{"id":1814,"date":"2024-11-19T14:03:34","date_gmt":"2024-11-19T13:03:34","guid":{"rendered":"https:\/\/inclusivehumanities.eu\/linclusione-nella-rappresentazione-teatrale-con-teatro-a-rotelle\/"},"modified":"2024-12-09T12:36:16","modified_gmt":"2024-12-09T11:36:16","slug":"staging-inclusive-performance-with-teatro-a-rotelle-theatre-on-weels","status":"publish","type":"post","link":"https:\/\/inclusivehumanities.eu\/en\/staging-inclusive-performance-with-teatro-a-rotelle-theatre-on-weels\/","title":{"rendered":"Staging Inclusive performance with \u201cTeatro a Rotelle\u201d (Theatre on weels)"},"content":{"rendered":"<p><span data-contrast=\"auto\">In the context of a comprehensive and wide meaning of inclusion &#8211; characterised by the valorisation of every kind of diversity -, theatre and the performing arts <\/span><i><span data-contrast=\"auto\">have received an increasing attention <\/span><\/i><span data-contrast=\"auto\">within the interdisciplinary fields of Disability studies (in particular, Disability Theatre) and Accessibility studies. The concept of \u201cinclusive theatre\u201d (&#8220;inclusive theatre-making&#8221; Di Giovanni 2021) refers to a fully accessible theatre practice based on the active participation of every member of the company in as many phases of production as possible, from the creation to the reception of a show.<\/span><\/p>\n<p><span data-contrast=\"auto\">&#8220;Teatro a Rotelle&#8221; company (<\/span><span data-contrast=\"auto\">Theatre on Wheels) is composed by non-professional actors, mostly students,<\/span><span data-contrast=\"auto\"> with different forms of ability and disability and it is supported by the Department of Foreign Languages and Literatures. The company has already produced videos and plays which develop an inclusive theatre practice that has received numerous awards and critical attention (see publication \u201cInclusive theatre-making on the stage: the case of Rebekka Kricheldorf&#8217;s Homo Empathicus (2014)&#8221; on Intralinea, 2022).\u00a0<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">During the five-year period 2023-2028, the company &#8220;Teatro a Rotelle&#8221; aims to create a context of experimentation for an inclusive and accessible theatre experience for actors and audiences with the help of assistive software.<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">To achieve this goal, an interdisciplinary collaboration between directors, technicians and theorists of inclusive theatre will be developed.<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">2023-2024:<\/span><\/p>\n<ul>\n<li><span data-contrast=\"auto\">Acquisition and implementation of assistive software and digital media; <\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/li>\n<li><span data-contrast=\"auto\">Mapping and study of contemporary experiences of inclusive theater in different international contexts;<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/li>\n<li><span data-contrast=\"auto\">Creation of an inclusive theatre festival.<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/li>\n<\/ul>\n<p><span data-contrast=\"auto\">2025-2027:<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<ul>\n<li><span data-contrast=\"auto\">Production of the first inclusive work for both for actors and audience;<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/li>\n<li><span data-contrast=\"auto\">Creation of guidelines for an inclusive theatre;<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/li>\n<li><span data-contrast=\"auto\">Contribution to the theory of inclusive theatre within Disability studies.<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/li>\n<\/ul>\n<p><span data-olk-copy-source=\"MessageBody\"><strong>Group leaders:<\/strong> <\/span><span data-contrast=\"auto\">Manuel Boschiero and\u00a0<\/span><span data-contrast=\"auto\">Massimo Salgaro<\/span><\/p>\n<p><strong>Internal members:<\/strong><\/p>\n<ul>\n<li><span data-contrast=\"auto\">Sidia Fiorato<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/li>\n<li><span data-contrast=\"auto\">Nicoletta Vicentini<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/li>\n<li><span data-contrast=\"none\">Jana<\/span><span data-contrast=\"auto\"> Kar\u0161aiov\u00e1<\/span><\/li>\n<\/ul>\n<p><strong>External members:<\/strong><\/p>\n<ul>\n<li><span data-contrast=\"auto\">Claudia Olivieri (Catania)<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/li>\n<\/ul>\n<p><strong>Actions:\u00a0<\/strong>WP 1.1, 1.2, 1.4<\/p>\n<p><strong>Bibliography:<\/strong><\/p>\n<p><span data-contrast=\"auto\">Kuppers, P (2001), Decontructing Images: Perfoming Disabilities. <\/span><i><span data-contrast=\"auto\">Contemporary Theatre Review<\/span><\/i><span data-contrast=\"auto\">, 11: 25-40.<\/span><br \/>\n<span data-contrast=\"auto\">Di Giovanni, E. (2022). Inclusive theatre-making: Participation, empowerment and well-being. <\/span><i><span data-contrast=\"auto\">inTRAlinea Special Issue: Inclusive Theatre: Translation, Accessibility and <\/span><\/i><span data-contrast=\"auto\">Beyond, Di Giovanni E., and Raffi F. (eds), <\/span><a href=\"https:\/\/www.intralinea.org\/specials\/article\/2609\"><span data-contrast=\"none\">https:\/\/www.intralinea.org\/specials\/article\/2609<\/span><\/a><br \/>\n<span data-contrast=\"auto\">Di Giovanni, E. (2021). Oltre l\u2019accessibilit\u00e0. I teatri inclusivi. <\/span><i><span data-contrast=\"auto\">Lingue e linguaggi <\/span><\/i><span data-contrast=\"auto\">43: 15\u221231.<\/span><br \/>\n<span data-contrast=\"none\">Boschiero M. and Kar\u0161aiov\u00e1, J., Salgaro, M., Vicentini, N. (2022), Inclusive theatre-making on the stage:\u202fThe case of Rebekka Kricheldorf\u2019s\u202f<\/span><i><span data-contrast=\"none\">Homo Empathicus<\/span><\/i><span data-contrast=\"none\">\u202f(2014). <\/span><i><span data-contrast=\"none\">inTRAlinea<\/span><\/i><span data-contrast=\"none\">\u202fSpecial Issue: Inclusive Theatre: Translation, Accessibility and Beyond, <\/span><span data-contrast=\"auto\">Di Giovanni E., and Raffi F. (eds), <\/span><a href=\"https:\/\/www.intralinea.org\/specials\/article\/2593\"><span data-contrast=\"none\">https:\/\/www.intralinea.org\/specials\/article\/2593<\/span><\/a><br \/>\n<span data-contrast=\"auto\">Johnston, K. (2016) <\/span><i><span data-contrast=\"auto\">Disability Theatre and Modern Drama: Recasting Modernism<\/span><\/i><span data-contrast=\"auto\">. London: Bloomsbury Methuen Drama.<\/span><span data-ccp-props=\"{&quot;335551550&quot;:6,&quot;335551620&quot;:6}\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In the context of a comprehensive and wide meaning of inclusion &#8211; characterised by the valorisation of every kind of diversity -, theatre and the performing arts have received an increasing attention within the interdisciplinary fields of Disability studies (in particular, Disability Theatre) and Accessibility studies. The concept of \u201cinclusive theatre\u201d (&#8220;inclusive theatre-making&#8221; Di Giovanni [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1812,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[57],"tags":[],"class_list":["post-1814","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-philology-and-literary-studies"],"acf":[],"_links":{"self":[{"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/posts\/1814","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/comments?post=1814"}],"version-history":[{"count":4,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/posts\/1814\/revisions"}],"predecessor-version":[{"id":1977,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/posts\/1814\/revisions\/1977"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/media\/1812"}],"wp:attachment":[{"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/media?parent=1814"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/categories?post=1814"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/tags?post=1814"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}