We are in the old cinema in the centre of Polverigi. Its an interesting space. Big and fairly featureless but smelling of Vittorio de Sica. Outside the cinema there are glass fronted notice display boards Each political party seems to have its own noticeboard including nostalgically the communist party. There are also advertisements for events many of which seem to use images from last years CSM project. Images of Kun Ha (one of the MAPDP students here last year) wearing an extraordinary red dress are everywhere. Last year's project was multi site and largely took place outdoors. We are of course wary of following in the footsteps of last years group so we have decided to work in a single indoor space. We have chosen to work in the cinema. We are given the keys. The space is ours exclusively for the next 10 weeks. This is such an extraordinary luxury and is one of the reasons that we are here.
After the cinema visit we go to a restaurant for a celebratory 'we're finally here' lunch. The food is great in the tradition of an Italian working person's lunchtime restaurant. Pasta (obviously) in various forms and then fritto misto di mare and mixed grilled meats served with salad and a kind of bubble and squeak and wine. There are no such things as portions they just bring plates of food until you don't want any more. The wine is unrationed and included in the fixed price menu. Coffee also. Its warm and sunny and its only late March. London seems a long way away.
March 26, 2010. Pete Brooks' diary
We spend most of the day talking in the Piano room. We go around in circles a bit but that is the nature of these processes. We have as a starting point the idea of the haunted sound stage that David Lynch uses in Inland Empire. Nobody thinks Inland Empire is a very good film. It may even be a bad film, but we all agree better a bad David Lynch film than a good film by almost any other american director. earlier we sat in the cinema and looked at the space framed through one of the entrances. We want to do a piece that is long enough to provide us with real dramaturgical problems (at least 30 minutes, preferably longer) but there is also an interest in making something for a limited audience. This almost always implies a need for multiple performances
Today, May 01, 2010
For five weeks now we have been devising Tracking Shot: our latest piece of visual theatre. Under the direction of Pete Brooks, our production will open this May at the Teatro della Luna in Polverigi, Italy.
Our creative team consists of:
Duygu Ozturk (Turkey)
Martin Schnabl (Germany)
Nicole Hoesli (Switzerland)
Zsofia Kocsmárszki (Hungary)
Barbara Torres Dos Reis (Portugal)
Olesya Borisova (Russia)
Ruchita Madhok (India)
Dimitris Bogdanos (Greece)
Maria Kelesidi (Greece)
Marisa Pagkaki (Greece)
Lydia Kontogiorgi (Greece)
Lela Ramoglou (Greece)
It's been a bee hive of activity these last few days and production is well underway. We are very excited about sharing our work with you.
Do come back here to stay up-to-date on information about the performance, dates and press releases. Sign up to our feed and if you can make it to Polverigi, do come for the show!
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