Technopolis
with Titino Carrara in the role of Harlequin and Kataklò Athletic Dance Theatre
direction of Oreste Castagna

Titino Carrara
The actor, together with his brother Armando and his mother Argia Laurini, founded in 1975 in Vicenza “La piccionaia”, an innovating repertory company. Since their first appearance the Carraras became popular for being a very remarkable example of survival of the traditional Italian Comedy. During their tournee all over the world they confronted themselves with the ancient tradition of the oriental, Renaissance and rococò theatre, and even with the latest research on theatre anthropology. The Carrara brothers’ repertory is characterized by a constant search for a popular artistic theatre dominated by a strong, ongoing relation between audience and stage.

The company
Kataklò Athletic Dance Theatre it’s the first Italian dance company made up of olympic-level athletes performing a successful union of sports and show so creating an uncommon, original kind of art. In 1995 Giulia Staccioli, a callisthenics olympic champion, for a few years a member of Momix, founded with his husband Andrea Zorzi the first Dance Athletic Theatre company. Kataklò debuted the following year with the show “Indiscipline”, an international success that took them to Sidney for the Olympic Games. Having been sports an incomparable stepping-stone for these atlete-dancers, a school of discipline, sacrifice and undertaking, nowadays theatre is undoubtedly their final aim. Since 2002 Giulia Staccioli and Andrea Zorzi have been members of the international commitee charged to draw the guidelines of the 2006 Cultural Olimpic Games in Turin.

The show
“Technopolis” was first performed in 2004 in Bergamo for the XXI IASP World Conference. It’s the teatrical expression of the complex, enigmatic character of Harleqhin,the lazycheat servant that Carlo Goldoni’s Italian Comedy transformed into the cunning countryman/ man of the people but however honest and sensible.Titino Carrara gives voice and body to Harleqhin, in his attempt to go beyond the boundaries of human condition, searching for a new expressive code that embodies a language characterized by a varied lexicon, halfway between Italian, the dialect of Veneto/Bergamo’s land and onomatopeia. It’s a language that, in addition to facial and body mime, becomes universally comprehensible. The show, coreographically developed on Jan Garbarek’s musics by the Kataklò dancers/atlethes is based on the search for the limits of physical performances, on impossible gesture, is a fusion ofathletic movements, poetry of dance, magic of sounds and lights. Stuctured on different scenes, the performance of Kataklò comes into direct contact with the audience, emotionally involves, amazes and surprises it at every coreography change. Then light, the element of fusion, at the same time guiding into the different components of the show.