Michela Gerosa

The Operette Season 2026 of the Donizetti Theater Foundation continues on Sunday, March 29 (3:30 p.m.) with the second of three titles on the bill: La Bajadera, an operetta in two acts composed in 1921 by Emmerich Kalman. Bringing it to the stage in the city's main theater will be the Compagnia Teatro Musica Novecento. Directed by Alessandro Brachetti. Performers: Paola Bess, Alessandro Brachetti, Silvia Felisetti, Antonio Colamorea, Fulvio Massa, Francesco Mei, Simone Mastria, Silvia Caprini. Novecento Corps de Ballet with choreography by Salvatore Loritto. Orchestra "Cantieri d'Arte" conducted by Stefano Giaroli. Sets and costumes Artemio Cabassi created by ArteScenica Reggio Emilia. Production Teatro Musica Novecento. Running time 2 hours 15 minutes including intermission. Tickets: Full from 15 to 45 euros; reduced from 12 to 36 euros. La Bajadera is an operetta with an exotic-Indian flavor that literally blew Vienna away, which decreed it a huge success. The libretto is based on a sentimental plot, set in Paris: the story tells of an Indian prince, Radjami, who is forced to take a wife in order to ascend the throne. His search for a bride reaches the French capital, where he meets Odette Darimonde, an operetta diva. Will she be the woman for him? The easy compositional vein animating the choruses, the romances, the dancing motifs, the comic duets, delightful, colorful, full of originality, vivacity and variety, but at the same time full of feeling, with elegant and graceful form, supported by rich instrumentation and with endings full of grandeur, could not but totally engage listeners. Moreover, fox trots, shimmies, new motifs that had largely replaced waltzes in operetta, appeared from the first performance destined for sure popularity. Popularity that La Bajadera has maintained to this day. The Operette Season will conclude on Sunday, April 26 (3:30 p.m.) with Al cavallino bianco, proposed by the Elena D'Angelo Operette Company.

The Donizetti Theater Foundation's Altri Percorsi review concludes with a show that directly relates to the environmental issues of our time, particularly those caused by the largest steel mill in Europe and Italy: Ilva Football Club. Scheduled for Thursday, March 26, at the Teatro Sociale, in a double repetition, matinee at 10:30 a.m. and evening at 8:30 p.m., the show, winner of the Cura 2022 Call for Proposals, is inspired by the novel of the same name by Fulvio Colucci and Lorenzo D'Alò and is brought to the stage by the Usine Baug & Fratelli Maniglio collective, who directed and dramaturgically curated the play. Performers: Fabio Maniglio, Luca Maniglio, Ermanno Pingitore, Stefano Rocco and Claudia Russo. The story of the former Ilva, the city of Taranto and its inhabitants is told by interweaving two narrative tracks that will turn out to be connected. The narrative is led by a sports program presenter who, breaking down the fourth wall, between anecdotes and commentary, tells the story of the fictitious Sidercalcio, aka Ilva Football Club: a small team composed of workers that, partly by luck, partly by talent and tenacity, surprises the whole country by making its way among the biggest professional teams, until it reaches the final of the Coppa Italia. A dream that slowly collides with reality, crumbles, bringing us into the drama of the second narrative track. Interwoven with the football narrative are monologues and choral moments that make up another, more intimate story, the story of "an Ilva family" born and raised at the foot of the monster, one of the many affected by the monster. This story encapsulates the lives of many families in Taranto and at the same time the lives of many families in other expendable cities, cities that have existed or may exist 100 years from now. Cities with other monsters, producers of other things and generators of other evils that will allow us to continue to consume beyond our limits. Finally, the two narrative planes rejoin to reveal the true interlocutor of the football narrative and the true nature of the Ilva Football Club legend: this will turn out to be an invention, a pantomime staged in a hospital room, a bedtime story to be told to a child, who has closed his eyes and it is not known if he will open them again. Usine Baug is a theater company born in 2018 from the artistic meeting of Ermanno Pingitore, Stefano Rocco, Claudia Russo and Emanuele Cavalcanti, the group's light designer and audio technician. In 2022, the company expanded by starting a collaboration with theater organizer Anita Beretta. The artistic creation of the group happens collectively and develops without establishing fixed roles but enhancing the skills and sensibility of the individual, who actively contributes to the whole creative process thus making it richer and more layered. Usine Baug converges prose theater, movement, storytelling and visual theater to address current political and social issues with lightness and irony. In 2019 Usine Baug

BERGAMO JAZZ 2026 Artistic Direction by Joe Lovano The festival day by day March 19 to 22, 2026 20 events, more than 80 musicians for four intense days in the name of a thousand sounds of jazz spread throughout the city: from Thursday, March 19 to Sunday, March 22, the 47th edition of Bergamo Jazz, a festival organized by Fondazione Teatro Donizetti with the support of the City of Bergamo, MIC-Ministry of Culture and private sponsors, will take place. Setting The Pace - dictating the pace, showing a way - is the title that Joe Lovano, for the third year Artistic Director of the Festival, wanted to imprint on Bergamo Jazz 2026, symbolizing a choral tribute to those in jazz who have shown new paths and in particular to Miles Davis and Johnm Coltrane, whose birth centenary falls this year: "In life, the arts, the sciences, sports and business, there have been people and collective bodies who have dictated the pace, the rhythm, with passion and love, representing a model for generations," specifies Joe Lovano himself "As musicians we are constantly studying and developing to find our voice. This path is fueled by the sounds and spirit of the masters. Those who gave and give us the confidence and inspiration to reach today's high standards. The artists who will perform at Bergamo Jazz Festival 2026 are, in turn, showing new ways to celebrate the legacy of Miles and Trane." Keeping true to its nature, Bergamo Jazz 2026 will also be a Festival with an international scope, a widespread Festival: in addition to the concerts at the Donizetti Theater and the Teatro Sociale in Città Alta, significant events hosted in small theaters, museums, and venues transformed for the occasion into cozy jazz clubs are in fact planned. Nourished will be the representation of Italian musicians, including numerous new talents brought together in the "Scintille di Jazz" section, and considerable will be the space for jazz conjugated with women, with the presence of established female instrumentalists and singers.   Here is the day-by-day program. Thursday, March 19 The first day of Bergamo Jazz 2026 will take place in Città Alta, moving the first step from a particularly prestigious venue: the Aula Picta of the Bishop's Palace, recently restored and open to the public. In this unprecedented location for music and jazz, American pianist Wayne Horvitz, an icon of the downtown New York scene of the 1980s and 1990s, will perform at 6 p.m. Instead, at the Circolino (6:30 p.m.), the duo formed by pianist Simone Locarni and guitarist Gianluca Palazzo will be heard for the first of five appointments with the "Scintille di Jazz" festival. In the evening (8:30 p.m.), the Teatro Sociale will host on its stage the trio of pianist Franco D'Andrea, excellence of jazz made in Italy, who will have at his side two exceptional companions of adventure, such as double bassist Gabriele Evangelista, a regular partner also of Enrico Rava and Stefano Bollani, and drummer Roberto Gatto, a

Meet the Jazz In collaboration with CDpM March 16 and 17 at the Social Tetro   More than 1,900 total students from 18 schools in Bergamo and its province: this is the salient data on the participation in the cycle of educational events "Incontriamo il Jazz," carried out as usual thanks to the collaboration between Bergamo Jazz and Centro Didattico Produzione Musica. It is an important opportunity to introduce the youngest to a musical language rich in artistic content and bearer of universal messages of dialogue between different cultures, which are needed today more than ever. The lessons-concerts will take place this year, according to different shifts, on Monday, March 16 and Tuesday, March 17, in the prestigious setting of the Teatro Sociale, and will involve both pupils from primary and secondary schools. The initiative was awarded the Bando Formazione 2025 Nuovo IMAIE and is part of the Youth Club project promoted by Fondazione Cariplo, a partner of Fondazione Teatro Donizetti, to foster the approach of the younger generations to the performing arts. "Improvisation at school" is the programmatic title of the meetings reserved for secondary school students in grades I and II, who will be able to approach improvisation through musical examples offered live drawing from the vast jazz repertoire and shared melodically with the voice - call and response - and rhythmically - body percussion - making learning interactive and shared. At the same time, the evolution of jazz language from its African/American origins (blues, ragtime, Dixieland) to more recent experiences will be traced, based on the different cultures with which jazz has come in contact (Latin jazz, salsa, funk, contemporary classical music, world music). In particular, the melodic and rhythmic characteristics of jazz from which the musics most listened to by young people, such as hip hop and rap, were derived will be analyzed. These are colors and inflections that belong to the cultural ear of boys, often unconsciously and passively. Live performances will be offered by an ensemble including pianists Claudio Angeleri and Giovanni Panzeri, singer Francesca Facchinetti, violinist Safiye Haciogullari, flutist Beatrice Sisana, clarinetist Lorenzo Zanoli, saxophonist Alessandro Albani, guitarist Pietro Berti, bassist Sofia Filippi and drummer Giuseppe Cutuli. Speeches by journalist Fabio Santini are also scheduled. "Tutti quanti voglion fare jazz" is instead the program designed for younger children. On stage, the gospel choir ofBergamo's IC Santa Lucia, created within a workshop held in the previous months by CDpM experts and directed by Gabriele Capitanio, will perform alongside a group of jazz musicians - Claudio Angeleri on piano, Paola Milzani, vocals, Gabriele Comeglio on alto and soprano sax, Marco Esposito on bass and Matteo Milesi on drums - and well-known children's TV actor Oreste Castagna, engaged in reading fairy tales revisited by Tiziana Sallese. The repertoire draws from the Disney catalog, such as "Beauty an the beast," "A Dream is a Wish Your Heart Makes"(Cinderella), "Everybody wants to be a cat"(Aristocats), and "Cruella Demon"(The Charge of the 101), and the different performances are interspersed

Bergamo Film Meeting opens Bergamo Jazz Sunday, March 15 Leftovers of Balera exhibition in memory of Gianni Bergamelli from Wednesday, March 18 Bergamo Jazz 2026 is warming up its engines before its official start scheduled for Thursday, March 19. And like every year, the Festival will embrace other artistic languages, starting with cinema. On Sunday, March 15, in fact, the usual handover from Bergamo Film Meeting to Bergamo Jazz is scheduled at the Auditorium in Piazza della Libertà (5:30 p.m.): on the occasion, violinist Virginia Sutera will soundtrack the film Gräfin Küchenfee(The scullery maid turned countess) by Rudolf Biebrach, a 1918 comedy starring actress Henny Porten, who is called upon to play two characters, a countess and her cook. This dual role brings out Porten's comic gifts, especially in the scenes in which she imitates herself as Karoline in the role of the countess. The comic effect is multiplied: the scullery maid revels in imitating the already hysterical ways of the mistress, and Porten seems to enjoy playing the two characters endlessly. The device of mistaken identity, combined with witty dialogue, results in a lively and entertaining comedy. Always interested in the encounter between music and other arts, Virginia Sutera is one of the leading personalities of today's improvised music scene. She graduated from the Milan Conservatory of Music with a thesis dedicated to improvisation, delving into the figure of English composer Cornelius Cardew in the work of The Great Learning. She created the Tuscany Music Revolution project and formed artistic partnerships with, among others, accordionist Sara Calvanelli, pianists Alberto Braida and Ermanno Novali. The dialogue between music and the visual arts will also be the focus of the exhibition that Bergamo Jazz is dedicating to Gianni Bergamelli, the painter and musician who passed away last August: the exhibition, titled Avanzi di Balera, will be hosted at the Donizetti Studio, opposite the theater's box office, and will open on Wednesday, March 18 (6 p.m.; open to the public from 6:30 p.m.). The exhibition will also be open from Thursday, March 19 to Sunday, March 22 from 6:30 p.m. until 8:30 p.m. Gianni Bergamelli was an important figure in Bergamo's jazz life, also in the guise of pianist alongside Gianluigi Trovesi, his fraternal friend, and many other musicians. In particular, his pictorial art remains an example of the visionary blending and meeting of painting and music: Gianni Bergamelli often collaborated with Bergamo Jazz, signing the posters for numerous editions of the Festival. The exhibition features a selection of recent works: the title Avanzi di Balera (Leftovers from the Ballera ) is what the Nembro artist himself had thought of for one of his exhibitions. Painter by profession, pianist by pleasure: this is how Gianni Bergamelli could be defined. But actually first there was music, at first "dance" music and then jazz, and then came painting: his first solo exhibition was in 1968, at the Via della Spiga Gallery in Milan. From the age of 35 onward, in Bergamelli's artistic life the

Donizetti Theatre Foundation Prose Season 2025-2026 Harlequin dumb for fright a show by Stivalaccio Teatro March 7 to 15 at the Donizetti Theatre Harlequin, the most popular mask of the Commedia dell'Arte, is coming to the Donizetti Theater, where from Saturday, March 7 to Sunday, March 15, the Stivalaccio Teatro company's show is on stage Harlequin dumb with fright, as part of the Donizetti Theatre Foundation's Prose Season 2025-2026. The show is inspired by the canovaccio Arlequin muet par crainte by Luigi Riccoboni and features the original subject and direction by Marco Zoppello. On stage: Sara Allevi, Katiuscia Bonato, Marie Coutance, Matteo Cremon, Michele Mori, Stefano Rota, Pierdomenico Simone, Maria Luisa Zaltron and Marco Zoppello. One of the most frequently performed canovacci in early 18th-century Paris is revived for the first time in modern times by the Venetian company Stivalaccio Teatro: Il muto per spaventento is a great homage to the Commedia dell'Arte and the all-Italian ability to make a virtue of necessity. 1716: After about fifteen years of forced exile, the Comici Italiani finally return to prominence in the Paris theater and do so with a respectable company. Luigi Riccoboni aka Lelio, leader of the troupe, surrounds himself with the best performers from the boot including, for the first time in France, the Vicenza-born Harlequin Tommaso Visentini(nomen omen), ready to replace the late and beloved Evaristo Gherardi. But Visentini did not speak French, an inexcusable failing for audiences in the capital. And it is here that Riccoboni's genius emerges in inventing an original plot where the Bergamasque servant becomes mute...out of fright! Harlequin dumb with fright is a show where play, invention, love, fear and drama mingle among the immovable grimaces of the masks. Where plots entangle on misunderstanding and slowly unravel through the fingers of the characters. But if these slender plots, if this surreal and fantastic world, a distant echo of an Italian theatrical splendor, eclectic balancing act on the edge of history and tradition, if these ethereal figures allow one to indulge in a weightless and timeless joy, perhaps in that very moment one will find a shred of poetry. Stivalaccio Theatre is involved in popular theater, Commedia dell'Arte, children's theater and street art. The company is dedicated to the dissemination of theater through the production of shows, training and the organization of festivals and reviews in the wake of a popular theater populated by people, ideas, lights, looks and stories to tell. Founded in 2007, the company has produced shows that have been hosted within the major distribution circuits, festivals and domestic and foreign theaters. In November 2023, at Teatro Gobetti in Turin, the company received the ANCT - National Association of Theater Critics award in recognition of its work. In February 2024, the company was chosen by the Teatro Stabile del Veneto to perform on the stage of the Teatro Goldoni in Venice during the week of carnival celebration, with Harlequin mute for fright. With the same show, Stivalaccio Teatro was a guest in

The Theater Season 2025-2026 Other Pathways Here come the So-and-so by and with Alessandro Bergonzoni Thursday, March 5 at the Donizetti Theater   Alessandro Bergonzoni, comedian and other actor, returns to Bergamo, and on Thursday, March 5, at the Donizetti Theater (8:30 p.m.), as part of the Donizetti Theater Foundation's Altri Percorsi series, he presents Here Come the So-and-so (Fry, Blue Sun and the Story of the Young Saracinesca), a show in which its protagonist traverses words like a tightrope walker with his very personal stylistic signature. Directed by Bergonzoni himself, who also signs the scenes, and Riccardo Rodolfi. The sequel to the highly successful Trascendi e Sali, seen in Bergamo in 2021, Arrivano i Dunque is a scenic, multifunctional venue where Bergonzoni continues his artistic research in the territories that in recent years have seen him actively participate firsthand in both artistic and social events. And if in this new show one wants to find another Bergonzonian figure, along with the comic writing of course, one has to look for it in "Crealtà," another of his inventions, which makes explicit, in a thought that becomes a neologism, the true moral tension of this unique artist: the attempt to recreate a reality that is not only no longer enough but that we can/should reinvent day by day in search of a future of absolute peace and definitively more welcoming to the thresholds of new perceptions and other meanings. This is how the Bolognese actor himself introduces his show: "An auction of thoughts. I look for the best (s)oferent to enchant the verse of things: perhaps of bird or poet. I start from the disproportionate, for the recast, with the conjunctionivite, I cross the misunderstand, to the disproportionate unity, between art and fate, fammingos and pyromaniacs, van Gogh and Bangkok, good and Mahler, blood out of hand and stigmata, stigmata and astigmatics, Dali to Allah. C'realtà. Lunire to the existing the atranuova san(t)itá, in our larvate fry. Grossomodo, following my extinct, preganti to continue infnire. I got carried away (married or saved from drowning?). Time presses, it's not always embrace, but rope or sheet. Just aface on the percipizio and hear lindimostrabiliante shamanumanesimo translated into exasperanto. The "èscatological" set design, the blue sun, the young portcullis on (hermetic because I mystery), altrista in an otherness where nothing happens without all. Is there little missing? Is so much useless? Not for nothing everything asks!" Alessandro Bergonzoni was born in Bologna in 1958. Artist, actor, author. Fifteen plays to his credit and six books. In cinema: Pinocchio (2001) by Roberto Benigni and Quijotet (2006) by Mimmo Paladino. For years he has written Aprimi Cielo on "Friday of the Republic" and The Thought of the Day on Robinson, since 2005 he has approached the world of art exhibiting in various galleries and museums. He combines his artistic career with a deep interest in social issues such as incarceration, immigration, illness and peace by holding meetings on these topics in various settings. He won the

Opera Family Rigoletto. The mystery of the theater directed by Manuel Renga Sunday, March 1 at the Social Theater   It is entitled Rigoletto. The mystery of the theater , from Giuseppe Verdi's masterpiece, the opera designed for children and young people ages 6 to 14 included in the Donizetti Theater Foundation's Season of Theaters: it will be staged Sunday, March 1, at the Teatro Sociale (5 p.m.), adapted and directed by Manuel Renga. Orchestra 1813 conducted by Giulio Arnofi. Sets and costumes by Aurelio Colombo. The opera is a production of AsLiCo, in co-production with Bregenzer Festspiele and is part of the Opera Domani project. Running time: 1 hour 10 minutes without intermission. Tickets: 10 euros, reduced under 14 euros 5 euros. The performance will be preceded by a workshop (3:30 p.m.) during which the audience can learn the choral interventions that will make them protagonists of the opera: the "Spectator's Kit" can be consulted on the Donizetti Theater website. "Rigoletto. The mystery of the theater recounts how, through theater, magic can be created: wonderful and dangerous stories come to life with a simple play of light, just as a firefly illuminates the darkness," Manuel Renga says in the director's notes, "We are in the 1920s. The Compagnia del Duca, a group of itinerant thespians, brings Rigoletto to the stage every night, amid joys and sorrows, revenge and forgiveness, until the inevitable meeting with death. With a few elements and the secrets of theater, they transform each stage into a new world, where everything is fake, but nothing is false. The old actor plays Rigoletto, the court jester who, after taunting Monterone, suffers his curse. His daughter Gilda, longing for freedom, falls in love with the Duke, who pretends to be a student. Deceived and kidnapped by the courtiers, she will end up sacrificing herself for love, leaving Rigoletto in despair. For the Compagnia del Duca, each performance is an act of creation and sacrifice, where fiction becomes reality, and theater is confirmed as an eternal art." In the mornings and afternoons of Monday, March 2 and Tuesday, March 3. Rigoletto. The mystery of the theater will be represented for schools: 2,272 students are expected from schools in the provinces of Bergamo, Brescia and Monza Brianza. Director and playwright, Manuel Renga has collaborated with the Fondazione Teatro Donizetti on several occasions: for Opera Family he edited the dramaturgies of Chiara o Serafina? Or how Gaetano Donizetti and Felice Romani wrote, in a short time and with not a few squabbles, a pirate opera with a thousand endings (2022), Luce di Lammermoor (2023), Don Paquale. The great game of love (2024), Il furioso Gaetano nell'isola di S. Domingo, ovvero le mirabolanti memorie d'un musicista visionario (2025). In November 2025, as part of the Donizetti Opera festival, he signed the direction of Il furioso nell'isola di S. Domingo.

The Jekyll Case with Daniele Russo directed by Sergio Rubini February 21 to March 1 at the Donizetti Theatre   The Donizetti Theatre Foundation's Prose Season 2025-2026 continues with a title that evokes a famous novel that explores the dualism between good and evil, Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde, of which there are countless adaptations for film, television and theater. And a man of cinema and theater, but also television, such as Sergio Rubini signs the direction, as well as the adaptation of the original text together with Carla Cavalluzzi, of The Jekyll Case, scheduled at the Donizetti from Saturday, Feb. 21 to Sunday, March 1 (Monday, Feb. 23, rest). In the title role will be Daniele Russo, with Geno Diana and Pierluigi Corallo and with Sergio Del Prete, Angelo Zampieri and Alessia Santalucia. Sets by Gregorio Botta. Costumes by Chiara Aversano. Lighting design by Salvatore Palladino. Sound design by Alessio Foglia. Production Fondazione Teatro di Napoli - Teatro Bellini, Marche Teatro and Teatro Stabile di Bolzano. Duration 2 hours without intermission. Showtimes: 8:30 p.m., Sunday, Feb. 22 and March 1, 3:30 p.m. Ticket prices: from 15 to 45 euros, reduced from 12 to 36 euros. Sergio Rubini presents the idea of the show in his director's notes as follows: "Starting from the consideration that Stevenson's famous novel The Strange Case of Dr. Jekyll and Mr. Jekyll. Hyde is an apologia on the human condition having as its central theme the double, which then is the double that dwells in each one of us, we developed a dramaturgy that had a more clearly psychoanalytic key, closer to those theories that developed almost half a century after the publication of Stevenson's tale, and that had the greatest expression in the scientific landings first of Freud, then of Jung. Our text, in fact, stripped of any allegorical solution used by Stevenson and which gives the fantastic character to the whole story, chief among them the metamorphosis of Jekyll into Hyde through a chemical experiment, the so-called "potion," is rather a journey into the unconscious in this case of a famous medical luminary, Henry Jekyll, who aspiring to the identification of what are the causes of mental illness, makes himself a guinea pig and then becomes a victim of his own theories, pulling out of the cave of the conscious what is hidden to him, his shadow, his Hyde." "It is clear from this that the story from which we started is in fact only inspiring a story closer to the issues of our contemporary times that offers the viewer the opportunity not only to mirror himself in what are the dangers but also the pleasures that spring from his own shadow, but also to be a food for thought on the need to dialogue with one's unconscious, to bring it out and share it with the community despite society's tendency to repress everything outside the canon that often coincides instead with the authentic, to prevent

Deserance a Circo Zoé show Thursday, February 19 at the Donizetti Theatre They call themselves "acrobats, musicians, philosophers, but first and foremost dreamers, creators, visionaries and fearmongers": they are the members of the international but Bergamo-rooted company Circo Zoé, who on Thursday, Feb. 19, bring to the Donizetti Theater (8:30 p.m.) the show Deserance, one of the seven stages of Altri Percorsi, the Donizetti Theatre Foundation's review dedicated to research theater. On stage: Simone Benedetti, Anouck Blanchet, Adrien Fretard, Maria Reis, Chiara Sicoli and Gael Manipoud. Music by Jean Stengel and Diego Zanoli. Singing Irene Geninatti. Circo Zoè production, co-production Théâtre + Cinéma Scène Nationale du Grand Narbonne, Teatro Asioli Correggio, Le Pôle La Seyne sur Mer. Duration 1 hour 30 minutes without intermission. Tickets: full 25 euros, reduced 20 euros "Deserance-as the company itself notes-awakens the archetype of the journey. The intimate and desperate quest to make what we think and desire adhere to the vulnerability of our experiences. The bodies recount the loneliness of uniqueness, the abandonment of one's defenses through an encounter with the other, suspended and dizzying as a waltz for two, the primordial belonging of a whole when self-affirmation emerges from the magma of bodies. The voice, through a repertoire of ancient music, leads and guides like Charon the travelers in search of their personal history through which they seek the origins of a vital sigh. Singing, in its most formal expression represented by the operatic voice, is set free through dialogue with contemporary sonorities that enliven and sustain the journey." "Deserance is an incubator of states of mind gathered in a word. It takes shape through the plurality of meanings it contains, a collection of identities and visions that take on a specific meaning only when together. Desire is the engine that starts from the body, visceral, in a certain sense innate. A creative urgency necessary to keep alive the feeling that justifies a choice of life always on the edge with oneself. Deserance contains within itself wandering, absolute mistress of the Company's life. Indomitable and uncontrollable movement that has always led wayfarers and pilgrims in search of meaning, of an immanent purpose. A state of probable restlessness that renews itself, questions itself about the profound change of one's choices and will. And finally, resistance, that sacrificed self that finds so much space on stage but in everyday life is compromised and subordinated to the collective. That resistance, moreover, to external or internal events that cyclically demand confirmation and reaffirmation of choice." The Circo Zoé company was formed through a network of acquaintances and friendships linked by a passion for entertainment and in particular for circus. The first encounters took place in the social and street theater sphere right in Bergamo; contacts then expanded to Turin, to the Cirko Vertigo School, and later to the Académie Fratellini in Paris. In 2012 he debuted his first show Zoé at the Astra Theater in Turin. From there an international tour that took them to the Karacena