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    Anno: 2018

    Diversamente a teatro

    For three years, from 2014 to June 2017, Diversamente a teatro offered a training and work placement opportunity in the theatre sector to a group of young people with disabilities without distinction in terms of contract or economic level compared to other workers in the sector.

    This initiative is inspired by international models and is a pilot project made possible thanks to the support of Fondazione UmanaMente. Thanks to Diversamente a teatro, this group of young people became an integral part of the organisational structure of the theatre. THE STAFF bar has become the space in which this project has found concreteness and offers them the opportunity to express their professionalism. Thanks to the contribution of the Cattolica Foundation, the Valle dei Laghi Theatre has become a place for cultural aggregation, social integration and experimentation.

    After the closure of the Valle dei Laghi Theatre in Vezzano, this opportunity disappeared. Hence the idea of Associazione Atti, Oasi Valle dei Laghi and our foundation to give continuity to the initiative.

    Chef a teatro and Lettori Olimpici are the natural continuation of this project. Over the years they have in fact found continuity and support thanks to a network of sensitive and shrewd partners.

    A project by ATTI, Comunità Valle dei Laghi, Fondazione Aida, Associazione Oasi.

    Realised with the support of Fondazione Cattolica Assicurazioni and Fondazione Umanamente.

    The Wizard of Oz

    The show

    Dorothy, a child who lives in Kansas with her uncles, is thrown by a sudden cyclone in a country populated by strange characters.She lands in the village of Succhialimoni, some bizarre little men who thank her for having killed the wicked Witch of the East, crushed by the fall of the house.

    Her only thought is to return home, but it seems that the only one who can help her is the Wizard of Oz.Along the way that will lead her to the Wizard, Dorothy meets the Scarecrow, the Tin Woodman and the Cowardly Lion.Dorothy’s new friends think they have a void to fill, so they need the intervention of the Wizard of Oz.The Scarecrow believes he needs a brain, the Tin Woodman a heart and the Lion of courage, while Dorothy wants nothing more than to return to her country.

    During the journey, each of them, facing their fears to overcome the obstacles they will encounter along the way, will show that they already possess what they thought they lacked.

    Turning directly to Baum’s text, we tried to highlight the most “fantastic” aspect linked to that experience through which we all went through.

    That dangerous and tortuous path which is growing up, becoming great.

    It definitely takes brain, heart and courage!

     

    Director’s notes

    “The journey that little Dorothy makes to the country of Oz, together with her little dog Toto and the Scarecrow, the Tin Man and the Lion, is not only a journey that starts from Kansas (that is, from a real state in America ) to arrive in a fantastic country, but it is also a journey into Fantasy and with Fantasy. And what can be better, in a theatrical show, than using the THEATER to undertake this wonderful journey? Can it be done? Imagine on stage those strange machines that, at that time when there were no computers or speakers, were used precisely in the Theater to reproduce sound. The beautiful wind machine, for example, a kind of windmill rustling wood on a canvas, or the thunder machines, sheet metal plates hung on a wooden easel. Imagine that those machines are also capable of making you discover different places a little at a time and of knowing how to create colorful and fantastic landscapes. Immagine the character of the story that jump out as if by magic from the old twisted ropes or from the old dusty trunks. Then imagine in that Theater three actors who start playing with those objects that have become beautiful puppets and with those machines full of magical and mysterious sounds and effects. Three actors who use not only the word, but also and above all the body with its rhythm and its thousand possibilities. A game very similar to what children play. This will be our theatrical game, a game that today’s children sometimes seem to have forgotten. Which has been replaced by all those electronic “devilry” – useful in the theater as they are often also useful for children – but which seem to have dulled the imagination and creative force of our “I child”, both in theater and in life. A show with actors and puppets on stage, suitable for everyone from 4 years old. ”

    Pino Costalunga – director

     

    One of the most beautiful fairy tales for children, taken from the famous story by L. Frank Baum which retains its charm intact over time.A wonderful journey, in that dangerous and tortuous path that is growing up, becoming great.It definitely takes brain, heart and courage!

     

    Culture Luggage

    In 2018 we participated in the European project Cultural Luggage funded by the Creative Europe programme.

    The initiative involved a group of refugees welcomed at the Il Samaritano centre and the Sprar in Verona. The objectives of this project are mainly two and they aim to:

    • to develop a sense of common belonging between the refugees and the local population, to reduce the sense of isolation that many of them have;
    • develop a greater knowledge and awareness of the culture of the host country;

    METHODOLOGY

    An analysis of recent events in which more and more people are migrating from their country of origin to Europe has revealed obstacles to integration between refugees and the local population. In many cases, however, cultural differences are only apparent.

    THE STEPS

    The first phase undertaken was to search for common elements between Italian fairy tales and the traditional fairy tales of the refugees’ countries of origin. To do this, our actors met, between February and March 2018, the refugees of the Sprar in Verona.

    In the second phase, workshops with actors and refugees were carried out in schools with children. The creation and participation in these workshops then led to the realisation of Griot-totela Cantastorie Dal Mondo, a show that we presented in a special event within the Sprar in Verona.

    PARTNERS

    Participated along with us: Topos Allou-Aeroplio theatre (coordinator), Action Synergy S.A. and Action-Aid from Greece and Sagohiset theatre from Sweden.

    Locally we collaborated with Massalongo kindergarten, Casa di Ramia, Cestim, Il Samaritano and Le Fate ONLUS.

    Reference website HERE

    Facebook page HERE

    Rights4Kids

    In Europe for children’s rights

    Since 2018 Fondazione Aida has been Leader of the European project Rights4kids, a project financed by the Creative Europe programme and under the patronage of the Municipality of Verona – Department of Education.

    The aim

    The project aims to bring children closer to theatre, making them participate in the development of plays not only as an audience but also as co-creators. The children were able to reflect on their rights by sharing their experiences and stories. Theatre, in this case, becomes a tool to promote the social inclusion of children. It was possible to work on the Convention on the Rights of the Child and to raise public awareness of this important issue.

    Contents

    Theatre is an effective tool because, not only is it a means for young people to express themselves, but it is also a means of communication. Thanks to theatre, young people can confront themselves with others and create a bridge between the world of children and that of adults.

    The Convention on the Rights of the Child, the core theme of the project, specifies the fundamental rights that must be recognised and guaranteed for all boys and girls in the world: it is important to make children aware of their rights and those of their schoolmates or friends who may come from another culture or may have certain disabilities or social problems.

    The phases

    First, several workshops were carried out with children in all partner countries, in schools or education centres.

    Then, the stories that emerged during the workshops were the basis for the development of the script of a play. Subsequently, each partner staged the play for more than 10 performances each.

    An online portal focusing on broader issues related to art and the Convention of the Rights of the Child was created. Currently, an e-learning course is being developed with the aim of incorporating and sharing expertise from professionals across Europe.

    The project will conclude with a festival in Greece dedicated to theatre and children, where all the plays will be presented together with other focused parallel activities.

    The partners

    AIDA Foundation participates with other six partners: Associazione Teatrale Trentina Interculturale from Italy, Teatro Aeroplio, Action Synergy and DIKTUO -Network for Children’s Rights from Greece, Dah Theatre Research Centre from Serbia and Performalita from Czech Republic.

    Visit the Facebook page and the official website!

    Legrebi – The Legend of the Great Birth

    2018 was the European Year of Cultural Heritage, on the occasion of this significant event Fondazione Aida took part in the European project LegreBi – The Legend of the Great Birth within the Creative Europe programme, which is still running.

    The goal

    The aim of the project is to use theatre to enhance the common European mythological heritage, starting from the myth of Creation and the fact that mythology hides a deep past and at the same time shapes the future of every people.

    Contents

    The project is based on the creation of a play dedicated to the myth of Creation (Cosmogony) shared and staged in all six partner countries in the local language.

    This play, in fact, includes elements of the mythologies of most European traditions highlighting common elements and similarities rather than differences in order to lead the audience to a reflection on belonging to a common European identity.

    Activities

    In addition to the staging of the play, the project also has a programme of parallel activities. The programme is extensive and consists of several “sub-events” addressing many forms and categories of audience.

    They are supporting events organised within the theatres, but also tools used outside the theatre. There are exhibitions, readings performed in libraries or in parks, facebook live events.

    We are currently working on an e-learning course and a web portal for professionals from all over Europe to share their experience and expertise with other professionals/cultural organisations across Europe.

    Activities to date include the creation of a publication focusing on creation myths and their common elements.

    Here is the link to our last live stream dedicated to the project.

    The partners

    The coordinator is TOPOS ALLOu-AEROPLIO theatre from Greece, involved are: Action Sinergy also from Greece, Teatr Krzyk from Poland, FOA – Fusion of Arts Association from Romania, Smashing Times Theatre Company Limited from Ireland and Stella Polaris from Norway, as well as our foundation for Italy.

    Publication here

    Reference site here

    Facebook here

    This project has been funded with the support from the European Commission. This document reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

    Clear-Creative Learning

    From 2016 to 2018 Fondazione Aida participated in the European project CLEAR (Creative LEARning) – Erasmus+ KA2- Strategic partnerships for schools promoted by the European Commission. With this project we have defined guidelines and teaching tools for teachers who intend to introduce theatre techniques into their teaching methodologies.

    THE OBJECTIVE

    With this project we wanted to improve teachers’ knowledge and skills in the use of theatre language as an innovative and effective teaching method for primary and pre-primary schools. Regardless of the subject of education covered. In two years we have created a community of teachers trained in this method who can improve and share what they have learned and transfer it to their classroom.

    METHODOLOGY and MATERIALS

    We have created a document that includes examples and best practices related to the use of this language for teaching.

    The material used is digital and of high quality, aimed at teachers, trainers and educators who wish to introduce theatre into their educational pathways in order to improve the quality of training.

    E-learning seminars in English and teacher training workshops were held in all partner countries.

    THE PHASES

    In a first phase in Sofia and Izmir we analysed the education systems of each country.

    Each member state created a working group that developed teaching worksheets for creative teaching of specific modules.

    In October 2017, the partners took part in a meeting organised in Verona. We met to discuss and be trained on the method developed, the worksheets produced and to define guidelines for the training of other teachers in the respective countries. By the end of the year, seminars were organised in each partner country to explain how to introduce the developed creative methodologies in the classroom.

    In spring 2018, the teachers then experimented with one or more of the suggested courses. They made a short report reporting on the effectiveness of the methodology and possible improvements.

    PARTNERS

    In addition to Italy, represented by Fondazione Aida as a professional training centre for teachers accredited by MIUR, the following participated in the project: Kentro Spoudon Laikou Theatrou from Greece, Coordinator, Action Synergy Sa and the 12th “Stergiopoulos” Elementary School of Halandri Ioanninon & Taygetou also from Greece, then Fondatsiya Za Rodopite from Bulgaria, Integration För Alla from Sweden and Karsiyaka Ilce Milli Egitim Mudurlugu from Turkey.

    Fatti di Musica

    Mantua, Verona, Vicenza, Belluno and Ancona are the provinces involved in this initiative which, based on solid professional experience and scientific assumptions guaranteed by the partners, aims to involve the community at large. The initiative starts with children and then extends its impact to families and schools, proposing special actions and musical and theatrical productions to be disseminated in the areas of greatest interaction for the social and cultural growth and general well-being of the new generations.

    Based on scientific assumptions, “Fatti di musica” aims to have an impact on the entire community through musical and theatrical actions and productions specially designed and produced. The concerts and performances are the result of productive interactions between the partners with the scientific advice of CSB onlus, which, in collaboration with the partners, also organises training courses in the areas covered by the project.

    Fondazione Aida contributes with co-production, distribution and programming activities, organisation of seminars for library teachers, and summer camps for children where music, theatre and storytelling are the protagonists of the educational and recreational pathway. It is also active in the steering committee and in the coordination of training, production and distribution actions of the project with Oficina OCM, the lead organisation. The partnership and the project have been inspired and made possible by the “Valore Territori 2018” competition announcement by Fondazione Cariverona, with a contribution of € 200,000.

    Partners

    A national network of 5 partners – led by Oficina OCM of Mantova and joined by Fondazione Aida of Verona, Centro per la Salute del Bambino Onlus “Nati per la Musica” (CSB onlus), Comune di Cassola (Vi), Centro Studi Vocali Nova Cantica of Belluno, Associazione Amici della Musica “G. Michelli” of Ancona.

    Hansel and Gretel and the poor witch

    The show

    Have you ever thought about the famous story of Hansel and Gretel from the point of view of the witch? Yes, that poor witch hungry for children who has devised so many tricks to capture her little victims and in the end becomes a victim herself of her own prey, thrown into the oven to burn! Well, in our story of witches there is not only one, but three and they are here to tell us, many years later, of the beautiful days when there were “such dark times and the children were good to eat”. Witches, as everyone knows, love to dress up to avoid being recognized by children. Hansel and Gretel, who are two good and intelligent children who have learned from their parents and books how life goes, immediately have strong suspicions, but alas, witches have magic on their side and not only manage to capture who they decide to have for lunch, but they involve all those they approach in a terrible confusion of rhymes, assonances and rhythms – because you must know that witches speak only in verse – … and so from the witches’ hunger and easy rhyme you are no longer saved, not even if you want to. But is more powerful Magic or Intelligence? What do you say? The theatrical version is a free adaptation from the famous tale of the same name by the Brothers Grimm.

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