{"id":32515,"date":"2024-10-14T18:14:45","date_gmt":"2024-10-14T16:14:45","guid":{"rendered":"https:\/\/www.teatrodonizetti.it\/educational-projects\/high-school-cantiere-teatro\/"},"modified":"2026-05-28T15:52:24","modified_gmt":"2026-05-28T13:52:24","slug":"high-school-cantiere-teatro","status":"publish","type":"page","link":"https:\/\/www.teatrodonizetti.it\/en\/educational-projects\/high-school-cantiere-teatro\/","title":{"rendered":"High School – Cantiere Teatro"},"content":{"rendered":"

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Cantiere Teatro<\/strong><\/h2>\n
The Fondazione Teatro Donizetti aims to promote a strong civic sense that aims to put the need for education in theatrical culture at the center along with quality. This mission must be combined with the goal of reaching ever new audiences, particularly young people, to whom it gives tools for reading the theatrical experience.<\/h6>\n<\/div><\/div><\/div><\/div><\/div>
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The Fondazione Teatro Donizetti is Pleased to Present Educational Projects Related to the Prose Season and other Paths 2025-2026 for Young High School Audiences. This Section Has Always been Distinguished by the Care Given to Educational Projects Aimed at Schools, Young People, and its Audience. <\/em><\/strong><\/h4>\n<\/div><\/div><\/div>
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THE SEASON AT A SUBSIDIZED PRICE<\/span><\/strong><\/p><\/h1><\/span>

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TICKETS<\/strong><\/em><\/span><\/h3>\n

The Fondazione Teatro Donizetti, as every year, offers schools in the City and Province of Bergamo the opportunity to make a discounted reservation for purchasing tickets to evening performances included in the Prose Season and Other Paths program.<\/span><\/p>\n

PROSE <\/strong>at Teatro Donizetti
\n<\/strong><\/span>STALLS 1ST SECTOR (\u20ac 19.00)<\/span>
\nSTALLS 2ND SECTOR (\u20ac16.00)<\/span>
\nBALCONY 1st<\/sup> GALLERY (\u20ac13.00)<\/span>
\nBALCONY 2nd<\/sup> GALLERY – NUMBERED 1st<\/sup> GALLERY (\u20ac 11.00)<\/span>
\nNUMBERED 2nd<\/sup> GALLERY (\u20ac9.00)<\/span><\/p>\n

OTHER PATHS <\/strong>at Teatro Sociale
\n<\/strong><\/span>ALL SECTORS Teatro Sociale (\u20ac 11.00)<\/span><\/p>\n

OTHER PATHS <\/strong>at Teatro Donizetti
\n<\/strong><\/span>ALL SECTORS Deserance<\/em> (\u20ac 14.00)<\/span>
\nALL SECTORS <\/span>Arrivano i Dunque<\/em> (\u20ac 17.00)<\/span><\/span><\/p>\n

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SUBSCRIPTIONS<\/strong><\/span><\/em><\/h3>\n

It should be noted that this year it is also possible to subscribe to discounted season tickets for the OTHER PATHS Season<\/strong> at the price of \u20ac 60.00 <\/strong>and for the PROSE SEASON <\/strong>at the price of \u20ac 81.00<\/strong> in the stalls 2nd sector or \u20ac 48.00 <\/strong>for numbered seats in the 1st gallery or 2nd gallery balcony or \u20ac 38.00 <\/strong>for numbered seats in the 2nd gallery.<\/strong><\/span><\/p>\n

An opportunity this, offered to both classes and individual students, for them to begin a journey that familiarizes them with the world of theater.<\/span><\/p>\n

Students who subscribe to the Altri Percorsi Season<\/u> will have the opportunity to participate in some post-show meetings with actors and directors of the plays on the bill and will be accompanied in their viewing by Maria Grazia Panigada, Director of the Season.<\/span><\/p>\n

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CONVENTION WITH ATB<\/strong><\/span><\/em><\/h3>\n

For performances at the Teatro Sociale, the Fondazione Teatro Donizetti, in collaboration with ATB, in order to make it easier to get to the performance venue, offers users free access to ATB urban public transportation (including funicular), exclusively<\/u> on the service lines, to and from Citt\u00e0 Alta on performance days, starting 2 hours before the start of the performance and up to 1 hour after leaving the theater.<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div>

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MEETINGS IN SCHOOLS<\/span><\/strong><\/p><\/h1><\/span>

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<\/i><\/i><\/span>LYSISTRATA: \u201cSHE WHO DISBANDS ARMIES\u201d<\/span><\/a><\/h4><\/div>
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Project around the Performance Lysistrata
\n<\/em><\/strong> Prose Season \u2013 Teatro Donizetti<\/b><\/h5>\n
THE PROJECT<\/strong><\/h6>\n
Lysistrata Was First Performed in 411 BC, During the Peloponnesian War Involving Sparta, Athens, and Their Allies. Aristophanes Uses the Comedy Genre to Ironically Portray the Issues of His Time and Mirror the Society in which the Athenian Spectator is Immersed. The Story of Lysistrata is Still Relevant Today, and this Peculiarity is Highlighted by Serena Sinigaglia’s Staging and Lella Costa in the Role of the Protagonist. The In-Depth Course Aims to Bring Students Closer to the Classics through a Non-Frontal Approach: Specifically, Using Aristophanes’ Comedy as a Reflection of the Present to Discuss What Concerns Them, Focusing on Understanding the Society They are Called to be Part of. The Meetings Will Begin with Identifying Key Words from the Text through a Brainstorming Exercise. Collectively Revisiting the Plot and Themes of Lysistrata Will Open the Meeting to Improvisations and Theatrical Games Aimed at Group Listening and Individual Enhancement, then Returning to the Text with a Theatrical Approach Similar to an Actual Staging of a Specific Scene from the Work. This Work Aims to Give Boys and Girls the Opportunity to Concretely Test Themselves, Experiment with New Codes and Languages outside of Everyday Life, Conveyed by Aristophanes’ Words. Finally, it Aims to Provide Them with Analytical Tools and Interpretative Keys to Have a Personal Vision of the Work and Enjoy the Performance and Directorial Choices Implemented. We Will Delve into the Main Themes of the Work, Including:<\/h6>\n
Female Emancipation and Gender Equality. <\/strong>Aristophanes Presents an “Upside-Down World” without Taking Sides with Anyone, but rather Posing a Reflection on the Division of Power and its Management, on the Search for Compromise between Genders, and the Need to Listen to Public Opinion without Divisions. A Topic of Discussion that is Closer than ever to Young People who are Building Their Own Identity, Creating Bridges for Reflection and Reasoning Aimed at Deepening Their Relationship with Peers and with Contemporary Times.<\/h6>\n
Political Responsibility and Signing for Peace. <\/strong>Aristophanes Uses the Expedient of Abstinence from Sex and Popular Language – Sometimes Obscene – to Trigger not Only Liberating Laughter but also to Involve Us in a Reflection on the Concrete Responsibility We all Have as Individual Citizens: the Right and Duty to Choose, to Place Ourselves in the First Person to Reflect and Actively Act for a “Peace” that is not just an Abstract Concept, but a Practical Act of Reconciliation.<\/h6>\n
The Relationship with Desire and the Courage to Love. <\/strong>The Investigation of this Theme in Particular Aims to Engage Students in a Dialogue about the Desires that Inhabit Them at Their Age. Lysistrata and Her Companions’ Difficult Choice is not Only about Abstaining from Sexual Acts but also about Repositioning the Very Concept of Love in the Scale of Needs and Priorities. Thanatos is Always Opposed by Eros, and Even if in the Comedy these Two Conflicting Elements Take on Irreverent and Ambiguous Traits, this Does not Deprive Them of the Eternal Question They Pose to Mankind: Choosing whether to Pursue One’s Desire for Death or Love, in any Context and Condition.<\/h6>\n
the Meetings Will be Held by <\/em>Lucia Limonta and<\/em> Yesenia Vitenko<\/strong>.<\/h6>\n\n
\n\n\n\n\n\n
MEET<\/th>\nDURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with expert<\/td>\n2 hours<\/td>\nto be arranged with teachers
\n(between December 2025 and early February 2026)<\/td>\n		school<\/td>\nfree<\/td>\nmax 1 class per meeting<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
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MEET<\/th>\nDURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with the company<\/td>\n2 hours<\/td>\nFebruary 12, 2026, at 3:00 PM<\/td>\n“M. Tremaglia” Music Room
\nor Gavazzeni Foyer of T. Donizetti<\/td>\n		free<\/td>\nreserved for classes participating in the project
\n(subject to availability)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
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The Course Concludes with Viewing the Performance Lysistrata<\/em><\/strong>, on Stage from February 7 to 15, 2026 at Teatro Donizetti.<\/span>
\nTickets from \u20ac 9.00 to \u20ac 19.00 Depending on the Chosen Section | one Free Ticket is Provided for the Accompanying Teacher for Every 15 Students.<\/h6>\n
MORE INFORMATION ABOUT THE SHOW<\/a><\/h5>\n<\/div><\/div><\/div>

<\/i><\/i><\/span>I AM: THE LATE MATTIA PASCAL AND COURAGE TODAY<\/span><\/a><\/h4><\/div>
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Project around the Performance the Late Mattia Pascal
\n<\/em><\/strong>Altri Percorsi Season \u2013 Teatro Sociale<\/b><\/h5>\n
THE PROJECT<\/strong><\/h6>\n
The Late Mattia Pascal<\/em> explores the human condition, like all of Pirandello’s work, on the fine line between being and appearing<\/strong>. It would be redundant to emphasize how this theme still concerns us today. We are surrounded by stories and images of lives that seem exceptional to us, and they never seem to speak about us.
\nPirandello speaks of the end of an era, the destruction of the romantic world. A time, the late 19th century, when the main quality of humans, what defines them, is skill: being in function of doing.
\nPirandello belongs to a class with a history of ideals and sacrifices, which has divided the world into good and evil, and these limits have never been abolished; a class that still believes in an absolute and incontrovertible truth. All this is possible for him because the world is still classifiable into specific categories. Clear boundaries that determine injustices and will lead in the 20th century to wars and the destruction of the known world.
\nIn Pirandello, everyone fights against human malice that strips them of the last frameworks and the last poor dignified appearances. Men and women who do not find in themselves the traits of character and personality.<\/strong> Today, having lost all frameworks and boundaries, we fight equally to save our poor dignified appearances, only through different means.
\nThree questions will guide the journey: What Do You Believe in? What Do You Fight for? Who are You? <\/strong> in a Historical Context where the Great Heads of State are the First to Found Their Idols for the People on Lies, Finding an Absolute and Incontrovertible Truth Has Become Impossible. Doubt Resonates in Us at Every Level, it Seems Impossible to Find the Necessary Tools to Define our Identity. Precisely by Traveling in this Fluidity, Thanks to Mattia Pascal’s Strange Condition, which is the Condition of each of Us Today, that of Doubt and Failure, We Will Go in Search of Something True, in which to Believe Again and for which to Fight. The Curtain Opens on the Soul of the New Age. Of New Men and Women.<\/h6>\n
The meetings will be taught by <\/em>Erica Nava<\/b><\/strong>.<\/strong><\/em><\/h6>\n\n
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MEET<\/th>\nDURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with expert<\/td>\n2 hours<\/td>\nbetween January and early February 2026<\/td>\nschool<\/td>\nfree<\/td>\nmax 1 class per meeting<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
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PERFORMANCE and MEETING<\/th>\nDURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with the company<\/td>\n90 minutes performance
\n+ meeting afterwards<\/td>\n		February 5 and 6, 2026
\nfrom 10:30 AM to 1:00 PM<\/td>\n		Social Theater<\/td>\n\u20ac11.00<\/td>\nall classes present at the performance<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
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The Course Concludes with Viewing the Performance the Late Mattia Pascal<\/em><\/strong>, from February 5 to 6, 2025 at Teatro Sociale<\/span>.
\nTickets \u20ac 11.00 | one Free Ticket is Provided for the Accompanying Teacher for Every 15 Students.<\/h6>\n
MORE INFORMATION ABOUT THE SHOW<\/a><\/h5>\n<\/div><\/div><\/div>

<\/i><\/i><\/span>THE BODY AND THE MASK: REFLECTIONS FROM a SILENT HARLEQUIN<\/span><\/a><\/h4><\/div>
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Project around the Performance Harlequin Mute with Fright<\/em>
\n<\/em><\/strong>Prose Season \u2013 Teatro Donizetti<\/b><\/h5>\n
THE PROJECT<\/strong><\/h6>\n
A Journey that Aims to Bring Students Closer to Commedia Dell’arte, a Traditional Italian Theatrical Genre, Offering Tools for Reading, Interpreting, and Decoding to Encourage Active and Conscious Participation in Viewing the Performance ‘Arlecchino Muto per Spavento’ by the Stivalaccio Teatro Company.
\nThe Course Will Cover an Introduction to Commedia Dell’arte, its Characters and Masks (Arlecchino, Pantalone, Colombina, and Others…), Recognizing Their Roles, Characterizations, and Expressive Codes, and Actively Exploring Body Language through Physical Acting Techniques and Improvisation, Leading to an Analysis of the Plot, Themes, and Directorial Choices of the Staging.
\nAfter some Improvisation Exercises Inspired by Commedia Dell’arte to Give Students a Direct Experience of Staging, We Will Delve into the Key Themes of the Performance, Namely:
\nSilence as an Expression of Fear. <\/strong>Arlecchino Loses His Ability to Speak Due to Trauma: a Metaphor that Can be Interpreted as a Reflection on the Difficulties of Communication and Emotional Expression Faced by Today’s Youth. But it Will be Love that Causes His Healing and Return to Speech, Love that Moves Everything and is the Eternal Engine of the World, as Young People at this Stage of Their Lives Can Experience Firsthand. The Mask as Identity. <\/strong>Commedia Dell’arte Plays with the Theme of Identity Hidden behind a Mask, Stimulating Reflection on the Relationship between Image and Authenticity, between the Demonic and the Human, between Actor and Character.
\nIrony and Social Satire. <\/strong>Commedia Dell’arte Becomes a Tool to Stage Power Dynamics, Social Inequalities, and Human Frailties, Becoming an Instrument of Denunciation that Can Give Voice to the Weakest, Themes that are Always Current and Close to the Experiences of Young People, despite this Art Form Being more Distant than ever from What Young People Can Experience Daily.<\/h6>\n
the Sessions Will be Conducted by <\/em>Sara Pagani<\/b><\/strong>.<\/strong><\/em><\/h6>\n\n
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MEET<\/th>\nDURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with expert<\/td>\n2 hours<\/td>\nbetween February and the first half of March 2026<\/td>\nschool<\/td>\nfree<\/td>\nmax 1 class per meeting<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
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The Course Concludes with Viewing the Performance Arlecchino Muto per Spavento<\/em><\/strong>, on Stage from March 7 to 15, 2026 at Teatro Donizetti.<\/span>
\nTickets from \u20ac 9.00 to \u20ac 19.00 Depending on the Chosen Section | one Free Ticket is Provided for the Accompanying Teacher for Every 15 Students.<\/h6>\n
MORE INFORMATION ABOUT THE SHOW<\/a><\/h5>\n<\/div><\/div><\/div>

<\/i><\/i><\/span>RICHARD III OR THE BANALITY OF EVIL<\/span><\/a><\/h4><\/div>
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Project Surrounding the Performance Richard III<\/em>
\n<\/em><\/strong>Prose Season \u2013 Teatro Donizetti<\/b><\/h5>\n
THE PROJECT<\/strong><\/h6>\n
A Journey to Discover William Shakespeare<\/strong>, through the Words and Actions of one of His most Iconic and Controversial Characters: Richard of Gloucester, a Demon of Tragic Irony, Capable of Directly Involving the Audience to the Point of Making Them His Unwitting Accomplices. Strength and Fragility, Ardor and Thirst for Power, Wickedness and Remorse, Dazzling Rise and Inescapable Fate<\/strong>: all this is Richard III, the Investiture and Fall of a Tyrant of Undeniable Charisma, a Charming Director and Interpreter of History with a Capital ‘H’. A Work with an Absolute Protagonist, Ambitious and Brazen Enough to Crumble Every Wall between Stage and Audience with Macabre Humor, in a Ruthless Carousel from which Every Character is Destined to Fall, amidst Tears, Laughter, and Thunderous Applause. Between Scenic Readings and Curious ‘behind the Scenes’ of the Elizabethan Period<\/strong>, the Session Will Analyze the Text<\/strong> and its Staging (Including Cinematic)<\/strong>, Tracing Themes and Characteristics Typical of Shakespearean Dramaturgy, with Extensive References to the Theatrical Tradition of the Time and the most Famous Works of its Author Par Excellence. It is Indeed Especially in the Romanticized Account of Historical Events and Characters that Every Aspect of the Bard’s Poetics<\/strong> Becomes Clear, from the Immeasurable Affection for Human Imperfection to the Fiercest Social Criticism. In a Course Designed Specifically for High School Classes, Students Will be Able to Discover a Theater Still Capable of Being ‘a Search for Historical Truth Imbued with Beauty’<\/strong>, but Current Enough to Show with Unparalleled Effectiveness the Seductive Banality of Evil<\/strong>.<\/h6>\n
the Sessions Will be Conducted by <\/em>Stefano Benedetti<\/b><\/strong>.<\/strong><\/em><\/h6>\n\n
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MEET<\/th>\nDURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with expert<\/td>\n2 hours<\/td>\nbetween April and early 2026<\/td>\nschool<\/td>\nfree<\/td>\nmax 1 class per meeting<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
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The Journey Concludes with the Viewing of the Performance Richard III<\/em><\/strong>, on Stage from may 9 to 17, 2026 at Teatro Donizetti.<\/span>
\nTickets from \u20ac9.00 to \u20ac19.00 Depending on the Chosen Sector | one Free Ticket is Provided for the Accompanying Teacher for Every 15 Students.<\/h6>\n
MORE INFORMATION ABOUT THE SHOW<\/a><\/h5>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
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IN-DEPTH PATHS<\/strong><\/span><\/p><\/h1><\/span>

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<\/i><\/i><\/span>WOMEN OF STRUGGLE AND PEACE<\/span><\/a><\/h4><\/div>
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Project around the Performance Lysistrata
\n<\/strong><\/em> Prose Season \u2013 Teatro Donizetti<\/b><\/h5>\n
THE PROPOSAL.<\/strong><\/h6>\n
Where Can a Provocative and Challenging Questioning about War, about “the Use of Violence against” Others, Reduced to Enemies, Arise from? Perhaps from the Heart of Relationships between Men and Women, and from the “Supposedly Weak” Side of the Relationship. From the Heart of Work, of Life.
\nWomen are the Protagonists of Lysistrata, a Comedy Performed in Times of War, a Terrible and Widespread War like the Peloponnesian War.
\nWomen who Challenge the Protagonists of War (Men in Power): in the Name of Victims on all Sides, and the Future of all Sons and Daughters.
\na Precious Opportunity Today to Regain Breath (as Light as Possible) and Imagination in Times of War for Young Lives in Formation. An Opportunity to Reflect on how to be Operators and Organizers of Peace. In Thoughtful Consideration: not Simplified and Obtuse in Pure Taking Sides and in “\u2018Being Right\u2019 against” Others.
\nIn Concrete Choices: in Proximity to Every Victim, and in Supporting Experiences and Organizations of Reconciliation and Reconstruction.
\nIn the Bergamo Area, there are Experiences of Building Peace Experiences and Culture, and Commitments of Women who are, or Have been, Capable of Staying in Conflicts without Assuming the Logic, Preserving Life, Future, Care, Hope.
\nThe Project with High School Classes Will Lead to Reflection on how War “Enters Us” and “Changes Us,” and to Meeting with Concrete Experiences of Women who Resist and Peace Operators.<\/h6>\n
the Project is Curated by Prof.<\/em> Ivo Lizzola<\/strong> and Dr.<\/em> Silvia Brena<\/strong>.<\/h6>\n\n
\n\n\n\n\n\n
INTRODUCTORY MEETING<\/th>\nDURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with expert<\/td>\n2 hours<\/td>\nJanuary 7-17, 2026
\n(to be arranged)<\/td>\n		school<\/td>\nfree<\/td>\nmax 1 class per meeting<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
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PRE-SHOW
\nDISCUSSION MEETING<\/span><\/th>\n		DURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with expert<\/td>\n2 hours<\/td>\nJanuary 19-February 7, 2026
\n(to be arranged)<\/td>\n		school<\/td>\nfree<\/td>\nmax 2 classes per meeting<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
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VISIT TO AN
\nEXTERNAL REALITY<\/th>\n		DURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with experts<\/td>\nin the process of being defined<\/td>\nFebruary 15-26, 2026
\n(to be arranged)<\/td>\n		near the school<\/td>\nfree<\/td>\nmax 2 classes per exit<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
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JOINT CLASS DISCUSSION MEETING
\nPOST-SHOW<\/th>\n		DURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with experts<\/td>\n3 hours<\/td>\nFebruary 27, 2026
\nfrom 10:00 AM<\/td>\n		Donizetti Theater<\/td>\nfree<\/td>\nall classes in the project<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
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MEETING
\nWITH THE COMPANY<\/th>\n		DURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with the company<\/td>\n2 hours<\/td>\nFebruary 12, 2026
\nfrom 3:00 PM<\/td>\n		Donizetti Theater<\/td>\nfree<\/td>\nReserved for classes participating in the project,
\nsubject to availability<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
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<\/h6>\n
The Program Includes Viewing the Show Lysistrata<\/em><\/strong>, on Stage from February 7 to 15, 2026 at Teatro Donizetti<\/span>.
\nTickets \u20ac11.00 | one Free Ticket is Provided for the Accompanying Teacher per 15 Students.<\/h6>\n
MORE INFORMATION ABOUT THE SHOW<\/a><\/h5>\n<\/div><\/div><\/div>

<\/i><\/i><\/span>ILVA FOOTBALL CLUB: WHO'S PLAYING THE GAME?<\/span><\/a><\/h4><\/div>
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Project Surrounding the Performance Ilva Football Club
\n<\/strong><\/em> Season of Altri Percorsi \u2013 Teatro Sociale<\/b><\/h5>\n
THE PROPOSAL.<\/strong><\/h6>\n
In 2022, a UN Human Rights Council Report Included Taranto in the “Sacrifice Zones”: Places Considered Sacrificable – Inhabited by Sacrificable People – in the Name of Higher Interests, Such as Economic and Industrial Progress, like the one that Comes with the Construction of Europe’s Largest Steel Mill. The Risk Would be to Think that this Sacrifice is in any Case Limited to a few Unfortunate but Distant Places. It’s more Difficult, Perhaps Unsettling, to Think that Cities like that Can be Very Close in Time and Space, that in Fact They are Nothing but Cities where Something that Permeates our Entire World is Dramatically Evident: the Increasingly Alarming and Systemic Lack of Respect and Protection of the Right to Live in a Clean, Healthy, and Sustainable Environment; the Absurd Blackmail Too Often Posed between Work and Health; the Belief that Opposes Economic Growth and the Fight against the Climate Crisis. Ilva Football Club<\/em> Was Born as a Response of Civil Theater to Incivility, Born from a Journey to the City of Taranto, from Meetings with its Inhabitants, from a Book of the Same Name where a Soccer Team of Factory Workers, Born among the Dust of the Tamburi Neighborhood Field, Dreams of the Italian Cup. The Minutes that Pass on the Playing Field Intertwine with those that Sometimes Pass Quickly, other Times Endlessly, in the Lives that are Born and Die in the Shadow of the Factory.<\/h6>\n
Following the Path Started Last Year around the Performance the Trials<\/em>, Students are Offered a Reflection that, Starting from the Core of Ilva Football Club<\/em>, Develops in Different Phases of Deepening and Activation, to Stimulate the Development of Greater Awareness and a Critical Spirit towards the Social and Environmental Themes Addressed.
\nIn the First Meeting in the Classroom<\/strong>, Starting from Cues Offered by Audiovisual Documentation, Journalism, and the Dramaturgy of the Show, a Path Will be Proposed in Preparation for Viewing Ilva Football Club, to Try to Understand Together What the Game at Stake is: and What if We Were the Ones with that Ball at our Feet?
\nThe Experience Will then Continue with an Activity in Collaboration with a Local Organization Committed to Environmental Protection<\/strong>, from Social Gardens to Entities Dealing with Circular Economy or Sustainable Agriculture. Projects Will be Proposed as Close as Possible to Individual Institutes to Allow Students to Learn, Especially through Practical Activity, What the Territory is Doing to Stop the Climate Crisis and to Respect the Environment and Individual Rights.
\nThe Viewing of the Performance<\/strong> Will be Followed by a Meeting with the Company<\/strong>, to Delve Deeper into the Process of Creating the Show Itself and Stimulate a Dialogue between Students and Artists.
\nThe Project Will Conclude with a Meeting of all Classes Together<\/strong> During which the Students, Assisted by Trainers and the Artistic Director and Stimulated by Dialogue with Students from other Schools, Will Together Activate a Moment of Reflection and Re-Elaboration of the Journey Taken.<\/h6>\n
the Meetings Will be Held by<\/em> Anna Marinoni<\/strong>.
\nProject in Collaboration with<\/em> Legambiente<\/strong>.<\/h6>\n\n
\n\n\n\n\n\n
MEET<\/th>\nDURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with expert<\/td>\n2 hours<\/td>\nMarch 2026<\/td>\nschool<\/td>\nfree<\/td>\nmax 1 class per meeting<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
<\/div>\n\n
\n\n\n\n\n\n
VISIT TO AN
\nEXTERNAL REALITY<\/th>\n		DURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with experts<\/td>\nin the process of being defined<\/td>\nMarch 2026<\/td>\nnear the school<\/td>\nfree<\/td>\nmax 2 classes per exit<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
<\/div>\n\n
\n\n\n\n\n\n
PERFORMANCE AND MEETING
\nWITH THE COMPANY<\/th>\n		DURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with the company<\/td>\n80 minutes performance
\n+ meeting with the company<\/td>\n		March 26, 2026
\nfrom 10:30 AM to 1:00 PM<\/td>\n		Social Theater<\/td>\n\u20ac11.00<\/td>\nall classes present at the performance<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
<\/div>\n\n
\n\n\n\n\n\n
FINAL MEETING<\/th>\nDURATION<\/th>\nDATA<\/th>\nPLACE<\/th>\nCOST<\/th>\nPARTICIPANTS<\/th>\n<\/tr>\n<\/thead>\n
with experts<\/td>\n3 hours<\/td>\nApril 9, 2026
\nfrom 10:00 AM<\/td>\n		Donizetti Theater<\/td>\nfree<\/td>\nall classes in the project<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n\n
<\/div>\n
<\/h6>\n
The Journey Includes the Viewing of the Performance Ilva Football Club<\/em><\/strong>, on Stage on March 26, 2026 at Teatro Sociale<\/span>.
\nTickets \u20ac11.00 | one Free Ticket is Provided for the Accompanying Teacher for Every 15 Students.<\/h6>\n
MORE INFORMATION ABOUT THE SHOW<\/a><\/h5>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
<\/div>

Edited by Maria Grazia Panigada<\/strong><\/em>
\nArtistic director of the Season of Prose and Altri Percorsi.<\/strong><\/em><\/h4>\n<\/div><\/div><\/div><\/div><\/div>
<\/div>
<\/i>DOWNLOAD THE CIRCULAR<\/span><\/a><\/div>
<\/i>DOWNLOAD THE PROGRAM OF THE 2025|2026 PROSE AND ALTRI PERCORSI SEASON<\/span><\/a><\/div>
CANTIERE TEATRO – FILL OUT THE APPLICATION FORM<\/span><\/a><\/div><\/div><\/div><\/div><\/div>
DISCOVER DONIZETTI EDUCATION PROJECTS<\/span><\/a><\/div>
<\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div>
<\/div><\/div>

L\u2019iniziativa \u00e8 parte di<\/p>\n

\"\"<\/p>\n<\/div><\/div><\/div>

Promossa da \"\"<\/p>\n<\/div><\/div><\/div>

<\/div><\/div>
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