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ONCE WE WERE ISLANDS / Alessandra Corti + Marcela Frota Variani
28.08.-11.09.2019 (I) // 01.-14.02.2020 (D), Residenza I.DRA, Brescia + theater wrede +, Oldenburg

flausen+ goes international: For the first time in the scholarship programme flausen+ an international exchange takes place. At the end of august a group from Berlin travels to Italy to explore and research together with local artists new and exciting forms of theatrical expressions. The italian artists will arrive in february 2020 in germany through the art institution I.DRA ( to resume the work. A creative exchange, in which through different performative approaches exciting synergies are created.


Here you can read a short report of the exchange:


  (von li nach re: Alessandra, Chris, Aslan, Marcela)


Marcela Variani, Alessandra Corti, Chris Gylee, Richard Aslan (31.08.2019)

What are your expectations for the residency?

MV     I expect to learn, to share ideas, and to grow artistically and spiritually.

AC      I’d to like to listen to the other people in the group with an open energy and then make some work (or not). During this residency I expect that we are not looking for results but rather focussing on the processes.

CG      I expect it will take time and energy and slowness to begin to understand how we all work and each other’s relationships to art.

RA      I hope we will do more than talking, and also move, and try, and move some more. I hope that can take time to feel open and happy with each other.


What are your questions for the residency?

MV     How can we put these expectations into action? How can I bring the things we are going to learn here to the world of education, and how will the educational   approach affect the work we are doing in the residency?
How can we create more synergy within the group than we already have? How can I help the others to bring out the best that they can give?

AC      Which kinds of physical exercises could we carry out to make a beginning?
How can we transmit the experience here inside the residency to people outside the residency?

CG      What is work is worth doing first? How much intimacy is needed to do the work together?
How would we most like to use the time? Where do we want to go?

RA      How can care for each other while we are working together? How can we create a safer space to be vulnerable?




Week 2 at  Residenza I.DRA:

Residenza I.DRA. / flausen+

di Alessandra Corti


I don’t know if I can exhaustively answer the question: “What are you looking for or what are you finding?” I can say that a form of response comes to me by opening a magazine that deals with contemporary theater, I find an article-interview with Rodrigo García, the Argentinian winner of the Europe New Reality Theatrical Award, who says: “I try to make the text arrive as late as possible. First we create situations, we move, we use objects. I’m a writer, I like that job, but I want the words to wait. I try to surround myself with people who are smarter than me. (…) How can I think of explaining something to them? Let’s find out all about the work we are creating. We don’t know what it is. It is a process in which impatience must be kept at bay. And it’s hard for me to do it. ” Almost simultaneously, I receive a photo via WhatsApp from one of my colleagues and researcher of Pedagogy of Expression. The photo is the image of a text that says: “The important thing is to conceive life, every individuality of life, not as a form or a development of forms, but as a complex relationship of differential velocities, between slowing down and accelerating particles. A composition of speed and slowness on a plane of immanence. Similarly it happens that a musical form depends on a complex relationship between speed and slowness of the sound particles. It is not just a question of music but of a way of life, it is because of the speed and slowness that things slip between one another, and unite to other things: one never begins, one never makes a tabula rasa, one slides between, yes it penetrates the middle, moves rhythms or imposes them”. I borrow these two suggestions to say that my performative research work concerning the I.DRA and flausen+ residency with Chris Gylee, R Aslan and Marcela Variani, starts from mutual listening, from the suspension of ‘judgement’ and from the intuition that the artist is a hunter in the dark, who does not if they have hit the target, or what they have hit. The outcome of a work brings the onlooker back to the same condition that the artist is in, namely, doubt. Doubt is part of perception, and from doubt we move towards to the construction of meaning and to representation. It is my intention to corroborate this text in the days to follow with images, videos and drawings as a ‘logbook’ in the hope that it will be interesting and useful for you. Thank you.

Alessandra Corti.


Non so se posso rispondere in modo esaustivo alla questione: “cosa state cercando o cosa state trovando?” Posso dire che una forma di risposta mi arriva aprendo a caso una rivista che si occupa di teatro contemporaneo, trovo un articolo-intervista a Rodrigo Garcìa, l’Argentino vincitore del Premio Europa Nuove Realtà Teatrali, che dice: “cerco di fare in modo che la letteratura arrivi il più tardi possibile. Prima creiamo situazioni, ci muoviamo, usiamo gli oggetti. Sono uno scrittore, mi piace quel lavoro, ma voglio che le parole si facciano aspettare. Cerco di circondarmi di persone più intelligenti di me. (…) Come posso pensare di spiegare io qualcosa a loro? Scopriamo tutti insieme il lavoro che stiamo creando. Non sappiamo cosa sia. È un processo in cui bisogna tenere a bada l’impazienza. E per me è difficile farlo”. Quasi contemporaneamente ricevo da una mia collega e ricercatrice di Pedagogia dell’espressione una foto via whatsapp. La foto è l’immagine di un testo che dice: “L’importante è concepire la vita, ogni individualità della vita, non come una forma o uno sviluppo di forme, ma come un rapporto complesso di velocità differenziali, fra rallentamento e accelerazione di particelle. Una composizione di velocità e lentezze su un piano di immanenza. Similmente accade che una forma musicale dipenda da un rapporto complesso fra velocità e lentezze delle particelle sonore. Non è soltanto una questione di musica ma di modo di vivere, è per velocità e lentezza che si scivola tra le cose, che ci si coniuga con altre cose: non si comincia mai, non si fa mai tabula rasa, si scorre fra, si penetra nel mezzo, si spostano dei ritmi o li si impone”. Prendo in prestito queste due suggestioni per dire che il mio lavoro di ricerca performativa inerente alla Residenza I.DRA / flausen+ con Chris Gylee, R Aslan e Marcela Variani, prende le mosse dall’ascolto reciproco, dalla sospensione del “giudizio” e dall’intuizione che l’artista è un cacciatore nell’oscurità, non sa se colpisce e cosa colpisce. La fruizione di un’opera riporta il fruitore nella stessa condizione dell’artista e cioè nel dubbio. Il dubbio fa parte della percezione, poi dal dubbio si passa alla costruzione di un significato e alla rappresentazione. È mia intenzione corroborare questo testo nei giorni a seguire con immagini, video e disegni come un “diario di bordo” nella speranza che possa essere interessante e utile per voi. Grazie.

Alessandra Corti.

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