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  • Poetry
    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    This Is Not A Feminist Poem – Wana Udobang (a.k.a. Wana Wana)

    from AFROWOMEN POETRY – Three Poets from Tanzania: Langa Sarakikya, Gladness Mayenga, Miriam Lucas

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    What Was Heart Is Now A Scorched Branch – Three Poems by Elina Sventsytska

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Water: The Longest Tunnel Where the Color Blue Is Born — Four Poems by SHANKAR LAHIRI

    Message to Forough Farrokhzad and other poems – Samira Albouzedi

  • Fiction
    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    BOW / BHUK – Parimal Bhattacharya

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    A Very Different Story (Part II)- Nandini Sahu

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    The Aunt: An Exhilarating Story by Francesca Gargallo

    THE PROGENITOR – Zakir Talukder (trans. from Bengali by Masrufa Ayesha Nusrat)

    Stalks of Lotus – Indrani Datta

    Love in Africa and the Variety of its Declinations:  Short-story Tasting from Disco Matanga by Alex Nderitu

    Love in Africa and the Variety of its Declinations: Short-story Tasting from Disco Matanga by Alex Nderitu

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    The Red Bananas – N. Annadurai

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    THE CULPRIT – Gourahari Das

  • Non Fiction
    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE TIME HAS COME – Gaius Tsaamo

    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” –  Massimo Ceresa

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    Plowing the publishing world  – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

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    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

  • Interviews & reviews
    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    From Euromaidan: Three Ukrainian poets to spoil Westsplaining fest in Italy – Zarina Zabrisky

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE MATERICIST MANIFESTO by AVANGUARDIE VERDI

    Artwork by Mubeen Kishany – Contamination and Distancing

    Glory to the Heroes! Poems by Volodymyr Tymchuk

    Glory to the Heroes! Poems by Volodymyr Tymchuk

    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

    The Shipwreck Saga – Lynne Knight

    Phoenix: Part I – YIN Xiaoyuan

    Surrender to Our Explosive Democracy – Five Poems by Serena Piccoli from “gulp/gasp” (Moria Poetry 2022)

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Me and French, or What I Did During the Pandemic (Moi et le français, ou Ce que j’ai fais pendant la pandémie) – Carolyn Miller

    Becoming-animal as a Mirror – Ten Animals from Gabriele Galloni’s Bestiary

  • News
    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    REFUGEE TALES July 3-5:  Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    REFUGEE TALES July 3-5: Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE  FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

  • Home
  • Poetry
    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    This Is Not A Feminist Poem – Wana Udobang (a.k.a. Wana Wana)

    from AFROWOMEN POETRY – Three Poets from Tanzania: Langa Sarakikya, Gladness Mayenga, Miriam Lucas

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    What Was Heart Is Now A Scorched Branch – Three Poems by Elina Sventsytska

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Water: The Longest Tunnel Where the Color Blue Is Born — Four Poems by SHANKAR LAHIRI

    Message to Forough Farrokhzad and other poems – Samira Albouzedi

  • Fiction
    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    BOW / BHUK – Parimal Bhattacharya

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    A Very Different Story (Part II)- Nandini Sahu

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    The Aunt: An Exhilarating Story by Francesca Gargallo

    THE PROGENITOR – Zakir Talukder (trans. from Bengali by Masrufa Ayesha Nusrat)

    Stalks of Lotus – Indrani Datta

    Love in Africa and the Variety of its Declinations:  Short-story Tasting from Disco Matanga by Alex Nderitu

    Love in Africa and the Variety of its Declinations: Short-story Tasting from Disco Matanga by Alex Nderitu

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    The Red Bananas – N. Annadurai

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    THE CULPRIT – Gourahari Das

  • Non Fiction
    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE TIME HAS COME – Gaius Tsaamo

    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” –  Massimo Ceresa

    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” – Massimo Ceresa

    Plowing the publishing world  – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Plowing the publishing world – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

  • Interviews & reviews
    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    From Euromaidan: Three Ukrainian poets to spoil Westsplaining fest in Italy – Zarina Zabrisky

  • Out of bounds
    • All
    • Fiction
    • Intersections
    • Interviews and reviews
    • Non fiction
    • Poetry
    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE MATERICIST MANIFESTO by AVANGUARDIE VERDI

    Artwork by Mubeen Kishany – Contamination and Distancing

    Glory to the Heroes! Poems by Volodymyr Tymchuk

    Glory to the Heroes! Poems by Volodymyr Tymchuk

    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

    The Shipwreck Saga – Lynne Knight

    Phoenix: Part I – YIN Xiaoyuan

    Surrender to Our Explosive Democracy – Five Poems by Serena Piccoli from “gulp/gasp” (Moria Poetry 2022)

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Me and French, or What I Did During the Pandemic (Moi et le français, ou Ce que j’ai fais pendant la pandémie) – Carolyn Miller

    Becoming-animal as a Mirror – Ten Animals from Gabriele Galloni’s Bestiary

  • News
    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    REFUGEE TALES July 3-5:  Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    REFUGEE TALES July 3-5: Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE  FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

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Home Interviews and reviews

Matilde Sciarrino interviews Candelaria Romero: A storyteller who does theater

April 26, 2021
in Interviews and reviews, The dreaming machine n 8
Matilde Sciarrino interviews Candelaria Romero:  A storyteller who does theater
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I have chosen to introduce Candelaria Romero as a ‘ storyteller who does theater ‘ because this seems to be the most suitable definition to explain the long and rich activity of this actress and poet who considers theater essentially storytelling.

At the end of the Seventies, still a child, she was forced to leave her country of birth, Argentina, then under  the Videla dictatorship, with her sister and parents, both poets. She  studied theater in Sweden where the exiled family had relocated. Since 1992 she has lived in Bergamo, northern Italy, where she writes poetry mixing  all the different languages spoken in her daily life – Spanish, Swedish and Italian- and creates theater performances dealing with refugees rights, women, the marginalized.  By pulling ancient stories out of her witch hat, Candelaria Romero helps us understand the present and to imagine a better future based on listening. Like a spider, the author weaves a dense network of knots and intertwining threads where everyone finds the right place and feels included. And so the personal stories of an ever-searching traveler become the story of all those who have embarked on the journey towards self-knowledge and knowledge of the world. And her stories become ours as well.

 

MS In your performances there is a very close relationship between life and theater, that is, between your biographical experience of migration and your theatrical activity. It seems that your theater as storytelling is born from a compelling need to communicate the roots, the troubled events of your family, your personal history.

CR Certainly my approach to theater is, so to speak, a resilient one. I like to remember the beauty that made me grow and that is part of my way of seeing the world. In the future, perhaps, I will be able to tell things that are far removed from my personal experience, but today I still feel the need to start from myself to produce material which, later on, becomes the subtext. My stories are just the starting point that allows me to tell more. So everything becomes a kind of research, as occurs in my show ‘Affabulare’ in which I speak of my family’s escape, but I also speak of the act of telling itself, of why we need to tell a story. The ‘personal’ is thus processed in such a way that it becomes universal. I adopt and adapt the structure of the classic fairy tale, with the hero facing obstacles and then finding their way of overcoming them. I’m talking about myself in order to talk about other people as well.

I recently completed a project that was commissioned to me for the inauguration of a library in the Bergamo area named after Italian scientist Rita Levi Montalcini. In this performance, I spoke of her, a scientist with whom apparently I had nothing in common, taking as my starting point my own biography. Yet, as I tell my story, we discover that our human chronicle shares many commonalities: she too was a refugee, fleeing  Mussolini’s racial laws. Searching and finding one’s own way, that’s what I tell and want to tell.

MS Let’s talk about your work as a poet. Do you feel more like a poet or an actress? The ‘Compagnia delle Poete’ that you are part of together with many other women poets of immigrant origin , or ‘ poete ‘ as you like to define yourself [Editor’s note: as opposed to ‘poetesse’ a more traditional  term used for female poets], stage performances blending poetry and movement, a perfect combination of two languages, the poetic word and the body.

CR I feel that I am more a theater person. I consider poetry something very intimate because I write for myself, for my pleasure. I have only published two collections of poems and I don’t even feel that urge to publish. When these collections were published, I used my theater to carry poetry around in this way, open to the outside. The ‘Compagnia delle Poete’ made me feel in tune with my own experimentation. The experiment of the ‘Compagnia delle Poete’ is something very new: it is not doing theater in a traditional way, but rather, bringing poetry into a space that is not really the stage space, but in any case it becomes so because of the stage elements that are present there, such as lights, scenography, movement, words. We don’t do theater. We recite the poem aloud; it is poetry ‘spoken’ without interpretation so that it reaches the listener directly. The less poetry is interpreted or ‘performed’ the better. It is an attempt to create a stage space only for words, for orality. It is a very interesting experiment, but it is not theater. It is essentially an experiment, being on stage together through poetry . This is the poetry I want to do. As the daughter of poets, I feel poetry as a language that belongs to me. But I still see it as a form of private expression, a kind of personal diary.

However, now that my third collection is about to come out, I think my way of making poetry is about to change. While before I did not think about the reading public, now I feel compelled to do so, especially in the editing phase before publication. It is a change of perspective. In some ways this approach works, in others it doesn’t because it seems to me that it changes the original idea.

MS The increasing episodes of intolerance, racism and fanaticism that fill the crime pages require us to carefully think about  the issue of refugees and immigrants, listening and education. Even today, people’s  country of origin brands them as belonging elsewhere, thus acting to constrain  those who perceive themselves as citizens of the world, either by choice or forced circumstances. The earth is one and it appears to be still, but men and women move and for this reason they become ‘foreigners. How did you live and live today as an immigrant in Italy?

CR I like this image of the fixity of the earth and the movement of people, of migratory flows. Personally, I remain hesitant and perplexed by the phenomena of xenophobia. We are still here talking about integration, as if there were something extraneous that struggles to fit into a fabric. In a certain way, it is as if there were a nation, a place, an identity, a culture where one has to insert oneself in the same way as something external that wants to penetrate the mesh of a piece of fabric. I think one should stop thinking this way. There are many citizens who, despite being born and having lived in Italy, find themselves outside its socio-cultural fabric. Of course, the situation is more complex when one arrives in this country with a different language, a different culture. Today, more than ever, identity is something fluid, liquid.

Even the words used to narrate facts of intolerance are unsuitable: us and them, belonging, but what are we referring to? To the national flag, to the region, to the city, to the neighborhood? With the pandemic, this fragility has emerged more strongly. I was recently struck by the intolerance, the resentment, the feeling of non-belonging in Trump’s America, which is also present in Italy. I think that the very concept of integration goes beyond cultures, and refers to the idea of ​​community. This idea of ​​community is the basis of intercultural teaching which seeks and creates scenarios, imaginaries, codes that can belong to everyone to promote and facilitate coexistence. Many residents have no relationship with their local territory.

In the course of my volunteer work in Bergamo during the first lockdown, I experienced firsthand and discovered new forms of marginalization where you did not believe they could exist. Many residents were forced to turn to social services for the first time and at the beginning many did not even know who to turn to, what services the city offered, where were the offices that offered them. What is real integration? What does it mean to integrate? Who should be integrated? What is  undeclared in society emerges in this period of emergency. Difficulties certainly do teach. Personally I was able to create very positive relationships in Italy, and now I work in cultural volunteering projects that involve citizens of Bergamo and its province. The goal is to make this tragedy an opportunity to improve relations between residents. To keep alive that solidarity that was born of the emergency which should, however, be turned into permanent action. These experiences must become a strength, an opportunity to understand the value of caring for one another, as Pope Francis says.

MS The theater  world today is among the hardest hit sectors in the pandemic. As a theater person, how do you experience the forced shut down of theater activities forced by the health emergency?

CR First of all, it must be said that we are dealing with something much more complex than we can imagine, as theater is a very  heterogeneous universe. Often different categories are placed in the same box when  really they are in very different situations, from those who are permanently employed and have a contract  with established, repertory theaters to very small, cultural promotion companies. Freelancers and the self-employed are less protected. And this must be taken into account when it comes to government stimulus checks. Covid highlighted the fragility of all workers in general. This fragility has to do with a very old-fashioned state apparatus and a world of culture that consists of gray areas, informal forms of economy and exploitation. The ones who suffered and still are suffering the most are the workers who have no fixed contracts, those who belong to small organizations and those who work with school projects. External, self-employed experts have lost the possibility of presenting their bids for theater workshops to the schools, municipalities, libraries.  However, it is also true that in the first lockdown there was solidarity on the part of foundations and trade unions towards all entertainment workers. We must all remember that  there is a whole world of workers gravitating around the theater that we as audience do not see: costume designers, hairdressers, machinists.

In my city, Bergamo, we theater workers and other artists were initially able to report our needs to the  public institutions. Then we tried to collaborate with each other, to form a committee to get together and to make concrete proposals to face the emergency. Public aid arrived for some and with the relaxing of restrictions for the summer work arrived as well. By September 2020, the second wave hit and took us by surprise, finding us  already exhausted. Despite this, we confronted the problem of finding suitable, alternative spaces, and it was a huge job. Eventually, with the second and third wave of lockdowns in 2020 and 2021, all our efforts turned out to be useless. This was the source of enormous frustration for all of us.

 

MS Some actors have suggested different forms of  ‘home theater’, a sort of palliative, but still a way to make the theater survive, if not fully live. Interestingly, because in this new formulation, theater has been brought back to its origins, as a street show, a traveling performance.

CR Another alternative is also theater in streaming: where you are on stage without an audience and perform the show then stream it ; in some cases even with a paying audience. Here in Bergamo in our splendid Donizetti theater, recently reopened after long renovations, a streaming show was offered . But the theater is something else. Done remotely, the most beautiful part of theatrical performance is missing, the relationship with the audience.

MS You too engage in theater outside the canonical space of the stage.

CR Actually it has always been like that for me. Since my theater beginnings, I have always tried to bring theater into unconventional spaces. I looked for opportunities to do theater in the social sector. In the early 90’s there were many projects with social institutions, I worked with Caritas [Editor’s note: the sector of the Catholic church in charge of providing services for the needy] in homeless shelters. Over time this has become a choice for me. For example, I am working a lot in libraries, the quintessential cultural space, a lively and rich space though it lacks a proper stage area. My theater does not require a lot of stage elements, is simple and does not require large spaces. For me, what matters is to bring theater into people’s daily lives, in the streets, in the courtyards, even in the homes. I have also had experience collaborating with large, professional companies, with very specific poetics and artistic choices. These are completely different experiences, with stable theaters and shows with well-defined repertory, lights, music, sets. Obviously it’s something completely different from what I do alone in my monologues , but they too are very enriching experiences.

My simple and ‘homey’ theater work stems from the need to overcome obstacles in order to be able to do theater. This comes from my lived experience, as a migrant around the world who learns to live with obstacles and difficulties. This is a great lesson that I have received from my parents. When we were refugees,  after our flight from the Argentine dictatorship and the move from Latin America here to Europe, we visited museums, we nourished ourselves with culture. I remember a short stay in Madrid and a visit to the Prado museum. Here, my parents taught me to find a form of salvation in culture. Culture saves especially in the darkest hours of your life

My way of doing ‘home’ theater, so to speak, means bringing the theater to the people always and in any case, offering cultural opportunities despite everything. This is deeply entrenched in me, both for the education I received and for my own theatrical training. I studied with the Odin Teatret, the company founded by Eugenio Barba in Norway. Mine is a theater that works on the body, on the actor who creates scenes, actions, gestures and words through which to express herself/himself. The final product is the result is all the work done by the actor, the director is solely responsible for the editing. For this reason being an actor is a continuous work of collecting material, exercising, training. This is the concept of theater I studied in Sweden and Denmark; this is my way of doing theater, which is basically my life  choice.

 

Cover image: courtesy Los Amigos de Cervantes; photos in the article by Matilde Sciarrino.

 

 

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Tags: ArgentinaCandelaria RomeroCompagnia delle Poeteexilehome theaterimmigrationItalymarginalized groupsMatilde SciarrinoOdin TeatretpandemicperformancePoetrypolitical refugeesstegestorytellingSwdentheater

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Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

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The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

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This Is Not A Feminist Poem – Wana Udobang (a.k.a. Wana Wana)

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December 10, 2022
Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

THE MATERICIST MANIFESTO by AVANGUARDIE VERDI

December 10, 2022

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HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran
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HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

by Dreaming Machine
2 months ago
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HAIR IN THE WIND we  invite all poets from all countries to be part of the artistic-poetic performance HAIR IN...

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