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THYESTES

IN CORSO

STEFANO MAZZOTTA

// ZEROGRAMMI

THYESTES

]

UNO SPETTACOLO

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*Thyestes* is a project freely inspired by Seneca’s tragedy. A choreographic and theatrical research exploring themes of power, revenge, and the violence inscribed within familial and political bonds.

Through an essential and visionary scenic language, the project questions the body as a place of desire, guilt, and destruction, bringing onto the stage the extreme fragility of the human being when faced with the abyss of power.

  • Thyestes originated from the dialogue generated by the 2011 Italy–Russia cultural exchange programme, which led Zerogrammi to collaborate with Dialogue Dance. The project was co-produced by the Russian festival TSEKH Festival and Fondazione Teatro Piemonte Europa / Teatro a Corte, and premiered in Italy within the extraordinary setting of the Galleria di Diana at the Reggia di Venaria — the first occasion on which the Gallery hosted a dance performance.

    The project takes shape through the encounter with Seneca’s Thyestes and its tragic universe, dominated by excess, ferocity, and darkness. The story of Atreus and Thyestes becomes poetic material through which to investigate the dynamics of domination, oppression, and violence that traverse both the familial and political spheres.

    The cannibalistic banquet at the center of the tragedy emerges as an extreme image of a power that destroys every possibility of relationship and humanity. Thyestes does not seek a narrative transposition of the classical text, but rather traverses the myth as a symbolic and contemporary space.

  • Thyestes develops through a research process oriented toward subtraction and the intensity of scenic presence, constructing a direct relationship between body, language, and space.

    The creative process intertwines dance, physical composition, and tragic imagery, allowing an essential and deeply embodied dimension of tragedy to emerge. The choreographic writing works on the weight of gesture, on the tension between stillness and explosion, and on the constant relationship between control and loss.

    The project’s international genesis — born from the encounter with Dialogue Dance and from the context of the Italy–Russia cultural exchange — contributed to shaping a scenic language capable of traversing different languages, places, and cultural references, while keeping at its core the archaic and contemporary force of myth.

    Over time, the project continues to open reflections on the persistence of the tragic within contemporaneity and on the body’s ability to make visible the darkest zones of human experience.

  • PASTO A DUE
    2012
    SPETTACOLO // TEATRO E SITE SPECIFIC
    ARCHIVIO
    STEFANO MAZZOTTA + EMANUELE SCIANNAMEA
    PASTO A DUE
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    ITALIA RUSSIA 2011
    2011
    NETWORK // COLLABORAZIONI
    ARCHIVIO
    ZEROGRAMMI + TEATRO A CORTE
    ITALIA RUSSIA 2011
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    THYESTES
    2025
    SPETTACOLO // TEATRO E SITE SPECIFIC
    IN DISTRIBUZIONE // IN CORSO
    STEFANO MAZZOTTA
    THYESTES
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    PUNTO DI FUGA
    2011
    SPETTACOLO // TEATRO E SITE SPECIFIC
    ARCHIVIO
    STEFANO MAZZOTTA + EVGENY KULAGIN + EMANUELE SCIANNAMEA + IVAN ESTEGNEEV
    PUNTO DI FUGA
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  • Zerogrammi

    Playwithfood Festival

    Fondazione Teatro Piemonte Europa

    Festival Teatro a Corte (It)

    Teatro da Garagem

    Regione Piemonte

    Ministero della Cultura

    Prod. Ao Quadrado (Pt)

    Materiais Diversos (Pt)

    Teatro Nacional D. Maria II (Pt)

    Dimora Coreografica (It)

    Dialogue Dance

    Centro Danza Contemporanea e Performance TSEKH (Russia)

    STANTSIA Art Venue (Russia)


  • THYESTES // PROVE IN SALA

    FOTO

    THYESTES // PROVE IN SALA
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    THYESTES // IN SCENA

    FOTO

    THYESTES // IN SCENA
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    THYESTES // teaser

    VIDEO

    THYESTES // teaser
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  • STATUS: ongoing
    FIELDS: contemporary dance / classical tragedy / physical theatre / poetic research
    ACTIVATABLE FORMATS: performance / public encounter / workshop practice
    ACTIVATION CONTEXTS: theatres / festivals / contemporary performance series / performative research contexts
    AUDIENCES: general audiences / contemporary audiences / students / artistic communities
    MODES: indoor / adaptable / scenic proximity
    DURATION: full-length performance format
    LANGUAGES: Italian / non-verbal
    PARTNERS: festivals / cultural institutions / artistic networks
    AVAILABLE MATERIALS: dossier / technical sheet / teaser / gallery / press kit

“(...) The award for best contemporary dance performance, assigned to Punto di fuga, a co-production between Italy and Russia, opens toward the future. Created during the 2011 cultural exchange year between the two countries, the project brought together the young companies Zerogrammi from Turin and Dialogue Dance from Kostroma. It was precisely in the Russian city, in February 2011, that Emanuele Sciannamea and Stefano Mazzotta — dancers and choreographers originally from Southern Italy and trained at the prestigious Scuola Paolo Grassi — arrived with their agile ensemble. The twenty-five degrees below zero of the Russian winter and their limited knowledge of Pushkin’s language did not discourage them, and together with two performers from Dialogue Dance they created Punto di fuga, an all-male piece that reinterprets Seneca’s Thyestes through strength and irony. Applauded in winter in Kostroma and in summer in Turin at the Teatro a Corte festival, the newly awarded Punto di fuga encapsulates the thought shared by the four young artists: ‘encounter, and therefore confrontation, is the only true wealth worth conquering.’”— V. Bonelli, Russia Oggi


“The intuition of Stefano Mazzotta and the company Zerogrammi — to return that tragedy to the body, to flesh, to traverse it without resorting to words and above all not in a descriptive way, but rather as a reflection of what occurs on a deeper level (that of consciousness) — proves extremely effective. (...) Thyestes stages the loss of identity — indeed, its disintegration — and a body deeply wounded, like the rough wooden logs scattered across the stage, still bearing visible traces of cuts.”— Francesca Maria Rizzotti, KLP


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