Muta Imago | lives
Muta Imago is a Rome - based theatre group born in 2004 after the meeting of Riccardo Fazi, dramaturg, Claudia Sorace, director and Massimo Troncanetti, stage designer. From 2006 the group collaborates with the actor Glen Blackhall.
Moving from the provocation of matter the group reflects on the possibility of deepening and dilating the space and sense passages traceable in reality. In order to make appear on the surface stories and moments that could reconstruct a lost unitariety, that can still be found in the human being.
Comeacqua (2007), (a + b)3 (2007), Lev (2008) and Napoli. P.p.n.c.d.s. (2009 – produced by Napoli Teatro Festival Italia) are the last shows produced. They have been hosted by the most important italian festivals, like RomaEuropa Festival, Santarcangelo International Festival of the Arts, Inteatro Festival, Napoli Teatro Festival Italia, Bassano Opera Festival, Primavera dei Teatri, Biennal of young artists of Europe and the Mediterranean, and by important festivals abroad like Premiere Festival (Strasbourg, France), Festival Cyl (Salamanca, Spain), Bipod Festival (Beirut, Lebanon), Clipa Aduma Festival (Tel Aviv, Israel), Temps D’Images (Cluj-Napoca, Romania; Budapest, Hungary), Unidram Festival (Potsdam, Germany) and Teatro/Theater Italienischer Theaterherbst (Berlin, Germany).
Madeleine, the last production, had its premiere in Rome in november at the RomaEuropa Festival 2009 (also co-producer).
In 2009 the company won the Ubu Special Award; the Critic’s Award from the National Association of Theatre’s Critics; the DE.MO./Movin’UP.
In the same year Claudia Sorace, director of the company, won the Premio Cavalierato Giovanile from Provincia di Roma and the International Award “Valeria Moriconi”.
The first thing I do, after the degree in directing at the Theatre Academy of Milan Paolo Grassi, is reach my longtime collaborators: Riccardo Fazi, dramaturg and Massimo Troncanetti, stage designer, who were already working together in Rome, producing installations and short performances. The group’s name was Index Muta Imago (with the time, Index felt down and only Muta Imago remained), we’re in november 2004.
During that winter we tried to understand, to really know each other, to see all that we could and then to talk together about everything we considered important; but it also happened that we closed ourselves for a month inside a squatted place, called Rampa Prenestina, where we gave birth to a strange and weird show, the first, Grano. But in those days theory was the praxis, also because the practice is involved in Turin: I direct Laura Curino in her monologue Una stanza tutta per me, produced by the Teatro stabile of Turin. Immediately after Gabriele Vacis involves me as assistant director for his project on Romeo and Juliet. Here I meet again two old companies of the academy, Glen Blackhall and Simona Frattini, who I would met again soon.
I’m always in contact with Riccardo Fazi, even while he travels around Europe and follows Caden Manson and Big Art Group in New York. He just got graduated in Theatre and Performing Arts at the University of Rome La Sapienza and immediately started working as assistant director for the mew-york based company, for the show house of No More. He keeps on collaborating with them during the autumn and winter of 2006, when in Berlin and New York assists Manson for the new show, Dead Set 3. In the meantime, in Italy, he assists Cesare Ronconi of Teatro Valdoca and writes about theatre together with Valentina Valentini, teacher of history of theatre at the University of Rome. With Riccardo we met in Berlin, where we partecipate together at the workshops sessions on directing held by Jurij Alschitz.
Massimo Troncanetti never stops a second as well, while collaborates with Mariana Ferratto for some video works and becomes assistant to the visual artist Alfredo Pirri.
The work together doesn’t happen in a conventional way, but in a heterogeneous, curious and lively manner. Each one of us brings what he can, and as soon as it’s possible we work to verifiy what we thought while we saw others playing.
This, until january 2006, when, after founding a fixed space for reaharsals, we start working together, for real, regularly, everyday. The first show to bet on was born: Hong Kong al quarantesimo chilometro. It’s cold, it’s still winter, even if reharsals ends in march. Luckily, soon the spring of comeacqua and the summer of (a+b)3 will arrive soon.
Claudia Sorace, october 2006Moving from the provocation of matter the group reflects on the possibility of deepening and dilating the space and sense passages traceable in reality. In order to make appear on the surface stories and moments that could reconstruct a lost unitariety, that can still be found in the human being.
Comeacqua (2007), (a + b)3 (2007), Lev (2008) and Napoli. P.p.n.c.d.s. (2009 – produced by Napoli Teatro Festival Italia) are the last shows produced. They have been hosted by the most important italian festivals, like RomaEuropa Festival, Santarcangelo International Festival of the Arts, Inteatro Festival, Napoli Teatro Festival Italia, Bassano Opera Festival, Primavera dei Teatri, Biennal of young artists of Europe and the Mediterranean, and by important festivals abroad like Premiere Festival (Strasbourg, France), Festival Cyl (Salamanca, Spain), Bipod Festival (Beirut, Lebanon), Clipa Aduma Festival (Tel Aviv, Israel), Temps D’Images (Cluj-Napoca, Romania; Budapest, Hungary), Unidram Festival (Potsdam, Germany) and Teatro/Theater Italienischer Theaterherbst (Berlin, Germany).
Madeleine, the last production, had its premiere in Rome in november at the RomaEuropa Festival 2009 (also co-producer).
In 2009 the company won the Ubu Special Award; the Critic’s Award from the National Association of Theatre’s Critics; the DE.MO./Movin’UP.
In the same year Claudia Sorace, director of the company, won the Premio Cavalierato Giovanile from Provincia di Roma and the International Award “Valeria Moriconi”.
The first thing I do, after the degree in directing at the Theatre Academy of Milan Paolo Grassi, is reach my longtime collaborators: Riccardo Fazi, dramaturg and Massimo Troncanetti, stage designer, who were already working together in Rome, producing installations and short performances. The group’s name was Index Muta Imago (with the time, Index felt down and only Muta Imago remained), we’re in november 2004.
During that winter we tried to understand, to really know each other, to see all that we could and then to talk together about everything we considered important; but it also happened that we closed ourselves for a month inside a squatted place, called Rampa Prenestina, where we gave birth to a strange and weird show, the first, Grano. But in those days theory was the praxis, also because the practice is involved in Turin: I direct Laura Curino in her monologue Una stanza tutta per me, produced by the Teatro stabile of Turin. Immediately after Gabriele Vacis involves me as assistant director for his project on Romeo and Juliet. Here I meet again two old companies of the academy, Glen Blackhall and Simona Frattini, who I would met again soon.
I’m always in contact with Riccardo Fazi, even while he travels around Europe and follows Caden Manson and Big Art Group in New York. He just got graduated in Theatre and Performing Arts at the University of Rome La Sapienza and immediately started working as assistant director for the mew-york based company, for the show house of No More. He keeps on collaborating with them during the autumn and winter of 2006, when in Berlin and New York assists Manson for the new show, Dead Set 3. In the meantime, in Italy, he assists Cesare Ronconi of Teatro Valdoca and writes about theatre together with Valentina Valentini, teacher of history of theatre at the University of Rome. With Riccardo we met in Berlin, where we partecipate together at the workshops sessions on directing held by Jurij Alschitz.
Massimo Troncanetti never stops a second as well, while collaborates with Mariana Ferratto for some video works and becomes assistant to the visual artist Alfredo Pirri.
The work together doesn’t happen in a conventional way, but in a heterogeneous, curious and lively manner. Each one of us brings what he can, and as soon as it’s possible we work to verifiy what we thought while we saw others playing.
This, until january 2006, when, after founding a fixed space for reaharsals, we start working together, for real, regularly, everyday. The first show to bet on was born: Hong Kong al quarantesimo chilometro. It’s cold, it’s still winter, even if reharsals ends in march. Luckily, soon the spring of comeacqua and the summer of (a+b)3 will arrive soon.