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[…] On a dark stage, Pianzola performs solo under a swathe of light aided by nothing more than a ladder that becomes a metaphor for a cage that traps workers. […] When he called out to the audience, “Are you happy? Are you happy?” he got a silent response. “In south India, we were performing…
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An other performance not to be missed at Teatre La Vilella! Yesterday we have enjoyed a performance that unfortunately is on scene for the last night today: “Made in Ilva”. I try to inform you as quickly as possible so that you don’t miss it, because is really the best performance we have seen in…
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[…] In this performance we can find videos, a voice-over declaiming both in italian and in english, a lot of actions and sounds becaming obsessive rhythm. Seated on cushions, the audience enjoyed very closely Nicola Pianzola’s performance, who was playing the suffering and sick Ilva’s ironworker, while the voice-over said “work, work!” […]
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[…]Made in Ilva- the Contemporary Hermit, by Instabili Vaganti Company, introduces the 5th edition of Torino’s “Schegge al Cubo Festival”. […] Based on the diary and on other depositions of Ilva’s ironworks, the Contemporary Hermits talks about the true story of the biggest european steel plant [in Taranto]. The hole city and the ironworkers, wrapped…
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[…] After collecting a lot of awards for civil commitment and for innovation, the fable of brutalizing and alienating work arrives in Turin, a fable in which the worker is forced to operate in a metal foresta as the iron plant. The dramaturgy combines some depositions of workers of Taranto’s Ilva, some parts of Luigi…
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[…] The performance has developed into a combination of repetitive physical actions, like factory workers at their daily work. Sounds become obsessive rhythms […] the solitary worker tries to break the monotony of his life – but there is no escape. […] Pianzola sits facing the back wall on top of a 150cm high metal…
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[…] The performer begins with his back to audience, sat on a large metal stool and then the explosive performance begins. The stool elevates Pianzola physically but also acts as a claustrophobic steel cage, a levitation device and a means to convey the heavy iron industry that is being depicted on stage. Video projections are…
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In a fusion of intense physicality, vocalisation and performance, we open to a backlit monk-like figure chanting in Italian. A religious introduction to the story of a manual worker labouring in factory hell. Here, we learn that economical necessity keeps him there though he yearns to leave. […] Nicola Pianzola takes us on a dramatic journey.…
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There comes a point in the middle of Made in ILVA where you feel as if you might be going mad yourself. Hallucinating the fact that performer Nicola Pianzola keeps repeating over and over “the brutalisation” while hammering the steel set with his palms (which are surely by now raw). Delirious with the metal rhythms…
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[…] In the Taranto 30% of the population have lung tumors while the factory is still thriving financially. Therefore the piece voices anti-capitalist views highlighting how society accepts to sweep issues like these under the carpet or under a pile of ever-growing dead bodies. Through repetitive mechanical movements Pianzola puts his body through pure exhaustion…