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Biennale College Teatro 2023


Biennale College Teatro 2023

Venice, 14 June - 1 July 2023

The Biennale College Theatre project, an integral part of the 2023 artistic project, in keeping with the spirit of the recent editions, sets itself as a place of hypothesis and comparison, a space constantly open to encounter and experimentation, in a process that can involve scholars, spectators and enthusiasts. A veritable factory of ideas on the possibilities of theatre: languages, codes, techniques, technologies and stage sciences are the guidelines of a systematic verification entrusted to the Masters.

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


2023, BIENNALE THEATRE passes with emerald green
third draft

For the 51st edition, from 15 June to 1 July, Biennale Theatre will be transformed even more than in the past into a veritable factory of ideas, into a dynamic forge of dialectical confrontation and hypotheses, into a greenhouse tenaciously devoted to welcome, encounter and experimentation, in order to allow all participants not only to fully experience the training practice with the favoured Maestro, through a systematic daily verification, but also to broaden their own experiential background, adopting the entire Festival as a platform for the growth of ethical and cultural values.

A workshop to produce contagious ferments and unleash unimaginable possibilities, encouraging and promoting young creators who, with the help of a multiplicity of codes and alphabets, of very personal visual and linguistic languages, of innovative technologies and techniques of the scene will allow their singular artistic identities to blossom, nurturing polymorphous and surprising imaginative potential to uncover, as from the dome of an enchanted star observatory, other visual angles, thus revealing to us, between reality and invention, prodigious worlds out of the ordinary and in constant metamorphosis.


"Green ink creates gardens, forests, meadows,
foliage where letters sing,
words that are trees,
sentences that are constellations."

Octavio Paz


Idiosyncratic towards taxonomies and the mainstreaming of culture, embracing Duchamp's boundless assumption, as relevant as ever, Art is what you say it is and continuing the experience of the past two editions, as Artistic Directors we reconfirm our rhabdomantic role of scouting and our concern to support emerging creation both in theatre and in contemporary drama and site-specific performance.

A fortiori, the fundamental epicentre of the Biennale College Teatro 2023 - in order to set everything in motion again in the poetic search for an interstitial dimension between the world we see every day and the extra-ordinary one invisible to the naked eye - will be the staging of a new cycle of seven Masterclasses (not counting the additional Masterclass dedicated exclusively to the finalists of the Call for Authors), led by an international corpus of Maîtres d'excellence who will provide future "traffickers of beauty" with unusual maps of knowledge to treasure for a necessary exercise of the gaze that is capable of slipping off the usual known paths to decentralise it towards the most authentic banlieues of meaning, questioning the active principles of the magical pigment EMERALD that will embody the visionary heuristic director of this third edition of the Festival.

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 submitted will be considered.

The deadline for submitting applications is 16 April 2023.

The outcome of the selections will be communicated to all candidates by the first half of May 2023.


All applicants are asked 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 in the Master's form.

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 entails compulsory attendance for the entire duration of the course.

Target group

The call for applications is open to candidates over 18 years old.
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 course.

Each selected candidate will be asked to pay the secretarial fee (EUR 80.00 including VAT, non-refundable) only after being notified of their admission.

Participants will have the opportunity to purchase tickets for the performances at the Festival at a reduced rate.

Participation costs (travel, food, accommodation) will be borne by the participants.

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


The Masters:

Dates: 15 > 21 June 2023
Language: Italian
Target group: actors, directors and playwrights
Age: +18 > 40
Participants: up to a maximum of 10

Classical tragedy is still the primary source of major themes of reflection in theatre today. In recent years, contemporary English dramaturgy has been very much involved with tragedy, paying homage to it and rewriting it in various forms. In the workshop we will examine and read excerpts from classical tragedies - Oedipus Rex by Sophocles, Oresteia by Aeschylus, The Trojan Women by Euripides, Hecuba by Euripides, Iphigenia in Aulis by Euripides, Antigone by Sophocles - and excerpts from some of the most significant recent English re-writes (by Robert Icke, Marina Carr, Caryl Churchill, Lulu Raczka). Themes, structures, problems of translation, interpretation and staging of both classical texts and contemporary reinventions will be examined.

Greek tragedy as the founding monument of theatre is an Emerald greener than precious stone. Stories that elevate the city from a feral state to a destination of ever higher civilisation. After centuries, these myths 'blossom again', green and ever more relevant in their contemporary reinventions.

Scout, translator, and dramaturg. She was born in Rome and worked for twenty years as a freelance journalist for national newspapers such as L'Epresso, L'Europeo, Il Mondo, Il Venerdì and for major women's magazines, as well as hosting the programme Il Libro Oggetto for Radio2 for five years. She has always flanked journalism with an intense activity of literary translation from English and French and has to her credit the translation of some seventy novels. In recent years, she has chosen the theatre full-time, where she chooses the texts she translates and tries to provoke their staging, in Italy and abroad. Prior to Pandemic, she organised 'Contemporary', a series of meetings between Italian and British theatremakers at the Italian Cultural Institute in London, and in 2018 she was artistic director of the Italian Theatre Festival at Printroom at the Coronet, Notting Hill. At the 2019 Biennale Teatro, artistic director Antonio Latella invited her to hold a workshop on Translation for Theatre, which she held again in 2021, under the direction of Ricci and Forte, experiences that consolidated an intense and now constant workshop activity. To date, she has translated around 160 theatre texts.

Morosi is a research fellow in Greek and Comparative Literature at the University of Pisa. He trained at the Scuola Normale and at the University of California at Berkeley, and worked on the research staff of the Scuola Normale, where he was also head of science popularisation between 2019 and 2021. His main field of interest is ancient theatre - comic and tragic -, also in its interactions with later periods. He is currently editing a new annotated edition of Aeschylus' Eumenides (with Guido Paduano) and is working on a project of national interest on the fortunes of ancient theatre in Elizabethan England. In the summer of 2022, he edited the translation of Oedipus Rex at the Greek Theatre in Syracuse, directed by Robert Carsen. In 2023, he translated The Persians by Aeschylus for the Sacchi di Sabbia company. He also edited Ulysses. The Last Odyssey, a translation and theatrical reduction of Homer's Odyssey staged from 29 June to 2 July 2023 at the Greek Theatre in Syracuse, directed by Giuliano Peparini.


Registration form

In addition to the requested personal data, applicants must also provide the following:
· a curriculum vitae (in Italian)
· a motivational letter (in Italian)

Dates: 29, 30 June, 1 July 2023
Language: Italian
Target group: anyone interested
Age: +18 > 40
Participants: up to a maximum of 8

In theatre, the relationship to the sacred is grasped where there is a body. Indeed, the actor always returns to the stage as an abyssal reflection of the sacrificial animal. Violence remains, but is transfigured by a new knife, that of the spectator's gaze. The three days of work focus on this (loss of) memory.

Director, creator of sets, lights and costumes, Romeo Castellucci is known throughout the world for having created a theatre based on the totality of the arts and aimed at an integral perception of the work. His theatre proposes a dramaturgy that overturns the primacy of literature, making his theatre a complex art form; a theatre made up of extraordinarily rich images expressed in a language as comprehensible as music, sculpture, painting or architecture.
His productions are regularly invited and produced by the most prestigious international theatres, festivals and opera houses, in over fifty countries spanning all continents.
Triple prize received for the 2018-19 season by Romeo Castellucci for Salome from the "Oscars" of European opera, a poll by the German magazine Opernwelt among fifty international music critics: "Best Performance", "Best Director", "Best Set Designer".
The opera production debuts in the summer of 2022 with Resurrection for the Aix en Provence Festival and in Salzburg with Béla Bartók's Bluebeard's Castle followed by Carl Orff's De temporum fine comoedia, conducted by the proven duo Teodor Currentzis on the podium and Romeo Castellucci as director. In the theatre, the Bros' tour continued successfully.


Registration form

In addition to the requested personal data, applicants must also provide the following:
· a curriculum vitae (in Italian)
· a short letter (max 2,500 characters) in which the applicant can express what he/she wants (in Italian)
· links to video where the candidate can show what he/she wants

Dates: 19 - 22 June 2023
Language: English
Target group: directors/creators predisposed to performative action
Age: +18 > 40
Participants: up to a maximum of 10

About creating. The kitchen of FC Bergman
In its masterclass FC Bergman gives a glimpse into the internal kitchen of the company. Central is the way of working that the company has refined over the past 15 years.
In a short period of time we try to go through the first steps of a creative process. We formulate a basic concept, collect a mood board, think about scenography and first scenes. Possibly, we take an existing space with its history and meaning as a starting point for the creation of a performance, just like with our performance Het land Nod. How can we create a wordless, visual performance?
We take a closer look at collective working. What does it mean to work collectively? We explore the significance and mechanisms.

The masterclass will be an extension of our oeuvre and will consequently be an exercise in creating emerald worlds and spaces, both real and mental, that will serve simultaneously as provocateur and soulmate. Both for the characters who inhabit these worlds, the spectators who view them, and the creators who shape them.

FC Bergman was founded in 2008 by six actors / theatre-makers / artists: Stef Aerts, Joé Agemans, Bart Hollanders, Matteo Simoni, Thomas Verstraeten and Marie Vinck. FC Bergman has been a permanent Toneelhuis theatre-maker since 2013. Simoni and Hollanders have since left the core team and now work on an adhoc basis with FC Bergman.
In a short time, this group of makers has developed a highly unique theatrical idiom, which apart from being anarchistic and slightly chaotic, is essentially visual and poetic. Their productions often give centre stage to the floundering, ever-striving human. An impressive production in that series, JR (2018), literally and figuratively takes this theme to the next level.
In 2020 FC Bergman created The Sheep Song, a wordless performance about a creature that is no longer content with its lot. It feels it is capable of more, is destined to lead a more glorious life than that of its fellows. A modern parable about our fear of and attraction to change in our lives. The tragedy of man as a fundamentally changing being.
The members of FC Bergman are individually involved in various other theatre productions, TV projects and films or create exhibitions, performances, installations and videos under their own names.


Registration form

In addition to the requested personal data, candidates must also provide the following:
· a curriculum vitae (in English)
· a short video (max. 1 minute, in English) in which the applicant introduces him/herself and explains why he/she would like to participate in the workshop

Dates: 23 June - 1 July 2023
Target group: performers, dancers
Age: +18 > 40 years
Participants: up to a maximum of 10

VOODO. I want to test the religious force of a stage. Or magical. To steal reality in order to transfer it to myth. The risk consists of approaching creation from the intimate. To work with a chaos that finally organises itself. In the age of approval and motivational messages, I propose to work with our inhibited desires, which can only be liberated thanks to the hypermoral of the law of poetry.

Love, crime and art represent the impotence of reason, but they are the force of beauty. Wish, wish, that something will remain in the air. That is my emerald. Faith in art. Art is VOODOO

Angélica Liddell founded AtraBilis Teatro in 1993, with which she has staged more than twenty-five works. Her plays have been translated into different languages such as French, English, Russian, German, Portuguese, Polish and Greek. She has received the National Prize of Drama Literature 2012 for La casa de la fuerza, awarded by the Spanish Ministry of Culture, the Leone d'Argento for Theatre at La Biennale di Venezia 2013, and she has been condecorated Chevalier des Arts et Lettres in 2017 by the Culture Ministry of the French Republic, among other several prizes. Her latest works have been premiered in Festival d'Avignon, Wiener Festwochen, Scahubhune in Berlín, and Théâtre de l'Odéon in Paris.


Registration form

In addition to the requested personal data, applicants must provide the following:
· Curriculum vitae in Spanish or English
· Motivational letter (three lines) in Spanish or English
· Notebook of minimum 10 - maximum 30 pages, where you develop the idea of the VODOO (by images: collage, drawings, photos, not text). Your own rite, motives, and consequences, as well as your further life as an UNDEAD, who works on the orders of an idea. What would the zombie life of Isak Dinesen, of Jim Morrison, of Johan Sebastian Bach be like? On whose orders do you work? What are our intimate revenges? Do we self-annihilate in order to be zombies of another, or of ourselves? Do we leave ourselves a suicide letter, which our zombie has to fulfil?
· Link to a video which illustrates the notebook, no longer than 3 minutes (in Spanish or English). Accompanied by a physical action, without text, no longer than 2 minutes.

Dates: 22 June - 1 July 2023
Language: Italian and English
Target group: opera singers
Age: +18 > 40
Participants: up to a maximum of 10

For too long, opera has coincided with the voice: talent and vocal technique are prerequisites, but the singer - let us remember! - is a complete artist, a versatile performer.
Our desire is to give the technical, interpretative and emotional tools to connect the spiritual dimension with the physical one.
We live in crucial times where art has an even more urgent role to play in the salvation of humanity.
We need all artists to unite their voices.
We need singers who are virtuosic and moved, sensitive and aware.
Francesco Micheli

My contribution will be to use movement as a language. To construct workshop labourite's involving
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. I will not deal with Arias or Recit.... Not directly. This will be tacked by The Director and or vocal Coach. I will be present and assist them in their work. Just as I would if I were working on an Opera production.
I will use the morning session which will be physical warmups... followed by improvisations. Building scenes, exploring acting techniques, researching character, and playing with different theatrical dynamics.
Ron Howell

Work vocally with singers by researching the emotions and characteristics of the characters played using the range of nuances offered by the human voice.
Davinia Rodriguez

I love opera because it is an enchanted world that makes me know my world better.
It is a dream, yes, but a daydream.
The Kingdom of Oz shows us that there is no universe more vast and surreal than Dorothy's Kansas.
We will therefore try to flesh out your imagination so that it is as spectacular as Melodrama.
Francesco Micheli

To me it means GO.
The colour of my father's eyes when he was young which then turned Blue.
The colour of my eyes when I was young which are now Blue.
The heart Chakra. The balance anchor for all the Chakras. Compassion. Love. Forgiveness.
Ron Howell

Green recalls new life, rebirth, renewal. Recreating to pass on an ancient art. Green like the leaf of the
Canary Pine rising from its burnt trunk as the Phoenix rises from its ashes.
Davinia Rodriguez


Born in 1972 in Bergamo, he graduated in Modern Literature and graduated at the age of 24 from the Civica Scuola d'Arte Drammatica 'Paolo Grassi' in Milan, the city where he made his debut as director and author thanks to his association with the Aslico association and the Orchestra dei Pomeriggi Musicali.
He was Artistic Director of the Macerata Opera Festival and since 2015 of the Festival Donizetti Opera in Bergamo.
He taught Direction at the two-year specialisation course in Scenography at the Brera Academy.
He has staged operas for various opera houses in Italy and abroad, twice winning the Abbiati prize from Italian music critics. His most recent performances were Haendel's Alcina at the Glyndebourne Festival and Ajo nell'imbarazzo for the Bergamo Festival.
Francesco Micheli is also actively involved in the popularisation of classical music on various fronts. On TV, he has collaborated with Sky Classica and Sky Arte, and for several years now has held a column on RAI 1 (for the programme 'Uno mattina in famiglia'); he has written books for Rizzoli ('L'Opera è polvere da sparo' with Elio) and Curci ('Il lago dei cigni'); he has worked for the main Italian music institutions (the Orchestra Filarmonica della Scala, the Orchestra Santa Cecilia in Rome, the Orchestra Sinfonica nazionale della Rai).
With the latter, he was the narrator of Schönberg's A Survivor from Warsaw directed by Fabio Luisi for Remembrance Day 2023, broadcast by Rai 5 and Radio 3.
For Bergamo-Brescia Capital of Italian Culture 2023, he curated the inaugural performance 'I nuovi mille' on Saturday 20 January and received the new commission for a new opera on Raffaella Carrà, 'Raffa in the sky'. It is scheduled to debut in September at the Teatro Donizetti.


British Choreographer Ron Howell studied t 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, Ariadne, 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); Mithridates King of Pontus (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 Stats Oper); 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 Workshops (Biennale College Teatro), Rebecca The Musical (London West End), Queen of Spades (DeutcheOper Berlin).


Born in Las Palmas, Davinia Rodriguez trained under Leopoldo Rojas O' Donell, Teresa Berganza, Martina Arroyo, Raina Kabaivanska and Sylvia Sass.
In a short time she made her debut in roles such as Despina in Così fan tutte, Contessa in Le nozze di Figaro, Carolina in Il matrimonio segreto, L'Elisir d'Amore (Giannetta and Adina), and Il viaggio à Reims (Contessa di Folleville and Madama Cortese) at the Rossini Opera Festival in Pesaro. She has collaborated with leading conductors including Jesus Lopez Cobos, Placido Domingo, Jeffrey Tate, Alberto Zedda, Nicola Luisotti, Gianandrea Noseda, Donato Renzetti, Riccardo Frizza, Fabio Luisi, James Conlon, Bertrande de Billy, to name but a few. She sang the role of the Queen of the Night (Die Zauberflöte) at the Settimane Musicali di Stresa under the baton of Gianandrea Noseda and directed by Michele Placido, at the Teatro Carlo Felice in Genoa and at the Stuttgart Opera.
Other notable performances include Maria in West Side Story in Paris and Vienna; the Princesse, le Rossignol and le Feu in Ravel's L'enfant et les sortilèges at the Teatro San Carlo in Naples under the baton of Jeffrey Tate; she sang the three female roles in Don Giovanni under the baton of Nicola Luisotti at the Suntory Hall in Tokyo, ABAO-Bilbao, at the Festival dei due mondi in Spoleto and in Beijing; Micaela in Carmen in Cremona, Brescia, Pavia, Como. She performed the role Marie in the world premiere of Le malentendu by Matteo D'Amico at the Macerata Opera Festival, La vedova allegra at the Teatro Carlo Felice in Genoa and in Verona, Un giorno di regno (Marchesa del Poggio) in Parma and Juditha Triumphans in Macerata. She was acclaimed as Violetta in La traviata in Bilbao, Lucia in Lucia di Lammermoor and Eurydice in Orphée et Eurydice at the Seattle Opera, Luisa Fernanda at the Florida Grand Opera and at Les Arts in Valencia, Musetta in La bohème in Dallas and performed in Mayr's Medea in Corintho at the Festival della Valle d'Itria.
In recent seasons she has expanded her repertoire singing at the ABAO-OLBE in Bilbao Turandot, at the Gran Teatre del Liceu in Barcelona (Simon Boccanegra), at the Theater an der Wien (I Due Foscari, Macbeth), at the Teatro Regio in Turin (Pagliacci), at the Sferisterio in Macerata (Liù) directed by Ricci/Forte (a performance that won the Abbiati Prize) and at the Teatro San Carlo in Naples (Le Nozze di Figaro, Simon Boccanegra), Thais at the NCPA in Beijing. She made her debut in the role of Floria Tosca at the Teatro Regio di Torino under the baton of Daniel Oren and the baton of Mario Pontiggia.


Registration form

In addition to the requested personal data, candidates must also provide the following:
· Curriculum vitae (in Italian or English)
· Motivational letter (in Italian or English)
· List of arias in the repertoire
· Link to video files in which the candidate sings an aria of his/her choice or a complete role

Dates: from 15 to 23 June (1st group) and from 23 June to 1 July (2nd group) - assignment to one of the two groups will be determined ex officio by the college secretariat. Requests from the candidate to attend the workshop for the entire period will be considered.
Language: Italian
Target group: Young scholars, journalists (or aspiring journalists), critics and critical spectators, graduates (not only in performing arts)
Age: +18 > 32
Participants: up to a maximum of 6 per period

In collaboration with 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 narration of what happens during the Biennale Teatro.

The 'green fairy', as absinthe was called in France in the late 19th century. Or 'le péril vert', the green peril. It is said that Hemingway, a well-known drinker, said he loved absinthe because it made people change their minds. Changing ideas, opening oneself to the unknown, to the unexpected. Questioning, questioning: critical thinking overturns certainties, unhinges commonplaces, draws landscapes. Just like the green fairy: looking at oneself and the world with new eyes.

A graduate in Philosophy of Law, he has been involved in theatre since 1988 as a critic and scholar. He has collaborated with several national, online, print, radio and TV newspapers, including L'Espresso, glistatigenerali.com, antinomie.it, Che-fare.com, Lettre International, Radio3Rai. Along the way, he founded and contributed to 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 holds courses in Criticism Methodology at the University of Rome 'La Sapienza' and at the 'Silvio d'Amico' Academy of Dramatic Art. He has curated criticism workshops at the Venice Theatre Biennale, and at 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 editore). He edits the series "Guide Teatrali" by 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. From January 2021, he has been Dramaturg of the National Theatre of Genoa.


Registration form

In addition to the requested personal data, candidates must also provide the following:
· A curriculum vitae (in Italian or English)
· A motivational letter (in Italian or English)
· A link to a file that is a review, article, essay, interview that can prove the quality and fluency of the candidate's writing and critical analysis (in Italian or English)
· Please indicate in the online form (dedicated section) whether you intend to follow the whole or half of the project

Dates: 14 - 21 June 2023
14, 15, 16 June: participants will attend rehearsals, staging and performances of the show scheduled during the Festival
17 - 21 June: workshops in dedicated space
Language: Italian
Target group: 8 directors and 2 dramaturgs
Age: +18 > 40
Participants: up to a maximum of 10

"The theme is the theme that is not there. Not the one that has already been given, that you already know, not the predefined themes from national and European calls for tenders, not the socially and politically correct, useful and fashionable ones, but what is new and unthinkable that you can discover on your creative journey. My directing training is self-taught. I have no tradition or school behind me. I started out from dissatisfaction, from impatience with the lack of freedom in the human; theatre therefore came later, as a language that offered me a chance to revolt against myself and others. As I understand it, I believe that theatre, directing, and dramaturgy are often a great wasted opportunity. My idea of directing is a utopian project of a completely different society."

Imagine that there is someone who is dreaming of you, right now, and who is dreaming of you as you imagine you can be to your full potential. It is your job to follow up on his or her dream, to find a development. Don't you think it is nice to think that we depend not only on ourselves and our own will but also on the dreams of others?

ARMANDO PUNZO (Cercola - Naples, 1959) director, playwright, author and actor. In 1988 in the Volterra Prison he founded the Compagnia della Fortezza, the first and longest-lasting theatre experience in a prison. From 1996 to 2016, he directed the VolterraTeatro International Festival.  He has staged over forty plays, including Marat-Sade, I Negri, I Pescecani ovvero quel che resta di Bertolt Brecht, Hamlice, Santo Genet, Beatitudo, Progetto Naturae. He stubbornly pursues the goal of creating the world's first Prison Theatre. He directs workshops and international shows, focusing on large urban and installation-performance projects, including a site-specific edition of Hamlice at the Hangar Bicocca in Milan; the collective performances for squares, courtyards, and museums of Mercutio does not want to die; Paradiso. Voi non sapete la sofferenza dei Santi, at the foot of Ilva, with the citizens of Taranto's Quartiere Tamburi; L'Opera Segreta. Ruins and Remains of Shakespeare's Humanity, at the S. Lucia Escalators in Potenza; The Circular Ruins, in the cooler of the Enel Nuova Geothermal Power Station in Larderello and the Green Triangle in Peccioli; Naturae. La valle dell'innocenza, for the Nervi Pavilion in the former State Saline di Saline di Volterra. He has received numerous prizes and awards, including: six UBU Awards, the Medal of the President of the Republic, the University Seal of the Carlo Bo University of Urbino, the National Association of Theatre Critics Award, the Carmelo Bene Award, the Europe Taormina Arte Award, the Contemporary Culture Award of the Region of Tuscany, the Agis Golden Ticket Special Award, the Naples Award, the Fiesole Special Award, the Anima Award. He is the author of two autobiographical books: È ai vinti che va il suo amore (Clichy 2013) and Un'idea più grande di me (Luca Sossella 2019).


Registration form

In addition to the requested personal data, candidates must also provide the following:
· Curriculum vitae (in Italian, English, or French)
· Link to a video of a previous work or, in the absence of a video, motivational letter (in Italian, English or French) max 1 page

At the end of the selection, the selected directors will be asked to come to the workshop with an idea for a directing project to be developed.

Biennale Teatro
Biennale Teatro