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MIMOS 2016

Theater HORA


Anne Fournier, Paola Gilardi, Andreas Härter and Beate Hochholdinger-Reiterer

Theater HORA, 1993 in Zürich als Kulturwerkstatt für Menschen mit einer geistigen Behinderung entstanden, erobert heute als «freie Republik» die Bühnen weltweit. Dem breiten Spektrum der künstlerischen Arbeit und den aktuellsten Entwicklungen dieses einzigartigen Projekts gilt das vorliegende Buch.

Le Théâtre HORA, créé à Zurich en 1993 comme atelier culturel pour personnes en situation de handicap mental, conquiert aujourd’hui les scènes du monde en tant que « République libre ». Le présent ouvrage se penche sur le large spectre du travail artistique de ce projet unique et sur ses audaces les plus actuelles.

Il Theater HORA, fondato nel 1993 come laboratorio artistico per persone con una disabilità mentale, è divenuto oggi una «Libera Repubblica» alla conquista della scena internazionale. Il presente volume analizza l’ampio ventaglio dell’espressione artistica e l’evoluzione più recente di questo progetto unico nel suo genere.

Theater HORA, which began in Zurich in 1993 as a cultural workshop for people with a mental disability, is today conquering stages around the world as a «free republic». The present book is devoted to the broad spectrum of artistic work and most recent developments of this unique project.


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Giulia Innocenti Malini


Attorialità performative sul confine tra vita e teatro Zusammenfassung Résumé Abstract 208–215 P41711_Broschuere_Mimos_2015_IH.indd 206 05.12.16 13:52 Die HORA-Schauspielenden Peter Keller und Regina Sauter bei den Proben von Il sogno della vita (frei nach Fellinis La strada), Casino-Saal Aussersihl, Zürich, 10.03.2004 (Premiere: 24.03.2004). Regie: Michael Elber, Nicole Tondeur Foto: © Michael Elber / Theater HORA P41711_Broschuere_Mimos_2015_IH.indd 207 05.12.16 13:52 208 This article examines the experiences of four theatre groups: Com- pagnia Pippo Delbono, Accademia Arte della diversità and Com- pagnia Babilonia Teatri in Italy, and Theater HORA in Switzerland. The author explores the hypothesis that some of the productions put on by these groups are similar in the way they strive for an authentic uniqueness of performative action, intuitively recogni- sed by visionary directors in the stage presence of disabled actors. The performative and theatrical quality of these groups’ actors and productions seems to express a synthesis of aesthetic and ethical aspirations that constitutes the essence of theatre. This gives rise to the idea that the theatre is rediscovering its contem- porary urgency by breaking through the purely representative, fictional dimension and into a new relationship between life and action on stage, and the possibility of a real transformation of the actors and the audience. Der vorliegende Beitrag setzt sich mit den Erfahrungen von vier Theatergruppen – der Compagnia Pippo Delbono, der Accademia Arte della diversità, der Compagnia Babilonia Teatri aus Italien und Theater HORA aus der Schweiz – auseinander. Die...

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