Dancers: Francesco Colaleo, Maxime Freixas, Francesca Ugolini & Faustino Blanchut

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

12th of October (Thursday) at 8.15pm
Opening of the Forum with welcome from Manuele Bertoli, President of Ticino’s Cantonal Government
Mein Dornenlächeln concert
Musical Adaptation by Charles Kálmán, Acting and Voice Carola Krautz-Brasin, Piano Peggy Voigt, Conductor Hajo Jahn

Else Lasker-Schüler ten poems in Italian    

Else Lasker-Schüler, born Elisabeth Schüler (Elberfeld 1869 – Jerusalem 1945), German poet, considered by Schalom Ben-Chorin as the greatest ever produced by Judaism; and, according to Karl Kraus, the most powerful and inaccessible lyric phenomenon in modern Germany. Or again, according to Gottfried Benn, the greatest Germany has ever had.
Else Lasker-Schüler left a large number of poetry works, three plays, short stories and sketches as well as numerous letters and drawings. She devoted herself particularly to amatory poetry, which features prominently within her lyrical output. Many poems also feature a very deep, spiritual character: the later works especially are laden with Biblical and Eastern references. While flaunting a certain formal freedom, her poems are works of great formal research and inner focus, with frequent use neologisms.

13th of October (Friday) at 8.15pm  
Schüler & Schüler by Yael Schüler Dance Performance
Mit der Güte des Menschen war’s wieder mal nichts
Walter Mehring-Revue by Karen Krauthammer
with Helmut Vogel, Graziella Rossi & Daniel Fueter

14th of October (Saturday) at 8.15pm  
Der blaue Reiter ist gefallen oder Europa am Abgrund
Multimedia-Show by H. Bontrup

Some of Pina Bausch’s dancers introduce themselves: Chrystel Guiellebeaud, Jan Mark Reichow, Olaf Reitz, Charles Petersohn & Margaux Kier

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

"The journey of my life is a multifaceted exploration of the impact of dance, of me dancing as a being”. An artistic research project into being, where the Act of dancing, as it becomes an act of knowledge, goes beyond a simple transposition into choreography: here, however subtly, every gesture of the choreography of body and soul becomes a rite.” (Michel Raji)

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

Together, we ask the question: “What is rhythm?”

Rhythm is in the belly, it’s inside us and it shows us that every one of us has their own way of listening, this is rhythm. Thinking of the word ‘duration’ permits an awareness of the ties which into play between rhythm and dance. Every sound, every movement has a beginning and an end. At the beginning there is an inspiration, as a first gesture of life, which we can define as an ‘E’. An ‘E’ which stands in opposition to the ‘Boom’ granted at the end of the gesture, non-movement.

Through the ‘E’ and the ‘Boom’, our play begins.

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

Time: Sat 10am-5pm

Booking: info@teatrosanmaterno.ch

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

Dance on Screen team

Artistic direction, production and programming by Valentina Moar
Production assistant Marco Schretter

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

Choreography and Direction Tiziana Arnaboldi
Dancers Marta Ciappina, Eleonora Chiocchini, Valentina Moar
Musical research Mauro Casappa
Video Oscar Accorsi
Lighting design Christoph Siegenthaler

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Freely adapted from Enrico Ferretti’s essay “Educazione in gioco” (Casagrande 2016)
Lighting Christoph Siegenthaler
Production Compagnia Tiziana Arnaboldi

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

Time: Sat 10am-5pm

Booking info@teatrosanmaterno.ch

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

Vivian Maier (1926-2009), American photographer, is one of the most striking cases of posthumous fame in recent years. A nanny with an enigmatic life; when she died she left some 150,000 photos that no-one had previously ever seen, most of them probably not even herself. And the stubborn curiosity of a boy who discovered her work almost "accidentally" and brought it to the forefront of the world’s attention. An investigator-like search which lasted several years, based only on extremely vague traces of departures and receipts, a few records of a life lived in maniacal anonymity. Her photos taken in the street are incredibly powerful, formally perfect and assured: an overview of more than just an American and French half-century, oozing humanity and taken with incredible empathy and understanding. Two centuries come together, tracing a wake of contemporaneity linked by opposites and similarities, still generating questions, not only in relation to photography, but also to life itself: choice, reluctance, the desire to stay hidden, abilities. Whether it is obligatory to show one’s own world, to reveal one’s intimacy in a world dominated by disposable images, by disposable technology, by a lack of choice, where one is satisfied with a few "friends" and convinced of doing profound work of transformation, for oneself and for the world.
Vivian Maier departed as light as the breeze that brought her, leaving us with professional rigour, profound research and exemplary inaccessibility.

Roberto Carlone was born in Vercelli on the 8th of April 1955. After finishing his technical studies, in 1978 he collaborated with the Research Centre for Theatre (CRT) in Milan as coordinator for the Grotowsky project. In 1979 he worked as a radio- host at Radio Occhio. In 1980 he founded the Osiris Band, who most consider the most eclectic comedy/musical band in Italy, and which still represents his principal area of activity, after writing eighteen theatre plays that can boast more than two- thousand performances in the most prestigious Italian theatres (Piccolo Teatro in Milan, Bari’s Petruzzelli, Turin’s Colosseo, Rome's Olimpico) and in several international festivals.

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

The Young Musicians

Jan-Aurel Dawidiuk
Born in 2000 in Hanover, he began his musical education at six with piano and violin, and for seven years was part of the renowned Knabenchor of Hanover. In the Autumn of 2014, he entered Hanover Hochschule in Konrad-Maria Engel’s class, also attending additional organ classes with Nico Miller. From the Autumn of 2016, he continued in the class of Roland Krüger, integrating his piano studies with Gabriele Leporatti; in addition, he continued organ lessons with Martin Sander in Detmold. His present desire is to become a conductor. Jan-Aurel is the winner of many piano performance awards, including first prize in the Essen Rotary competition in 2015, together with the award for Best J.S. Bach Performance and the Carl Bechstein Foundation’s special award. In 2016, he won first prize at Zwickau’s "Kleinen Schumann" competition, along with the "Robert Schumann Association"’s special award for the highest vote in the entire competition. As a pianist, organist and chamber musician, he has repeatedly been awarded first prize in the "Jugend Musiziert" competition at national level. As a pianist, Jan-Aurel has performed in festivals including the "Klavierfestival Ruhr" at Essen’s Philharmonie and Hanover NDR’s Kleiner Sendesaal. In April 2018 he is due to make his debut with the Göttinger Symphonie Orchester, directed by Christoph-Mathias Mueller, with Schuman’s Concerto in A minor. Jan-Aurel benefits from scholarships from Jürgen Ponto-Stiftung, Deutsche Stiftung Musikleben and Stiftung Jugend Musiziert Niedersachsen

Nina Gurol
Born in 1997, pianist Nina Gurol received her first piano lesson at the age of six and at thirteen entered the Pre-College at Cologne’s Hochschule, studying first with Nina Tichman and then with Gesa Lücker, with whom she has been studying for her Bachelor’s since 2015. She is extremely passionate about contemporary music, which is reflected not only in her collaborations with the "Studio MusikFabrik" ensemble, but also by those with composer York Höller, and a string of premiere performances. As a soloist and chamber musician, she has played in many German cities, in Italy, Poland, Austria, the United States and in the halls of the Kölner Philharmonie, the Essener Philharmonie, Cologne’s WDR Hall, Bonn’s Beethovenhaus, Vienna’s Ehrbaar Saal, Leverkusen’s Erholungshaus and Cologne’s DuMont Studio. She has also appeared in festivals such as Klavierfestival Ruhr, Cologne’s ACHT BRÜCKEN Festival, Leipzig’s Bachfest and the Köthener Bachfesttagen. Alongside her regular work with Tamara Stefanovich, Nina has undertaken advanced training with Pierre-Laurent Aimard, Jerome Rose, Alexander Kobrin and Eduard Zilberkant. Her experience with the orchestra led her to playing with the Bayer Symphonikern and Kenneth Duryea, the Rhein-Erft Philharmonie and* Christian Letschert-Larsson, and also with Toru Symphony Orchestra and* Anna Mróz. Thanks to the generous support of the Deutsche Stiftung Musikleben, from whom she has received a scholarship since 2015, she was able to study for one semester at Trento’s Conservatorio with Mario Coppola. A winner of numerous awards in national and international competitions, she was recently awarded the Mieczław Weinberg prize at Tonali Musikpreis. From 2016 Nina has been represented by Hamburg’s TONALiSTEN.

Yizhuo Meng
Yizhuo Meng was born in Hebei (China) in 1996 and at five years of age attended her first piano lesson, winning the first prize at "Xinghai" Piano Competition in Zhangjiakou when just eight. In 2008 she entered the Beijing Central Conservatory where in 2011 she was granted a scholarship, continuing to receive awards at a variety of performance competitions, including third prize at Beijing’s "Thomas and Evon Cooper Competition". She left China to study in Germany, first in Hamburg at the International College of Music with Delphine Lizè, and later to Cologne Hochschule with Gesa Luecker, where she had the opportunity to deepen her knowledge of historic music with Gerald Hambitzer and contemporary work with Tamara Stefanovich and Pierre-Laurent Aimard. In 2015 she won second prize at the "Val Tidone" International Piano Competition in Italy, while in 2016 gained fifth prize at Cologne Hochschule’s "Karlrobert-Kreiten" competition and second in the "McKenzie Awards" in New York. In 2016 she was granted a scholarship at "Live-Music-Now Koeln e.V.", forming a duo with pianist Franziska Staubach.

Programme of the Sessions and the Concerts
On the 20th and 22nd of March, free public sessions will be held from 4pm to 7pm.
Friday 23rd of March, from 9pm to midnight, there will be an evening session.

And finally, the grand finale
Sunday, the 25th of March, 5pm

Piano Concerto
Between the Sacred and the Rhythm

Programme
O. Messiaen — Regard du Père, from "Vingt regards sur l’enfant-Jésus"
J.S. Bach — Toccata BWV 913
O. Messiaen — Regard de l’étoile, from "Vingt regards sur l’enfant-Jésus"
W.A. Mozart — Sonata Kv 282
O. Messiaen — Regard de la Vierge, from "Vingt regards sur l’enfant-Jésus"
F. Liszt — Ave Maria (The Bells of Rome) S. 182
O. Messiaen — Regard de la Croix, from "Vingt regards sur l’enfant-Jésus"
G. Benjamin — Shadowlines (a choice)
O. Messiaen — Regard des hauteurs, from "Vingt regards sur l’enfant-Jésus"

The Young Musicians

Jan-Aurel Dawidiuk
Born in 2000 in Hanover, he began his musical education at six with piano and violin, and for seven years was part of the renowned Knabenchor of Hanover. In the Autumn of 2014, he entered Hanover Hochschule in Konrad-Maria Engel’s class, also attending additional organ classes with Nico Miller. From the Autumn of 2016, he continued in the class of Roland Krüger, integrating his piano studies with Gabriele Leporatti; in addition, he continued organ lessons with Martin Sander in Detmold. His present desire is to become a conductor. Jan-Aurel is the winner of many piano performance awards, including first prize in the Essen Rotary competition in 2015, together with the award for Best J.S. Bach Performance and the Carl Bechstein Foundation’s special award. In 2016, he won first prize at Zwickau’s "Kleinen Schumann" competition, along with the "Robert Schumann Association"’s special award for the highest vote in the entire competition. As a pianist, organist and chamber musician, he has repeatedly been awarded first prize in the "Jugend Musiziert" competition at national level. As a pianist, Jan-Aurel has performed in festivals including the "Klavierfestival Ruhr" at Essen’s Philharmonie and Hanover NDR’s Kleiner Sendesaal. In April 2018 he is due to make his debut with the Göttinger Symphonie Orchester, directed by Christoph-Mathias Mueller, with Schuman’s Concerto in A minor. Jan-Aurel benefits from scholarships from Jürgen Ponto-Stiftung, Deutsche Stiftung Musikleben and Stiftung Jugend Musiziert Niedersachsen

Nina Gurol
Born in 1997, pianist Nina Gurol received her first piano lesson at the age of six and at thirteen entered the Pre-College at Cologne’s Hochschule, studying first with Nina Tichman and then with Gesa Lücker, with whom she has been studying for her Bachelor’s since 2015. She is extremely passionate about contemporary music, which is reflected not only in her collaborations with the "Studio MusikFabrik" ensemble, but also by those with composer York Höller, and a string of premiere performances. As a soloist and chamber musician, she has played in many German cities, in Italy, Poland, Austria, the United States and in the halls of the Kölner Philharmonie, the Essener Philharmonie, Cologne’s WDR Hall, Bonn’s Beethovenhaus, Vienna’s Ehrbaar Saal, Leverkusen’s Erholungshaus and Cologne’s DuMont Studio. She has also appeared in festivals such as Klavierfestival Ruhr, Cologne’s ACHT BRÜCKEN Festival, Leipzig’s Bachfest and the Köthener Bachfesttagen. Alongside her regular work with Tamara Stefanovich, Nina has undertaken advanced training with Pierre-Laurent Aimard, Jerome Rose, Alexander Kobrin and Eduard Zilberkant. Her experience with the orchestra led her to playing with the Bayer Symphonikern and Kenneth Duryea, the Rhein-Erft Philharmonie and* Christian Letschert-Larsson, and also with Toru Symphony Orchestra and* Anna Mróz. Thanks to the generous support of the Deutsche Stiftung Musikleben, from whom she has received a scholarship since 2015, she was able to study for one semester at Trento’s Conservatorio with Mario Coppola. A winner of numerous awards in national and international competitions, she was recently awarded the Mieczław Weinberg prize at Tonali Musikpreis. From 2016 Nina has been represented by Hamburg’s TONALiSTEN.

Yizhuo Meng
Yizhuo Meng was born in Hebei (China) in 1996 and at five years of age attended her first piano lesson, winning the first prize at "Xinghai" Piano Competition in Zhangjiakou when just eight. In 2008 she entered the Beijing Central Conservatory where in 2011 she was granted a scholarship, continuing to receive awards at a variety of performance competitions, including third prize at Beijing’s "Thomas and Evon Cooper Competition". She left China to study in Germany, first in Hamburg at the International College of Music with Delphine Lizè, and later to Cologne Hochschule with Gesa Luecker, where she had the opportunity to deepen her knowledge of historic music with Gerald Hambitzer and contemporary work with Tamara Stefanovich and Pierre-Laurent Aimard. In 2015 she won second prize at the "Val Tidone" International Piano Competition in Italy, while in 2016 gained fifth prize at Cologne Hochschule’s "Karlrobert-Kreiten" competition and second in the "McKenzie Awards" in New York. In 2016 she was granted a scholarship at "Live-Music-Now Koeln e.V.", forming a duo with pianist Franziska Staubach.

Programme of the Sessions and the Concerts
On the 20th and 22nd of March, free public sessions will be held from 4pm to 7pm.
Friday 23rd of March, from 9pm to midnight, there will be an evening session.

And finally, the grand finale
Sunday, the 25th of March, 5pm

Piano Concerto
Between the Sacred and the Rhythm

Programme
O. Messiaen — Regard du Père, from "Vingt regards sur l’enfant-Jésus"
J.S. Bach — Toccata BWV 913
O. Messiaen — Regard de l’étoile, from "Vingt regards sur l’enfant-Jésus"
W.A. Mozart — Sonata Kv 282
O. Messiaen — Regard de la Vierge, from "Vingt regards sur l’enfant-Jésus"
F. Liszt — Ave Maria (The Bells of Rome) S. 182
O. Messiaen — Regard de la Croix, from "Vingt regards sur l’enfant-Jésus"
G. Benjamin — Shadowlines (a choice)
O. Messiaen — Regard des hauteurs, from "Vingt regards sur l’enfant-Jésus"

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

The Young Musicians

Jan-Aurel Dawidiuk
Born in 2000 in Hanover, he began his musical education at six with piano and violin, and for seven years was part of the renowned Knabenchor of Hanover. In the Autumn of 2014, he entered Hanover Hochschule in Konrad-Maria Engel’s class, also attending additional organ classes with Nico Miller. From the Autumn of 2016, he continued in the class of Roland Krüger, integrating his piano studies with Gabriele Leporatti; in addition, he continued organ lessons with Martin Sander in Detmold. His present desire is to become a conductor. Jan-Aurel is the winner of many piano performance awards, including first prize in the Essen Rotary competition in 2015, together with the award for Best J.S. Bach Performance and the Carl Bechstein Foundation’s special award. In 2016, he won first prize at Zwickau’s "Kleinen Schumann" competition, along with the "Robert Schumann Association"’s special award for the highest vote in the entire competition. As a pianist, organist and chamber musician, he has repeatedly been awarded first prize in the "Jugend Musiziert" competition at national level. As a pianist, Jan-Aurel has performed in festivals including the "Klavierfestival Ruhr" at Essen’s Philharmonie and Hanover NDR’s Kleiner Sendesaal. In April 2018 he is due to make his debut with the Göttinger Symphonie Orchester, directed by Christoph-Mathias Mueller, with Schuman’s Concerto in A minor. Jan-Aurel benefits from scholarships from Jürgen Ponto-Stiftung, Deutsche Stiftung Musikleben and Stiftung Jugend Musiziert Niedersachsen

Nina Gurol
Born in 1997, pianist Nina Gurol received her first piano lesson at the age of six and at thirteen entered the Pre-College at Cologne’s Hochschule, studying first with Nina Tichman and then with Gesa Lücker, with whom she has been studying for her Bachelor’s since 2015. She is extremely passionate about contemporary music, which is reflected not only in her collaborations with the "Studio MusikFabrik" ensemble, but also by those with composer York Höller, and a string of premiere performances. As a soloist and chamber musician, she has played in many German cities, in Italy, Poland, Austria, the United States and in the halls of the Kölner Philharmonie, the Essener Philharmonie, Cologne’s WDR Hall, Bonn’s Beethovenhaus, Vienna’s Ehrbaar Saal, Leverkusen’s Erholungshaus and Cologne’s DuMont Studio. She has also appeared in festivals such as Klavierfestival Ruhr, Cologne’s ACHT BRÜCKEN Festival, Leipzig’s Bachfest and the Köthener Bachfesttagen. Alongside her regular work with Tamara Stefanovich, Nina has undertaken advanced training with Pierre-Laurent Aimard, Jerome Rose, Alexander Kobrin and Eduard Zilberkant. Her experience with the orchestra led her to playing with the Bayer Symphonikern and Kenneth Duryea, the Rhein-Erft Philharmonie and* Christian Letschert-Larsson, and also with Toru Symphony Orchestra and* Anna Mróz. Thanks to the generous support of the Deutsche Stiftung Musikleben, from whom she has received a scholarship since 2015, she was able to study for one semester at Trento’s Conservatorio with Mario Coppola. A winner of numerous awards in national and international competitions, she was recently awarded the Mieczław Weinberg prize at Tonali Musikpreis. From 2016 Nina has been represented by Hamburg’s TONALiSTEN.

Yizhuo Meng
Yizhuo Meng was born in Hebei (China) in 1996 and at five years of age attended her first piano lesson, winning the first prize at "Xinghai" Piano Competition in Zhangjiakou when just eight. In 2008 she entered the Beijing Central Conservatory where in 2011 she was granted a scholarship, continuing to receive awards at a variety of performance competitions, including third prize at Beijing’s "Thomas and Evon Cooper Competition". She left China to study in Germany, first in Hamburg at the International College of Music with Delphine Lizè, and later to Cologne Hochschule with Gesa Luecker, where she had the opportunity to deepen her knowledge of historic music with Gerald Hambitzer and contemporary work with Tamara Stefanovich and Pierre-Laurent Aimard. In 2015 she won second prize at the "Val Tidone" International Piano Competition in Italy, while in 2016 gained fifth prize at Cologne Hochschule’s "Karlrobert-Kreiten" competition and second in the "McKenzie Awards" in New York. In 2016 she was granted a scholarship at "Live-Music-Now Koeln e.V.", forming a duo with pianist Franziska Staubach.

Programme of the Sessions and the Concerts
On the 20th and 22nd of March, free public sessions will be held from 4pm to 7pm.
Friday 23rd of March, from 9pm to midnight, there will be an evening session.

And finally, the grand finale
Sunday, the 25th of March, 5pm

Piano Concerto
Between the Sacred and the Rhythm

Programme
O. Messiaen — Regard du Père, from "Vingt regards sur l’enfant-Jésus"
J.S. Bach — Toccata BWV 913
O. Messiaen — Regard de l’étoile, from "Vingt regards sur l’enfant-Jésus"
W.A. Mozart — Sonata Kv 282
O. Messiaen — Regard de la Vierge, from "Vingt regards sur l’enfant-Jésus"
F. Liszt — Ave Maria (The Bells of Rome) S. 182
O. Messiaen — Regard de la Croix, from "Vingt regards sur l’enfant-Jésus"
G. Benjamin — Shadowlines (a choice)
O. Messiaen — Regard des hauteurs, from "Vingt regards sur l’enfant-Jésus"

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

Choreography Carolyn Carlson
Performer Sara Orselli
Music Michael Gordon: Weather Parts 3 & 1 Costumes Chrystel Zingiro
Lighting Freddy Bonneau

Production associate Carolyn Carlson Company Original production: National choreographic Centre of Roubaix Nord-Pas de Calais in collaboration with L’Atelier de Paris-Carolyn Carlson
 
A beating heart, propelling life in a body that, in turn, sways, spins. Mandala fascinates the audience thanks to its hypnotic rhythm, very suitably accompanied by the energetic music of Michael Gordon.
In addition to the Ensō circle, symbolizing both the universe and perfect artistic gesture at the same time, it is also possible to find references to crop circles. Geometric manifestations of mysterious origin, they appear as messages from a force of the soul, perhaps from some outside source, and seeming to want to remind us just how much of the unknown still surrounds us.
Sara Orselli performs this solo, which represents the latest product of her fruitful collaboration with Carolyn Carlson which has now lasted for more than a decade.

At the end of an intense performance, a presentation will be given by Julie Breukel Michel, of Centro Lungta in Mergoscia on the philosophy of the Mandala.

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

The documentary being shown at the Teatro San Materno features moments from the show “Danza e Mistero” (Dance and Mystery), combined with commentary by grand-daughters Eliane and Nelly Bachrach, Michela Zucconi-Poncini, curator of Ascona’s museum, as well as Architect Guido Tallone, who oversaw the restoration of the Teatro San Materno, the theatre that Paul Bachrach had built for his daughter.

Charlotte Bara’s life and passions are also explored through the documents of the Charlotte Bara Fund, a donated archive preserved by Ascona’s Modern Art Museum.

First part
A celebration of man in relation to the Earth, gravity, and perhaps, to encounter a new dance. An empty panorama, only with stones, is the place of an old community. In this place were born movements and memories that the body seems to want to sing: rituals, work, wishes. Lying on the ground summons the throbbing of emotions, to rediscover the value of fragility as the driving force of new postures, searching for some stable point on which to stand in apparent tranquillity, as if in suspended animation. This is a dance of sensitive, light steps, in which feet, hands, and body seek to be caressed and embraced among the roughness of the stones.
 
Second part
Following the steps of Belgian dancer Charlotte Bara, the charming founder of Teatro San Materno. A trip between past and present.
On the stage, three dancers of great experience: Eleonora Chiocchini, Marta Ciappina and Francesca Zaccaria, spatially representing the magical creative force of Charlotte Bara through her gothic postures, the source of inspiration for writers, poets, painters and artists in a variety fields. With hand positions that are full of mystery the dancers combine movements of legs and pelvis to evoke a sincere dialogue between Charlotte Bara’s historical gestures and the dance of today: contemporary dance.
These two moments invite the audience to keep an open mind, to inhabit a space and a time which may shift, think and reflect.
Production Teatro San Materno Ascona and Neuestheater Dornach-Basilea with with support of Repubblica e Cantone Ticino, DECS, Swisslos, Prohelvetia – Swiss Foundation for Culture, Comune di Ascona, Fondazione Pende.

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Visitors are invited to stroll through Teatro San Materno’s Bauhaus style architecture, pausing wherever they like, whatever the day, hour and however they: on a chair, with a blanket or otherwise on the lawn, on the large terrace, under the cherry Tree, on the stairs or in some inner hidden corner, simply to enjoy the beauty of idleness. People may want to read, dance, act,... everyone is invited to occupy these magical spaces and gently abandon themselves. From time to time, dancers and poets will be around, in addition to other parallel events taking place.

The hill-garden on which Teatro San Materno’s Bauhaus architecture lays is the perfect location to host to a musically scored project. The paths, the stairs, the entrance wall, the different terraces, balconies and green spaces echo the architectural elements of the building. A score that recalls the choreography of a dance destined for these. Fragments of landscape and scenery. A dance not only for dancers, but a reminder of a dance of sounds: a ‘choreophony’. The entrance, for example, with the reverberating wall of the staircase that reaches up to the roof terrace, generates very special acoustics.

Thanks to Teatro San Materno’s architecture and public performances, you may feel like being in a wonderful park of art and history, a door that opens toward both Ascona and Monte Verità. A project including the outer space of San Materno’s little island requires a particular art, an art capable of creating a sound space. For some thirty years, Andres Bosshard has been developing instruments to suit such a space, which, in the open environment of the garden, are now able to create an ideal location for listening.

Sunday, the 27th of May at 5pm

Opening event with artist Andres Bosshard and musician Charlotte Hug

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members

Visitors are invited to stroll through Teatro San Materno’s Bauhaus style architecture, pausing wherever they like, whatever the day, hour and however they: on a chair, with a blanket or otherwise on the lawn, on the large terrace, under the cherry Tree, on the stairs or in some inner hidden corner, simply to enjoy the beauty of idleness. People may want to read, dance, act,... everyone is invited to occupy these magical spaces and gently abandon themselves. From time to time, dancers and poets will be around, in addition to other parallel events taking place.

The hill-garden on which Teatro San Materno’s Bauhaus architecture lays is the perfect location to host to a musically scored project. The paths, the stairs, the entrance wall, the different terraces, balconies and green spaces echo the architectural elements of the building. A score that recalls the choreography of a dance destined for these. Fragments of landscape and scenery. A dance not only for dancers, but a reminder of a dance of sounds: a ‘choreophony’. The entrance, for example, with the reverberating wall of the staircase that reaches up to the roof terrace, generates very special acoustics.

Thanks to Teatro San Materno’s architecture and public performances, you may feel like being in a wonderful park of art and history, a door that opens toward both Ascona and Monte Verità. A project including the outer space of San Materno’s little island requires a particular art, an art capable of creating a sound space. For some thirty years, Andres Bosshard has been developing instruments to suit such a space, which, in the open environment of the garden, are now able to create an ideal location for listening.

War Memorial, 1936, 1956 Impromptu, 1952
"Oh Dear", 1949
Mobile, 1975

Choreography alternating with readings by Sigurd Leeder with
Alison Curtis-Jones, Karin Hermes, Tim Rubidge

Sigurd Leeder, born in 1902 in Hamburg, died in 1981 in Herisau, Switzerland.
He taught at the "Sigurd Leeder Dance School" in Herisau (Switzerland) from 1964 to 1981. He was Director of the school in collaboration with Greta Müller. He was internationally renowned and attracted students from throughout the world. Leeder worked in close collaboration with Kurt Jooss, developing the Jooss-Leeder method, which had a lasting impact on a future generation of dancers that included Pina Bausch, Jean Cebron, Jeann Brabants and many others. Leeder was an outstanding dancer, dance teacher and specialist in the analysis of movement; he was President of the International Council of Kinetography Laban (or "Labanotation"). The Swiss Dance archive hosts the Sigurd Leeder Collection, which is free to access.

* students, apprendisti, AVS, AI, “e-venti culturali” and “club rete due” members