Here are the artists selected for the CrashTest 2022 edition



by and with: Alberto Ierardi, Giorgio Vierda, Luca Oldani
costumes: Chiara Fontanella
light design: Alice Mollica

La Ribalta Teatro is involved in the production of comedy theater and theater education. Between 2019 and 2021 it won the Tuscany region's call for proposals "Così lontani così vicini" with the Beckett Machine project. Awarded at: Minimo Teatro Festival, Italia dei Visionari, Giovani Realtà del Teatro, Inventaria, TSU, and Earthink festival with the show Il Settimo Continente #lifeinplasticisfantastic guest among others at Piemonte dal Vivo reviews. It directed theater training at the Lux Theater in Pisa for three years and subsequently developed numerous training projects in collaboration with schools, municipalities, associations, foundations, universities, and national academies of dramatic arts. He collaborates with the Verdi theater in Pisa in projects dedicated to schools and with the Politeama theater and the Cascina day care center for a course dedicated to individuals with addictions.



"The ocean is big because it repels no river" Chinese saying.
Everything that we have forgotten, that we no longer loved, in short, that we needed and then no more, has always flowed down rivers since ancient times. Who knows if the ancient Chinese in uttering their saying could have imagined that the great ocean, the mythical cradle that gave birth to everything and has always swallowed everything, would one day begin to spit out, after chewing them up, the trinkets that all people around the world have always forgotten. The ocean has a bellyache! Charles Moore, a sailor, explorer, environmentalist, and writer who has been noticing this for the past 30 years, denouncing, (not too successfully) since Christopher Columbus of the present day, the discovery, or rather the emersion, or more correctly "agglomeration" by coercion of the greatest man-made work ever built, the greatest engineering improvisation ever conceived. At the moment, it is three times the size of France and is clearly visible from space. It is the Pacific Trash Vortex, for some the great plastic soup, for the more imaginative the plastic island. The actors of Ribalta Teatro started from here to create this new show dedicated to the world of plastic. The Seventh Continent is not only the name by which we rename the island, but the set of wastes that in fifty years or so we have accumulated and that as of today, are no longer in the world, are the world, as it has never been before. Microplastics are everywhere, from pole to pole, in the food we eat, in the water we drink, and in the bodies of all of us, bar none. Thanks to this dramatic situation, we found the conditions to bring to life a show that is both comical and able to propose questions and reflections. Nothing more comical than a good disaster. Welcome to the seventh continent!



Concept and choreography: Lucia Guarino
Dance: Lucia Guarino
Music: Stefano Pillia
Dramaconsulting: Emma Tramontana
Costumi: Hilary Bockham

Born in 1982 in Foligno (PG), Lucia Guarino is a dancer and author. After studies in ballet and modern jazz, and later in contemporary dance, she graduated in Architecture. She continues her profession as a dancer between Italy, Belgium, Spain and Argentina. In 2017 she wins with her solo Retiro the first prize of the Presente Futuro Festival - Teatro Libero Palermo. She wins several national and international choreographic research and training projects: DanceMovesCities 2013, KLM 2015, Volcano 2017, WorkspacericercaX 2019. In 2018 she trained as a teacher Dance Wel l- Dance for Parkinson desease. As a performer she works with Compagnia Semi Cattivi, Romeo Castellucci, Lisbeth Gruwez, La Società dello Spettacolo, Anna Marocco, Camilla Monga, Simona Bertozzi, Virgilio Sieni, Alessando Carboni. She collaborates as a choreographer with the Baglioni/Bellani prose company. Her projects have been presented at national and international festivals and institutions.

Superstite is a reflection on what remains after a mutation, a change and takes on a history that at times appears faded or mutilated. A body alone explores the infinite declinations of the " emptiness that remains." What moves the missing part? What boundaries and forms does it try to redraw? The surviving body narrates an emptiness and both itself and the viewer are enveloped in a continuous movement of investigation of this lack. A choreographic action where movement, the medium of life, stands in relation to a larger dynamic that belongs to the constant instability and precariousness of the state of survival. A continuous readjustment in the void, true living space, as a tension to a possible being.




by and with: Pietro Angelini
sound design: Filippo Lilli
light design: Paride Donatelli
executive production: 369 gradi
residence of production: Carrozzerie|N.O.T.

Class of '91, born in Grosseto in the Tuscan Maremma. He has lived in Rome since 2010. He works as an actor in theater and film projects. He has collaborated with the performing arts collective Dynamis, worked with Bob Wilson, Semen Aleksandrovskiy, Kinkaleri, Collettivo Cinetico, Odin Teatret. For audiovisual he has been directed by Abel Ferrara, Gabriele Salvatores, Stefano Sollima, Marco Bellocchio. He is the author and performer of Un onesto e parziale discorso sopra i massimi sistemi. Winner project of ODIOLESTATE 2019 (Carrozzerie N.O.T, Rome) Finalist project for the PIMOFF Prize for Contemporary Theater (PIMOFF, Milan) Winner project of the Visionari Selection call for Kilowatt Festival 2020 (Sansepolcro) On March 23, 2020, he discusses his thesis in Quarantine obtaining full marks, with the distinction of honors, in disciplines of the arts of music and performing arts (DAMS) at the University of Roma Tre.


The play, poised between irony and despair, is conceived as a self-portrait of the author and simultaneously as an x-ray of the contemporary historical, social and artistic context. Peter comes to terms in a cleverly naive way with the events of his life as a young man, an actor, a son with a strong sense of responsibility and an individual with many questions to ask the world. His is a flow of thoughts, concepts and anecdotes, which manifests itself through a cross-media language and becomes theatrical matter by drawing an intimate and psychological profile of the protagonist. The dynamic impetus behind the creation of the play is the violent reaction to immobility, an anti-productive condition in which it is difficult to recognize oneself and which affects everyone. So here is the flow of ideas, projects and all those inventions that were never realized, on which it cost too much effort to set to work and which now finally take shape. All of them, side by side, build a first rudimentary economic system, define an unexplored art market and generate the concrete possibility of monetary gain. After all, we are all here for art, aren't we?



script, interpretation and direction: Emanuela Serra
sound design: Guido Affini
executive production: Emanuela Serra/Balletto Civile
scenic setup: Alessandro Pallecchi

Emanuela Serra was born in Turin in 1980. Her training was consolidated in the field of physical theater. Since 2003 she is part of the staff of the company Balletto Civile of which she follows both the artistic part, as performer, and the training part as teacher. Parallel to the work on the body she investigates the work on the word, acting/singing and slam poetry in a path of self-dramaturgy. This research phase is made explicit in the first work Just Before the Forest and continues with Loose Dogs.

Loose Dogs was born from the urgency to continue an investigation in original dramaturgical writing and in the creation of a sound design performed live, supporting physical and vocal imagery. A search for expression between the use of singing and acting/singing in different languages and between the body/voice connection. A choreographic research in a-solo and in relationship. The goal is the creation of an autonomous object that reflects on social issues such as the need for creative expression and the urgency to disobey forced homogenization of thought and that is exportable to non-theater spaces.
It is set in a suburban bar, for now the main character is only on stage, and through an inner monologue mechanism, he interprets with a roundup of physical and vocal images, the world of the last. All texts are original writings and the way of interpreting them comes from the body. The stories that are named and the characters, live through the main character, for a moment. Memories become present, as happens to those who know deep loneliness. Space is miked, perception is distorted.
In the end, My Way by Sid Vicius hints that yes, the main character creates his own philosophy, that of the mavericks.
"Survival, in times like these, means digging deep into the nature of men, entering the abyss and swimming like fishes."