The ARKA THEATRE (H.C.E.), founded and managed
by the actor/director Massimo Zanasi, is made up of two complementary
sectors: The Theatrical Experimentation Ensemble, a real driving force concentrating
on research involving modes of expression and on producing works which
have been touring the world for several years, refocusing attention on the
problem of Artifex (Actor/Actant-Author-Director), and The Performance
Research Workshop, a centre for cultural and artistic proposals emphasizing
linguistic and aesthetic forms in the various arts.
sectors work under a single programme called Arts Dramaturgy, whose
aim is to develop and investigate so-called Poetic Theatre, using parallel
research techniques of comparison and cooperation applied to the ethical and
aesthetic relationships between the numerous functions of speech, sight, sound,
text and movement.
celebrating its fourteenth birthday, is not only a retrospective but an original
initiative under the auspices of the Theatrical Cultural Association ARKA's
(H.C.E.) study and research programmes, involving both modes of stage expression
and contemporary thought.
This idea of a permanent workshop and a national and
international retrospective of the Performing Arts (Theatre, Music,
Dance, Poetry), Video and Installations has led to permanent, stimulating
contact with other artistic directors to coordinate, both in Europe and beyond
(Japan, North America, ...), discoveries in this unique experimental sector
which by definition almost never produced "goods" for immediate consumption.
the decision to periodically make public the efforts of artists coming not
only from "official" but even "self-produced" and sometimes "lateral" circles
in respect to current institutions and markets, ignores hierarchies and distorted
classifications. It invariably assumes political characteristics, favouring
endangered languages and the great minorities of dramatic theory and art history,
like those arising from the ethnic islands of our Mediterranean as well as
from the ethnic and intellectual "islands" present in the great metropolitan
these cases, it is not enough to consider the parameters of the theatre, figurative
arts, music or poetry singly; they must be constantly brought into focus using
an approach which is both aesthetic and anthropological. The contemporary
artist is often bathed in the dying light of art as a specific phenomenon
and drowning in the general tendency to render all of existence "aesthetic".
As a result, he must not only know how to express himself but also be able
to experiment old and new ways of witnessing to the times he lives in, continually
rediscovering what he/she has to say or, at least, what we are not
and what we do not want.