The RIOTE 3 project is ending today

The partnership members: Kud Ljud (SI); Shoshin Theatre Association (RO); Utca-SzAK (HU); Take Art Limited (UK); Protagon e. V. (DE); Teatro Nucleo (IT); Une idée dans l’air (FR); SINUM Theatre (coordinator, HU) are saying goodbye to the RIOTE 3 project today but they are proud of the common results of the last two year’s collaboration. Find out more about the project results on our website. We hope that our partnership will return soon with a new edition of RIOTE project in the future. The main question has been the same since 2016 and it will remain the same also in the future: “How to bring people together by threatre events in rural environment across language barriers?”

We will keep on sharing news about the afterlife of the project.

What is the role of theatre in rural environment? Multiplier Events in Hungary and in Romania

On the 15th, 16th and 17th of September the RIOTE 3 project will present the final results of the partnership: the books Myth behind the community written by the partnership and the 9th sense written by Balázs Simon. The final Multiplier Events will be organized on the 15th as a conference in Pécs; on the 16th as a theatre performance in the Castle of Pécsvárad; and on the 17th as an international theatre forum in Cluj-Napoca.

Looking forward to meet and talk about the role of theatre in rural environment. For further information please visit the facebook events: Conference of the Myth behind the community on the 15th; Janus mystery and carnival theatre performance on the 16th; Out of the frame 2, International Theatre Forum.

The myth behind the community

The RIOTE 3 partnership is proud to present one of the results of their two years long collaboration. A quotation from the introduction written by Marco Luciano can give a taste of the book:

However, it is necessary to state that it is precisely in the incorruptible link between the creative and educational process that the many possibilities to cross complex and fragile scenarios, to experience places and languages in which actors and spectators confront ‘otherness’ and to produce new images, that new visions open, starting from history and memory.

From now the book is available in English on our page.

The translated versions are coming soon. 🙂

Towards the end of the project

The partnership will share very soon the main fruits of their last two years collaboration which are two important books in preparation: The myth behind the community and the Ninth sense.

We are very excited to share soon those intellectual fruits of our recent experiences hoping to offer something very actual and urgent resource for other European colleagues.

The RIOTE 3 project will end on the 30th September. The last project activities were in Hungary, in the Castle of Pécsvárad on the 25th June giving space to the “final partner meeting”, then in France, in Villars Apt from 1st to 3rd July to host the last joint staff training and also the French multiplier event on the 4th July.

Such a melancholic feeling arriving to the end of a two years long cooperation, but also towards the end of a six years long series of projects (RIOTE, RIOTE2 and RIOTE 3).

Projects are ending, but the partnership will remain to search for new pathways.

And now it is still an exciting moment of the present project, as soon we will be able to share the main results. The Romanian and Hungarian multiplier events will happen in September. We are looking forward!

‘Fugue in Me minor’

The Riote 3 partnership is excited to see very soon the performance of Teatro Nucleo, Fuge in me minore, which will be hosted by the Janus University Theatre in Pécs (JESZ), next Monday evening, (27th June) starting at 19:00.

Website of the university theatre & Location & the event

Written by Veronica Ragusa & Marco Luciano
directed by Marco Luciano
on stage Veronica Ragusa
a Teatro Nucleo production

The performance is ’45 minutes, the entrance is free, but for registration please send an e-mail to the address of the theatre: jesz@pte.hu

About the show:

The brave and fragile love story between Arthur Rimbaud e Paul Verlaine has been the narrativepretext to the creation of the solo “Fugue in Me Minor”.
A controversial, scandalous, wrong, sublime story, full of selfishness and emotional greed, paved with verses never written, as bright as a child game. The story of a love on the run, or the escape from a love. Undefined hunger, passionate thirst, boundless joy, a desperate yearning for something even remotely close to their idea of freedom and poetry; two contrasting personalities locked in a tender conflict, between themselves and the world, as if they were two souls trapped in the same soap bubble looking for a way out. And there they go, running far away, away from one European capital to another, away in the fumes of alcohol and drugs, away in tears, away in kisses, in the woods, at the sea…Chasing each others and singing in the attempt to “be” poetry. Just as in the Pianist’s Fugue the two hands run after each others relentlessly, so do the two poets, fleeing in a spiral inside and outside themselves, in a vortex that seems to put under a magnifying
glass the contrasting feelings, fears, smiles and miseries that dwell within each of us. We do not intend to narrate the story of the two poets in this work, but rather to investigate some of the archetypes it offers us. We think that each person carries within him or her a poetic creature on the run, suspended between the desire to love and the need to be loved, between instinct and reason, wandering between superb failures and fleeting victories, guilt and desire, memory and hope. Uno one or more subjects pursuing and eluding counter-subjects, as in the thematic material composing the musical genre of the “Fugue”. Inspired by the structure of this musical genre, webhave built the dramaturgy in three movements: esposizione, divertimento and stretto.
From a “divertimento” we made up the title: Fugue in Me minor, a words play that opened up the way for poetic intuitions and narrative and musical references that have fuelled our theatrical work, our dance, songs and movements.
Escaping the outside world to find shelter within oneself does not seem to us to be an appropriate artistic act for these times we are living, nor do we believe in the cliché of the solitary artist who admires the infinite. But we are convinced that within each of ourselves, lies the archetypes and cultural ‘vices’ from which we must learn to flee.