In 2004, a painting by Mark Rothko sold for more than eight million dollars. Seven years later, the work was identified as a forgery, a Rohtko painted by a maths teacher in his garage. A true story on which Łukasz Twarkowski has based a monumental play on the value of art.

Read the glossary dedicated to the show Rohtko, directed by Łukasz Twarkowski on stage at Teatro Strehler from 16 to 18 May 2024 during the Festival Presente indicativo | Milano Porta Europa. 
 
 

NFT – non-fungible token 
An NFT – non-fungible token is designed to prove ownership of the immaterial things that exist in virtual reality. When two things have the same function, they are fungible, like for example, money. Two different Euro coins are fungible. Nonfungibility means that you cannot exchange one thing with another, making that one thing unique. 
Through the unique NFTs the digital artists (previously only celegìbrated with likes) can sign and sell their works (memes, gifs, tweets, and any kind of digital works that can still be copied by anyone). They retain the copyright and reproduction rights. To put it in physical art collecting terms: anyone can buy a Rothko print, but only one person can own the original. 

Blockchain
A blockchain is a system of recording information in a way that makes it difficult or impossible to change, hack, or cheat the system. A blockchain is essentially a digital ledger of transactions that is duplicated and distributed across the entire network of computer systems. It is cryptographically secure and decentralized. A blockchain is transparent on the data-flow level, but at the same time allows users to remain anonymous. Blockchain technology has enabled a proven method of operating a digital currency (cryptocurrency) that is independent of central banks and financial institutions.

Provenance
Provenance is a record of ownership of a work of art that traces the history of its ownership, helping to verify its authenticity and value. In the NFTs field provenance appears as a blockchain – it provides for the tracking and tracing of digital items, their authenticity and source. 

Radical care
Radical care is an intentional process of creating relationships between humans and non-humans or artificial intelligence that increases compassion, encourages the sharing of social capital (and any other capital) and raises the level of intersectional awareness. It seeks to empathically demonstrate experiences, needs, and desires in order to build a community based on mutual caring. It aims to raise awareness of the interdependence of each and every one, it aims to care about entities other than ourselves.

Daugavpils
Daugavpils is a state city in south-eastern Latvia, located on the banks of the Daugava River, from which the city takes its name. It is the second-largest city in the country after the capital Riga. Daugavpils is the birth city of the artist Mark Rothko and houses the Mark Rothko Art Centre. Born in Daugavpils in 1903 Mark Rothko immigrated to the United States at the age of ten.

Shanzhai 
Shanzhai literally means “fake”. It’s a Chinese neologism initially used to describe forgeries of branded products. However, shanzhai adapt very fast to new conditions and exploit their potential to improve. These products are inspired by the original, to then depart from it, and to mutate into a new original of its own. Shanzhai undermine the power of the original, its authority and expertise. They deconstruct creation as an act of making things ex nihilo and embrace a playful, anarchic energy.

Find out more about the Festival Presente indicativo | Milano Porta Europa!

16 artists from the European scene (and beyond). 
16 shows for 16 days. 
2 productions and 3 co-productions by the Piccolo, of which 2 are international. 
6 Italian premières and 1 première. 
8 Countries, including Italy (France, Poland, Portugal, Spain, and also Argentina, Chile and UK). 
11 languages, including Italian (Belarusian, Chinese, French, English, Latvian, Polish, Portuguese, Spanish, Ukrainian and Vietnamese).
 

USEFUL INFORMATION

OUR SUSTAINABILITY COMMITMENT

THE FESTIVAL PROGRAM 

 

International touring theatre Masterclass

XXXII edition: 24 August – 28 September 2024
maître: Anne-Cécile Vandalem
workshop: Hauntings, rituals, legacies and transmissions
students: Luca D’Arrigo, Jonathan Lazzini, Francesca Osso, Davide Pascarella (Italy); Claudia Bruno, Egon Di Mateo, Victoria Lewuillon, Anna Solomin-Ohanian (Belgium); Olga Abolina, Louis Atlan, Teddy Chawa, Camille Plocki (France); Ana de Oliveira e Silva, Mariana do Ó, Roxana Ionesco, Pedro Nunes (Portugal)  

project partners and art direction
CSS Teatro stabile di innovazione del Friuli Venezia Giulia, Piccolo Teatro di Milano – Teatro d’Europa (Italy), CREPA – Centre de Recherche et d’Expérimentation en Pédagogie Artistique, Théâtre de Liège – Centre européen de création théâtrale et chorégraphique (CFWB/Belgium), Teatro Nacional D. Maria II, TAGV – Teatro Académico de Gil Vicente (Portugal), Le Quai Centre Dramatique National Angers Pays de la Loire, Comédie, Centre dramatique national de Reims (France)

with the support of
MiC Ministero della cultura – Direzione Generale Spettacolo, Regione Autonoma Friuli Venezia Giulia – Direzione centrale cultura, sport e solidarietà, Fondazione Friuli (Italy)

with the participation of
ERPAC – Ente Regionale Patrimonio Culturale Friuli Venezia Giulia (Italy), Théâtre National Wallonie-Bruxelles, Fédération Wallonie Bruxelles – Service général de la Création artistique, Wallonie-Bruxelles International, La Loterie Nationale (CFWB/Belgium), Ministère de la Culture et de la Communication (France), Universidade de Coimbra (Portugal)

The Ecole des Maîtres is an advanced theatre training project conceived by Franco Quadri in 1990. The training objective of the Ecole des Maîtres is to initiate a relationship between young actresses and actors, trained at drama academies and theatre schools in Europe and already working as professionals, and renowned directors of the international scene, in order to give life to a work experience strongly aimed at comparing and exchanging skills on staging methods and practices, starting from different texts, languages and artistic languages, during itinerant ateliers.

The Belgian actress, author and director Anne-Cécile Vandalem has been invited to lead the XXXII edition of the Ecole des Maîtres. The title of her workshop is Hauntings, rituals, legacies and transmissions: «The theme of haunting will be at the centre of our work: what are the buried narratives, the ghost-stories that our dominant narratives prevent us from hearing? As our present cracks, the great stories that supported us yesterday are now revealing their obsolescence. From these faults, undeniable today, minor, unheard, invisible stories re-emerge to haunt us.»

THE WORK STAGES OF THE XXXII EDITION
Course Calendar 
24/08 – 31/08 Belgium, Brusses
01/09 – 10/09 Italy, Udine
11/09 – 14/09 Italy, Milan
15/09 – 19/09 Portugal, Coimbra
20/09 – 24/09 France, Angers
25/09 – 28/09 France, Reims

Open Lesson
31/08 Belgium, Brusses

Public Presentations
10/09 Italy, Udine
14/09 Italy, Milan
19/09 Portugal, Coimbra
24/09 France, Angers
28/09 France, Reims
 

FOR FURTHER INFO
Sonia Brigandì
École des Maîtres secretariat
CSS Teatro stabile di innovazione del FVG
mail: soniabrigandi@cssudine.it
tel: +39 0432 504765
from Monday to Wednesday, 9AM/1PM | Thursdays and Fridays, 9AM/1PM and 2/6PM
cssudine.it
 

Subscribe and purchase the Presente indicativo | Milano Porta Europa Festival shows at a special price.

You can buy your subscription online, at the Teatro Strehler box office or by calling the box office line on +39 02 21126116.

HOW AND WHERE TO PURCHASE

Subscriptions are nominal and allow to choose from all of the Festival shows, with the exception of the shows Frankenstein and Limited Edition.
It is not possible to cancel, refund and/or move tickets purchased with the subscription to other performances.

Tickets and discounted subscriptions for under-25 or over-65 can be purchased online or from the box office (a valid form of identification must be shown). 
 

In the wake of the first edition of 2022, the international Presente indicativo Festival, now with the main subject Milano Porta Europa, returns with the Piccolo’s aim of “mapping” the lines and profiles of contemporary theatre, creating a celebration of perspectives and a special opportunity to come together and examine the profound and complex ties that have always existed between Europe and the performing arts. 

The programme of shows has brought forth a multifaceted exploration of the depths and the enigmas of the Old Continent, in an succession of vanishing points and unexpected connections, raising legitimate doubts over whether the confines of Europe can truly coincide with those of our gaze.

16 artists from the European scene (and beyond).
16 shows for 16 days.
2 productions and 3 co-productions by the Piccolo, of which 2 are international.
6 Italian premières and 1 première.
8 Countries, including Italy (France, Poland, Portugal, Spain, and also Argentina, Chile and UK).
11 languages, including Italian (Belarusian, Chinese, French, English, Latvian, Polish, Portuguese, Spanish, Ukrainian and Vietnamese).

Presente indicativo | Milano Porta Europa is sustained by Fondazione Cariplo, Intesa Sanpaolo (Main Partner), Pirelli (Partner) with the support of Nuovi Mecenati – Fondazione franco-italiana per la creazione contemporanea.

READ THE BOOKLET

SCHEDULED SHOWS

If you are the holder of a Carta Cultura Giovani or a Carta del Merito, you have access to a credit of € 500 to spend in cultural activities, using your credit to buy tickets and subscriptions.

How to use your credit:

• Go to the website cartegiovani.cultura.gov.it, to the page crea buono. 

• Choose the Piccolo Teatro as the company/legal entity.

• Create a voucher for each individual ticket/subscription, entering the relative cost of the product you want to purchase.

• If you would like to purchase by phone, send the voucher, together with a copy of your identity document, to carte@piccoloteatromilano.it, and then call our box office line on +39 02 21126116 to complete the purchase. 

• If you would like to purchase from the Teatro Strehler box office, you will need to provide the full printed voucher; you will be asked to provide an identity document.

• Purchases with vouchers can only be made during pre-sale times; it is not possible to purchase tickets in the hour before the start of the performance.
   

For further information, visit the website cartegiovani.cultura.gov.it or contact us by writing to servizioalpubblico@piccoloteatromilano.it. 
 

Before purchasing, please read the following rules regarding the use of your credit: 

Vouchers are personal and non-transferable, neither are the tickets or the subscriptions they have been purchased with; always bring an identity document with you when you come to see the performance, as you may be asked to show it at the entrance. Please remember that it is forbidden to transfer either the vouchers generated or the products purchased to others; it is also forbidden to monetise the value of the vouchers generated or the products purchased in any way. 

It is not possible to purchase more than one subscription of the current season, or more than one ticket per performance, not even through a subsequent transaction, or to purchase a ticket for a performance for which a subscription has already been used. Online promotions are not applicable when purchasing tickets with the Carte Cultura. 

Please check the prices of the subscriptions or the performances that you are interested in before generating your voucher: a voucher of a value lower or higher that the price of the product that you would like to purchase cannot be either supplemented or reimbursed, but will result in the cancellation of the relative voucher and the need to reissue a new voucher for the correct amount. 

If a performance purchased with a voucher has been cancelled, an exchange with a ticket of equal value for a different date or for a different performance will be permitted. 
Under no circumstances will it be possible to receive a refund of the sum equivalent to the amount spent.

 

Thanks to the support of Regione Lombardia, and in particular funding from the Avviso Unico Cultura 2018 initiative, our library offers the public its catalogue of theatrical periodicals, a collection of approximately 200 Italian and foreign magazines, some of which date back to the Nineteenth century and others that are extremely hard to find in Italy. The collection is unmatched in Italy in terms of size, range and historical importance.

The catalogue, which has grown throughout our history, has more than one hundred titles, and includes scripts, information on national and international theatre life, reviews, critical writings and in-depth articles.

The main aim of the project has been to ensure the availability of a conspicuous collection of periodicals to students, scholars, enthusiasts and researchers, thus providing access to a theatre library collection of extreme importance in terms of quality and extent, all under one roof.

As well as the uploading of the titles into the Italian National Public Library OPAC, approximately 600 articles, chosen for their cultural interest (critical writings, specific focuses, reviews, scripts and interviews) have been scrutinised with particular attention to the history of the Piccolo, to our most celebrated productions, and to the founders Giorgio Strehler and Paolo Grassi.

The articles chosen offer a wide-ranging view of the history of the performing arts, customs and the media, and uncover many of the varied cultural events that, since the mid-1900s, have marked the evolution of our theatre in relation to the Milanese scene and the wider international context.

The many contributions that can be cited for their importance in the field of theatre study include:

• Vito Pandolfi, Vicende della vita e dell'opera di Brecht, «Sipario», I/1, 1946, pages 40-41
• Luciano Lucignani, Stanislavski, Shakespeare e realismo. Un esempio pratico di come il regista russo applicava il suo "metodo", tanto famoso quanto poco conosciuto, «Sipario», IV/43, 1949, pages 13-15 and 74-75
• Eligio Possenti, Le recite a Parigi del più grande attore italiano Ruggero Ruggeri. Miracolo dell'arte scenica, «Il Dramma», XXVI/112, 1 July 1950, pages 30-31
• Arturo Lazzari, Umanesimo di Brecht, «Il Dramma», XXXII/239-240, August-September 1956, pages 83-85
• Luigi Pestalozza, Regia e opera, «Sipario», XIX/224, 1964, pages 5-13
• Jan Kott, Teatro e letteratura, «Sipario», XXIII/264, 1968, pages 6-9
• Bernard Dort a colloquio con Peter Stein, «Sipario», XXVIII/320, 1973, pages 30-33
• Franco Perrelli, Incontrare Strindberg, «STILB», I/6, 1981, pages 21-30
• Ruccello. Una drammaturgia sui corpi [intervista], «Sipario», XLI/466, 1987, pages 70-74.

There is also a generous selection of articles by respected names, including:

• Eugenio Montale, La malattia del copione, «Sipario», I/2, 1946, pages 9-10
• Luigi Pirandello, Eleonora Duse, «Il Dramma», XLII/362-363, November-December 1966, pages 65-71
• Giovanni Testori, Io e Amleto, «Sipario», XXVI/299, 1971, page 29
• Dario Fo, Giù le mani dalla maschera, «Sipario», XLIII/482, 1988, pages 38-40
• Peter Brook, L'arte come veicolo. Il teatro di Grotowski tra ricerca antropologica e ideale artistico, «Sipario», XLIII/482, 1988, pages 54-55
• Franco Parenti, L’attore oggi, «Sipario», XLIII/482, 1988, pages 66-67.

In addition, there are a considerable number of contributions offering a closer examination of our theatre and its leading figures, including:

• Paolo Grassi, Una città italiana ha il “suo” teatro, «Sipario», II/14, 1947, pages 11-12
• Nico Pepe, Giro artistico europeo del Piccolo Teatro di Milano. Noi e loro con i Sei personaggi. Appunti di un attore, «Il Dramma», XXIX/179, 1953, pages 55-59
• Intervista a quattr'occhi con Paolo Grassi: "Siamo riusciti a non far fumare i Milanesi a teatro", «Sipario», X/110, 1955, pages 2-3
• Tullio Kezich (edited by), Il diritto di sbagliare. A colloquio con Giorgio Strehler all'indomani delle sue dimissioni dal Piccolo Teatro, «Sipario», XXIII/268-269, 1968, pages 27-28
• Giorgio Strehler, Ha un senso far teatro alla TV?, «Sipario»,XXVI/300, 1971, pages 16-17
• Giorgio Strehler, Un teatro nuovo per affermare la vita, «Sipario», XXXIV, 399/400, 1979, pages 3-9
• Flavia Foradini, Una ricerca ininterrotta di Strehler su Verdi, «Sipario», XLIII/489, 1989, pages 48-50.

The visual representation of a theatrical event, as a whole, is the result of complex creative processes. Embracing the concept of preservation, the aim of Immaginari visivi per un teatro di relazioni (Visual imagery for a theatre of relations) is to preserve and make accessibile thousands of images that document this activity, as well as related figures and organisations.

The project, the winner of Strategia Fotografia 2022, promoted by the Direzione Generale Creatività Contemporanea at the Ministry of Culture, involved collaboration with the Accademia Teatro alla Scala, the CAeB Cooperative, the I-Crea Academy – Fondazione ITS, Soprintendenza Archivistica e Bibliografica della Lombardia. 

The project takes its cue from a series of key questions; what are the processes that, in the creation of theatrical memory, are brought to light, and which remain hidden, invisible to the means used for recording? How can records of activities within and external to the theatre, resulting from relations with other institutions, be protected and analysed?
Through an analysis of present conservation-related issues concerning historical photographic materials, we examined the forms, context and reasons for preservation. The aim was to preserve the documentary material while bringing forth the complexity and breadth of the items produced.
The principal task was to reorganise a section of the photographic archive, the personal Archive of Luigi Ciminaghi, examining both the physical aspects of the materials and their underlying narrative. Focus then shifted to an examination of the current activities of the organisation, studying possible ways to document the courses run by the Scuola di Teatro Luca Ronconi.

Luigi Ciminaghi and other theatres

The present-day practice of visual communication

The project is the winner of Strategia Fotografia 2022, promoted by the Direzione Generale Creatività Contemporanea at the Ministry of Culture

The study focused on the materials from the Luigi Ciminaghi collection, for a detailed analysis of the challenges of preservation (environments and materials).

Microclimatic conditions were monitored over a twelve-month period with the use of data loggers linked to the eClimateNotebook® software (Image Permanence Institute), with the aim of increasing preservation systems with a view to criteria of environmental sustainability.

The work, which was carried out in collaboration with the restorer Silvia Berselli, provided for the reconditioning of the material relative to each shoot (negatives, contact sheets, slides, and enlargements of various sizes) using PAT (Photographic Activity Test, ISO 18916:2007) certified containers and materials, as well as the sampling of photographs to monitor their state of preservation.

Photographic material and conservation methods for film and prints were also analysed by the laboratory centre, a process that saw the participation of students from the Photo Cataloguing and New Media course at the I-Crea Academy – Fondazione ITS, Milan.
 

The full analysis of all 400 series from the Luigi Ciminaghi collection allowed for a wide-ranging study of the photographer’s output and creativity, as well as of the individual shows or events.

This approach shed new light on the processes involved in creating and selecting stage photographs thanks to the many marks made by Luigi Ciminaghi on contact sheets and other notes written on the original containers.

The process was carried out by CAeB (Cooperativa Archivistica e Bibliotecaria di Milano) in collaboration with our own historical archive. The photographic series was described in accordance with the guidelines of the ICCD (Istituto Centrale per il Catalogo e la Documentazione) via the completion of the “F” datasheet on the SIRBeCWeb portal.