ENGLISH

ASSEMBLEA INFINITA

The FOURTH CHAPTER of C.R.I.S.I. was a mise en scene of an “assembly” held in the public space of Piazza Verdi and based on the premise: “The Assembly has become the representation of an Assembly… So, if we make the representation of an Assembly, could it become a truly Assembly?

1) In times of crisis all meanings of people’s representation and participation are in tension, being questioned and debated. The crisis also affects the representational models adopting different and complex ways: sometimes are built from its own stereotypes, sometimes arise from the memory and history and sometimes are experiences which renew the democratic sense and its social representation.

2) Today, when the effectiveness of such models of participatory representation is highlighted, the ASSEMBLEA INFINITA is an act of reenactment based on memory and storytelling, performance and other social imagination devices. It’s a “social readymade”, a mise en scene of an “assembly” in which the “participants” are reals, but they “act” their own social characters. The piece consists in an exercise of repetition; bringing some reminisces from the mythological ’70, jumping to the present time in order to activate the social imagination about a possible common future (or not).

3) PIAZZA VERDI is a social scenario which has a long history of meetings and assemblies that still continue as a symbolic permanency. It’s a public common space where hundreds of people (those who participate in social and political discussions and those who do not take part) share every day. At the same time Piazza Verdi represents the site of the so call “degradation” a category used by the media to describe the effects of the young’s social life in the public space of Bologna.

4) It happened in a sessions called ERRORIST LABORATORY: NO WORK – NO SHOP. It was based in a three days of permanent assembly, improvisation and rehearsal in which a collective of collectives were discussing the topics and concepts to be re-presented in Piazza Verdi. In these meetings the participants were prepared to become Actor-cides (which means among other things “to suicide in front of your own representative form: the stereotypes”) with an errorist training to stay ready to confront (and change) the passive role of the spectators into the active role of Spect-actors.

That laboratory involved individuals and collectives initiatives as an space for discussion, debate and (re)creation, the production of the scripts, character and scenography. The second stage was the ASSEMBLEA INFINITA, and it consisted in an open assembly in the public space of Piazza Verdi, where artists, activist, students and passersby joined the meeting and has intervened in the participatory performance. The six protagonist were C.S.I, Collective Without Identity (Costanza Acquisti), EVENTS ORGANIZER (Cosimo Vestita), “1977” (Pietro Botte ), CULTURAL RESEARCHER (Dorian Batycka), STUDENT(Antonio Tufano), ANTIDEGRADATION COMMITTEE (Ariela Maggi), MODERATOR (Piergiuseppe Francione). The laboratories were coordinated togehter with the student organization HOBO (Laboratorio dei Saperi Comuni) and carried out in cooperation with the cultural association OLTRE at its headquarters.

The publication of the fourth chapterwith contributions by: Etcetera (Federico Zukerfeld and Loreto Garin Guzman) ,Gerald Raunig, Galit Eilat, Oda Projesi, HOBO, Julia Draganovich & Claudia Löffelholz, Etcetera…

“The Errorist Theatre does not invent fictitious scenarios or unilateral conventions. It looks for social scenarios and appropriates them, working them into the scene. It does not matter who acts and who observes: Dramaturgy is created by the succession and simultaneity of errors. Here, there is no assay: the dramatic action results from the map of errors of life.” ERRORIST MANIFESTO

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