Milano Genius continues on becoming connection point, on international base, for those projects that spread Italian creativity and arts into well framed fields and perspectives.
Another example of these artistic dynamism under the format Milano Genius is represented by #CrossingDistances, the international tour which sees Nathalie as protagonist of cross cultural journey through emotions and music.
The ideal of Milano Genius is creating a contact between different cultures, mainly enforcing contents from the municipalities of Milan towards international destinations, featuring on creative and cultural topics. That’s the reason why it suits to #CrossingDistances.
The format sustained by ACTAgency and ASGProduzioni after being introduced in Milano as first performing stage for the italo-belgian singer continued with successful participation in Korea (Seoul) and Japan (Tokyo).
In particular for Seoul, where Nathalie performed on 26 and 27 of September, the invitation was important occasion to participate at the 11th Italian Film & Art Festival in Seoul, as cultural ambassador.
Thanks to Nathalie and her artistic involvement on cross cultural dialogue through music and arts, Milano Genius could been properly represented in Korea for first time and in Japan (Live in Shimokitazawa on 28th of September) again after many activities that already have taken place in Osaka in 2019 about design, contemporary art, performing art and music as well.
The cooperation between Korea and Milano keeps going, in fact the organizing Company of IFAF is planning an edition of the Korean Film Festival in Milan in collaboration with Asian Studies Group, opportunity that will become another source of cultural exchange and mutual promotion for successful cooperation for the future.
On 5th of May at 9 pm Elisa Pistis will bring at Corte dei Miracoli in Milan her re-interpretation of Dario Fo’s play Mistero Buffo. The performance is offered by Paolo Cacciato, director of ASG-Produzioni. Milano Genius 2019 is produced and organized by the Italian Institute of Culture in Osaka thanks to a collaboration with ASG-produzioni. Furthermore, the initiative is patronized by both the Municipalities of Milan and Osaka. In order to present to our readers the point of view of Mistero Buffo’s director, we interviewed Elisa Pistis.
What is Elisa Pistis’ Mistero Buffo and how does it relate to Dario Fo’s play?
My Mistero Buffo is of course no copy of Dario Fo’s work, rather it develops from a very simple starting point: a woman who alone stages Mistero Buffo. My re-worked version starts therefore from a feminine sensibility, that doesn’t exclude the master’s point of view, but which necessarily has a different expressive outcome.
I keep Dario Fo’s vision as a starting point when I begin to approach his texts. However, my goal is to re-elaborate the material at my best in order to perform it according to the needs of our times, which are completely different from the ones when the play was written.
How the Japanese public reacted to the show?
Japanese viewers were very focused and intrigued by the play. The public was large, very silent and respectful. One of the strengths of Mistero Buffo is its physical and gestural language, that allows the comprehension of the play even for people coming from a cultural background very different from the Italian. The work of instant translation made by the interpreter has permitted to everyone in the public to dunk themselves into the world of Mistero Buffo and enjoy it at its fullest.
What is the major insight you gained with this experience in Japan?
Surely, this experience in Japan developed my desire to expand my theatre work to all over the world. It was an opportunity of both artistic and human growth. I could see numerous performances and learn the expressive modalities of this thousand-year old nation. I was fascinated by one of Team Kabuki’s play, five hours of pure show with an active participation from the public. I was intrigued by the fact that at the end of the performance, after the drop of the curtain, the actors didn’t come out to take the well-deserved applause. The exchanges during the play between them and us, the viewers, were enough. Unlike in Italy, it is not common to thank the public and bow while waiting for the applause. So the five hours flew like in a moment and at the end of the show the exchange of emotions and regards was not needed. I dunk myself into the Japanese culture visiting less touristic places and trying to grasp some aspects of the local way of life. During my visit, I realized that few days aren’t enough to fully understand a population and its history. Instead, one should live there in order to do so. Since my work is focused on words, it was beautiful to listen their language. I took home the memory of many acoustics typical of Japanese alongside their way of greetings and playing music.
What should we expect on 5th of May in Corte dei Miracoli?
I hope to find a moment of sharing, since Mistero Buffo is a performance focused on the direct relation with the public. I like the idea to talk straight to each person attending my plays. I believe that a space like Corte dei Miracoli will be perfect in order to create the atmosphere that I seek. I hope to make people laugh lots and maybe make them shed some tears, too. I wish to transmit a part of myself in the play and leave an emotional message with the intent of making the public think while enjoying a beautiful evening together. For me it is very important that performances become a way to get in touch with people.
When we decided to describe italian Genius considering Milan as general frame for selection of various representations, from arts to music, including design and theatre we couldn’t ignore the role of Dario Fo for those aspects that concern Italian theatre and literature and his tribute for revival of Commedia dell’Arte into contemporary performing scenario.
We absolutely wanted to explain to japanese people how, thinking about Italy, they cannot ignore the heritage represented by Fo’s activity, in particular about one of his most important works, Mister Buffo, that was performed for the first time 50 years ago at Milan University.
The occasion has been represented by Milano Genius in Osaka (12 of April 2019) at Osaka Central Public Hall thanking the production by Italian Institute of Culture under direction by Dr. Stefano Fossati who accepted to present first ever in Osaka, Fo’s masterpiece performed by Fronda Anomala, with official distribution by ASGProductions.
With great pleasure of organisers, Jacopo Fo, Dario Fo and Franca Rame’s son, decided to send greeting’s video, focusing in particular on commitment of Elisa Pistis, for this performance in Japan member of Fronda Anomala, who is currently working hard on special version of well known Mistero Buffo.
Elisa is wholly involved on important new re-adjustment of Fo’s masterwork that will be followed for future performing opportunities in Asia by ASGproductions (managing direction by Paolo Cacciato) that will also present solo version by Pistis of the work on 5th of May in Milan at Corte dei Miracoli (Via Mortara 4) always as part of Milano Genius programme and special tribute to Dario Fo.
You can enjoy Jacopo Fo’s video contribution as follows.