality. Terror is when fear overwhelms the brain's controls it is no longer possible to think rationally. Terror transforms learned values for the sake of survival. Fear is the distressing disturbance of the mind due to a real or imagined risk. We have to defend ourselves, from a virus? Is there a virus of poverty? Is there a virus of the migrant? Is there a virus of the different?... What do we do? We isolate ourselves and close everything? we stay inside? we don't share? But will we learn the meaning of the word freedom again when we lack it?

The red of blood. Wars are made with blood, they are the same, only the explanations are different. About 5 liters spilled per person in a fatal injury. A zombie can resurrect and come back to life. Viruses need to infect cells and use host cell components to make copies of themselves. We are all zombies expelling viruses of war, inequality, refugee, indifference or stupidity.


Carlus Padrissa Singla (1959) Co-founder of La Fura dels Baus in 1979 with which he participated in the collective creation of the first shows Accions (Barcelona 1984), Suz/o/Suz (Madrid, 1985), Tier Mon (Valladolid, 1988) and Noun (Nantes, 1990). And lastly, he is the artistic coordinator of M.T.M (Lisbon, 1994). Large-format shows: Solo promoter of Fura's participation in the opening ceremony of the Barcelona Olympic Games, 3,500 million watched it on TV, directed together with Alex Ollé. Solo: Opera Mundi (1994) Maracana Stadium, Rio de Janeiro. By the end of the century he designed the "Esser del mil.lenni" an androgynous giant, built with the body of a hundred people and 15,000 virtual Internet users. He devised the Naumon ship project, sailing 40,000 miles with his Naumaquias (2004-20010) along with poems by Rafael Argullol and Ahmed Gazali in ports in Spain, Italy, Portugal, Libya, England, Morocco, Taiwan and Germany. With Pera Pinyol executions of May 2 of Goya (Madrid, 2008) with 500,000 spectators, Guinness record. Cosmic Flowers (Medellin 2010) closing of the South American games. Sphaera Mundi (Ljubljana, 2018) Pax (Linz 2018) with the artist Mihael Milunovich. Women painters (Museo del Prado, 2018). He has directed 8 text plays, among which The Bacchae of Euripides (Siracusa, 2021) stands out. In his career he has directed the scene in 31 repertory operas, among which Wagner's Ring of the Nibelung Tetralogy stands out (Florence 2007-2009) and has premiered 8 new operas, among which Stockhausen’s Sonntag aus Licht (Cologne, 2011) stands out.


In addition to the requested personal data, applicants must provide the following:
· Curriculum vitae in Italian, English, French or Spanish
· Motivational letter in Italian, English, French or Spanish
· Link to video of previous work

Dates: 24 June > 3 July
Language: Italian
Target group: Scholars, journalists, critical viewers, graduates (not only in performing arts)
Age: +18 > 30
Participants: up to 6

In collaboration with the lecturer and critic Roberta Ferraresi, the aim is to create a web editorial office that can follow, analyse, comment and evaluate the events and performances of the Festival in the form of articles, interviews, reviews, reports, videos and photos for a daily narrative of what happens during Biennale Teatro.

Red curtain, red velvet: red is the colour of bourgeois theatre. But red is also the sign of Dionysus, who grabs the theatre and makes it the anomalous and unique place of ritual and thought. Red is the colour of the Dionysian revolt: beyond all convention, the theatre colours the city red.


Graduated in Philosophy of Law, he has been working on theatre since 1988 as a critic and scholar. He has collaborated with several national newspapers, online, paper, radio and TV, including L'Espresso, glistatigenerali.com, antinomie.it, Che-fare.com, Lettre International, Radio3Rai. During his career he has founded and contributed to the life of several newspapers, including Teatro/Pubblico, Primafila, Pagina99. He has written books on Emma Dante, Ascanio Celestini, Virgilio Sieni, Ricci/Forte, Arturo Cirillo, Pierpaolo Sepe and many other artists. He teaches courses in Methodology of Criticism at the University of Rome "La Sapienza" and at the Accademia d'Arte Drammatica "Silvio d'Amico". He has curated workshops on criticism at the Biennale Teatro in Venice, and in various other Italian festivals. He has devoted himself to critical theories applied to the stage with the book "Questo fantasma, il critico a teatro" (Titivillus publisher). He edits the series "Guide Teatrali" of Cue Press, with which he published the book "Che c'è da guardare? La critica di fronte al teatro sociale d'arte" (2017) and the more recent "Altri corpi/nuove danze" (2019) dedicated to the interaction between choreography and discomfort. With Luca Sossella Editore he has published "Il respiro di Dioniso, il teatro di Theodoros Terzopoulos" (2020). He has directed festivals and served on international and national juries, and in 2012 he served as artistic director of the Bahrain National Theatre. Since January 2021 he has been Dramaturg of the National Theatre of Genoa.


In addition to the requested personal data, applicants must provide the following:
· Curriculum vitae (in Italian)
· Motivational letter (in Italian)
· An article-review of a performance (in Italian, max 3000 characters, including spaces)

Dates: 24 June – 3 July
24 June – 2 July: Workshop with the Maestro
3 July: film screening The New Gospel by Milo Rau (followed by a talk with the director)
Language: English
Target group: Actors and actresses, perfromers. Opera singing experience welcome but not mandatory at all. As in the global ensemble of NTGent, we are very open towards any form of diversity.
Age: +18 > 40
Participants: up to 10

For 2023, I’m preparing the “All Greeks Festival”: a global staging of all existing 32 Ancient Greek Tragedies. Together with the workshop participants, I will start the preparation of this project at Venice, and discuss what I call “the tragic mind”. Together we will experiment with forms of theatrical extremism: how does controversial, radical, antagonistic theatre emerge? What is the much invoked "tragic" and what might the "new tragic" look like? What are the limits of what can be performed and depicted? As a specific “study-case” for the Venice Biennale, we will focus on “Rhesos” – a tragedy describing a mass killing: the murder of the Thracian king Rhesos and his warriors during the Trojan war. The tragic matter of Rhesos refers to/echoes the murders of homeless people in the art metropolis Venice and in other cities around the world. And therefore the workshop will deeply question what it could mean putting the staging of extreme violence itself center stage: ethically, aesthetically and politically.

All my work is based on the colour red: the tragic colour, the colour of blood - but also the colour of revolution. All my films, plays and books move completely into the tragic, the dark, the seemingly hopeless, but always with the aim of turning hopelessness into action and liberation. For every tragedy is an attempt to abolish the tragic. Just as the sky is red twice: at nightfall, but also at daybreak.


Milo Rau, born 1977 in Bern (CH), is director, writer, activist and since the 2018/19 season artistic director of NTGent. Rau studied sociology, German and Romance languages and literature in Paris, Berlin and Zurich with Pierre Bourdieu and Tzvetan Todorov, among others. Critics call him the "most influential" (Die Zeit), "most awarded­" (Le Soir), "most interesting" (De Standaard), "most controversial" (la Repubblica), "most scandalous" (New York Times) or "most ambitious" (The Guardian) artist of our time. Since 2002 he has published over 50 plays, films, books and actions. His theatre productions have been shown at all major international festivals, including the Berlin Theatertreffen, the Festival d'Avignon, the Vienna Festival Weeks and the film festivals of Venice, Locarno, Berlin, New York and have been touring in over 30 countries worldwide. Rau has received many awards, including 2018 the European Theatre Prize for his life's work. In 2019 he received an honorary doctorate from Lund University (Sweden), in 2020 from Ghent University. “Milo Rau is the gold standard of post-drama," wrote the newspaper "Der Tagesanzeiger" as early as 2014. Rau's work is an integral part of the training of theatre and literature scholars at many universities. Currently Rau is working on his new film "The Massacre" and preparing the "All Greeks Festival", a festival adapting all 32 existing Greek tragedies to today’s world. Rau last attended the Biennale Teatro in 2015 to give a Masterclass on political art.


In addition to the requested personal data, applicants must provide the following:
· Curriculum vitae (in English)
· Motivation letter (in English) expressing the reason of the choice of this workshop (max: 1 page)
· Link to a video of max 3 minutes in which the candidate can perform a monologue of his\her choice (in English) and additionally, if wanted, sing a song.

Biennale Teatro
Biennale Teatro