Founded in Rome in 1978 by Renato Cuocolo, IRAA Theatre moved to Melbourne in 1988 where it first produced a series of four trilogies (Theatre of Images, A Vision of the Void, The Trilogy of Water, The Exile Trilogy). In 2000 Cuocolo/Bosetti presented the Interior Sites Project, which still lives today and is composed of 13 different shows. With this project the company receives important international recognition and critical attention. Interior Sites Project is presented in twenty-six countries on four continents. Cuocolo/Bosetti becomes Australia’s leading innovative company and is named Flag Company by the Australia Council and Arts Victoria. The Sydney Morning Herald defines it as “the spearhead of contemporary Australian performance”.
Since 2012 the company has also a branch in Italy, in Vercelli, where, with the support of the Australia Council and some of the main Italian theater festivals, it presents a series of new works and repertoire.
The latest works of the company have been presented with success and critical interest in numerous festivals including: Wiener Festwochen, Adelaide International Festival (2 editions), Melbourne International Arts Festival (4 editions), Sydney, Olympic Art Festival (2 editions), Olinda Milan (5 editions), Contemporanea Teatro Metastasio Prato (8 editions), Festival delle Colline Torino Creazione Contemporanea (11 editions), A Teatro nelle Case Ariette (6 editions), Teatro della Tosse Genova Capitale Europea della Cultura, Teatro Eliseo Roma, Es. Terni, Festival Internazionale di Andria, Contemporary Theatre San Diego, Lincoln Centre New York, Cite’ Paris, Calais Le Channel Scène Nationale, Goteborgs Dans & Teater Festival (2 editions), Waseda International Centre Tokyo, Funaro Pistoia (2 editions), Le Vie dei Festival Rome, Vie (ERT), Fondazione Merz.
Cuocolo/Bosetti are the winners of numerous awards including Unesco Awards (USA) Green Room Award, MO Award, Cavour Prize (Australia) and in 2015 Premio Hystrio (Italy) as best innovation company, their shows are often staged in non-theatrical spaces, houses and hotels where they live, or streets, art galleries, always exposing the intimate and domestic space to the gaze of the spectator-guest in search of an impossible, illicit geography of intimacy.
Based on the reworking of elements taken from their lives, the artists construct a series of performances in which reality and fiction overlap. Their work questions the traditional separation between actor and character. Their work is an invitation to reconsider the boundaries between performance and reality, between art and life, fiction and autobiography. Their stagings are never fake sets but traps for reality.
@ FIT
R.L.
2019 Edition
24.09 – 06.10
