{"id":4792,"date":"2023-10-26T07:07:52","date_gmt":"2023-10-26T06:07:52","guid":{"rendered":"https:\/\/emanuelenargi.com\/?page_id=4792"},"modified":"2025-01-15T22:09:18","modified_gmt":"2025-01-15T22:09:18","slug":"performer","status":"publish","type":"page","link":"https:\/\/emanuelenargi.com\/index.php\/theatre\/portfolio-theatre\/performer\/","title":{"rendered":"PERFORMER"},"content":{"rendered":"\t\t
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u00a0 \u00a0 At the “NAMAS n. 2” Theatre Festival, a Lithuanian creative team explores the journey of human life from birth to death in an immersive experience. Inspired by the V. Bacevi\u010dius school building’s history and atmosphere, the artists use objects found inside to magnify emotions, passions, and experiences.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

JOURNEYS <\/a><\/strong>(click here)<\/em><\/a><\/p>

Kaunas, 2019<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

El Hilo de Ariadna, Teatro de los Sentidos<\/a><\/strong><\/p>

(click\u00a0 here) <\/a><\/em>by Enrique Vargas, 2018-2019<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t
“To risk is to lose a little, not to risk is to lose everything”. Emblematic play of the Teatro de lo Sentidos.<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

“Augenblick” is a passage through time. A time of the past, a time of war. Role performed: Ren\u00e9. Theatrical performance. \u2018The only way is upward.\u2019<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Augenblick \u2013 L\u2019istante del possibile<\/strong><\/p>

by Riccardo Brunetti, 2015
<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

London 2050, 4th Floor West<\/strong><\/p>

with Glenn Hanning, 2012-2013\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u00a0 \u00a0 2050. A captivating theatrical performance that serves as a reflection on a post-crisis. This unique production invites audiences to witness a vivid portrayal of the city’s resilience and transformation in the aftermath of challenges. A thought-provoking journey through the stages of rebuilding, renewal, and the indomitable spirit that defines London in this visionary portrayal of the future.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u00a0 \u00a0 In a solo performance, “Raw Home Raw,” the protagonist, echoing the timeless tale of Pygmalion, forges a deep connection with a symbolic statue. This enigmatic figure serves as a poignant reflection of his cultural roots, potential relationships, familial ties, and perhaps even his religious beliefs. Immerse yourself in a thought-provoking journey that explores the intricacies of identity and the profound impact of our connections to the world around us.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Raw home Raw, Solo Performance<\/strong><\/p>

London, 2012-2013
<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Senzorium, La citt\u00e0 dei Sospiri<\/strong><\/p>

by Barbara Pia Jenic, 2008
<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u00a0 I have had the privilege of participating in various theatrical productions, including ‘Not in my Name,’ ‘Loretta Auditorium,’ ‘7 Meditations,’ ‘Six Public Acts,’ and ‘The Brig’ with the renowned Living Theatre Europa and Alchemical Theatre from 1998 to 2001.<\/p>

\u00a0 \u00a0 I have performed in a diverse range of settings, from the streets to ex-cinemas, social centres, official theatres, intimate underground spaces, dynamic off festivals, and esteemed universities, in cities across Italy, such as Roma, Napoli, Salerno, Benevento, Pisa, Reggio Emilia, Bologna, Genova, Rocchetta Ligure, and Eboli.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\u00a0 \u00a0 At the “NAMAS n. 2” Theatre Festival, a Lithuanian creative team explores the journey of human life from birth to death in an immersive experience. Inspired by the V. Bacevi\u010dius school building’s history and atmosphere, the artists use objects found inside to magnify emotions, passions, and experiences. JOURNEYS (click here) Kaunas, 2019 El …<\/p>\n

PERFORMER<\/span> Read More »<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1398,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"full-width-container","site-content-style":"unboxed","site-sidebar-style":"unboxed","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","footnotes":""},"class_list":["post-4792","page","type-page","status-publish","hentry"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/emanuelenargi.com\/index.php\/wp-json\/wp\/v2\/pages\/4792","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/emanuelenargi.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/emanuelenargi.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/emanuelenargi.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/emanuelenargi.com\/index.php\/wp-json\/wp\/v2\/comments?post=4792"}],"version-history":[{"count":295,"href":"https:\/\/emanuelenargi.com\/index.php\/wp-json\/wp\/v2\/pages\/4792\/revisions"}],"predecessor-version":[{"id":10820,"href":"https:\/\/emanuelenargi.com\/index.php\/wp-json\/wp\/v2\/pages\/4792\/revisions\/10820"}],"up":[{"embeddable":true,"href":"https:\/\/emanuelenargi.com\/index.php\/wp-json\/wp\/v2\/pages\/1398"}],"wp:attachment":[{"href":"https:\/\/emanuelenargi.com\/index.php\/wp-json\/wp\/v2\/media?parent=4792"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}