Since its beginning, Little Fun Palace has left behind the representational distance cultivated by art institutions. Guests and audiences have mingled in a flawless strip of events designed for different surroundings and contents. I always believed that this openness, this capacity to welcome uncertainty from a manifold of micro-ecologies of different guests, could lead the Caravan to an expansion of the discipline of theatre-making. And yet, its ever-changing agenda didn’t allow experimenting a specific knowledge-process entailed into the Caravan itself, in the particular space that Little Fun Palace is and represents. We have never reached a scientific rigour necessary to establish the Caravan as a nomadic school.

To fulfil this gap, the caravan becomes a platform resonating OHT’s research on theatre and set-designing in relation to natural and urban spaces. A discourse that does not ignore the place where it occurs; a Caravan designed as a flexible framework where different spaces can be plugged in. As suggested by architect Cedric Price, Little Fun Palace has its ultimate goal in the possibility of change at the behest of its users and content. Consequently, the nomadic school will re-think the shape of the Caravan every time a public programme will be hosted. Specific designed components will immerge Little Fun Palace in its surroundings. By designing and building further features of Little Fun Palace, we will deepen its position into society, its position in the world, its geographical position. The Caravan will be simultaneously a study of the world as well as a part of it echoing Cedric Price’s educational ideas of making flexible architecture to have an actual impact on our world. A Caravan denying hierarchical transmission of knowledge to connect set-design and theatre to real life and avoiding separations between moments of learning, of fun, of encounter, of collectiveness and moments of individuality

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On a theoretical level, the project moves its first step from Gertrude Stein’s idea of “a play as a landscape” and how her ideas might resonate outside the stage. In the research, set-design and architecture are active ingredients of the theoretical discourse as well as on a practical level via the Caravan position in public space. A space that to be defined as public is meant to be agonistic, heterogeneous rather than homogenous, where different people, ideas and words live together. In this regard there’s a neglected theatre tradition that prompted landscape not simply as a backdrop or scenery but as detonator of feelings. Authors like Anton Cechov, Maurice Maeterlink, Samuel Beckett, Henrik Ibsen or Heiner Müller made use of landscape as a theoretical tool to overstep the limits of antropochene, psychologism and logo-centrism.

A further comparison with ideas taken from other field of research might be crucial to expand the perception of theatre. One example is the definition of unintentional design applied to landscapes by anthropologist Anna Lowenhaupt Tsing: “that is, the overlapping world-making activities of many agents, human and not human. The design is clear in the landscape’s ecosystem. But none of the agents have planned this effect. Humans join other in making landscapes of unintentional design”. In climate activism, landscapes are less and less backdrop of human activities. They are active, living beings together with humans. Landscapes are the quintessence of the world understood as space where life is shared with others. They are references for down scaling human beings within the ecosystem and this process might be applied to theatre as well; a democratisation of the stage where set-design and scenography are not just backdrops of the drama but active part of it. The current aesthetic regime embodied on stage is still enormously linked to actors and actresses as centre of the action and of the plot. However, an ecological turn is possible also in theatre-making and democratising all the elements involved into the artistic process might also be a metaphor for opening up theatre to different perspectives decentralising human hubris. The initial construction workshop of the Nomadic School becomes an opportunity to produce a space where people can connect and talk. In a gradual way the workshop adapts a place to the caravan and vice versa, materialises reality by creating an ecosystem previously absent. An attempt to give space to the thoughts and words to come. The workshop becomes the time of materialisation, where reality materialises through a collective gesture of participants and future guests.

Furthermore, if landscape represents the possibility to connect all the parts, it also represents the impossibility to be isolated. This is why Little Fun Palace is not meant to be just a single person research but an experiment where individuality joins collective moments. A time together where the Caravan turns into a nomadic school. A school inspired by spatial researchers like Josef Albers at the Black Mountain College where life and studies couldn’t be separated. These collective moments reveals a research methodology that continuously invents its own model. The Caravan will change shape via workshops with students that will literally modify it by designing new features necessary for the cultural programme of the Caravan itself, and for its position within a specific surroundings.

Creating a nomadic community in different environments is fundamental to embrace the concept of mutability and to underline the importance of a space that does not belong only to us. Once the location has been chosen and the caravan has been prepared for that specific environment, the nomadic school will take place for a limited period of time. Each programme will be a series of talks, screening, encounters, tiny performances, dj-sets and so on. All these micro-ecologies will compose a dialogical Caravan, a multitude of voices from guests to audiences without dogmatic structures that together will think of theatre, set-design and climate crisis as an aesthetic territory that has political implications without using a political language.

To conclude, creating a nomadic school around Little Fun Palace will not deliver a final or conclusive model about theatre as public space, nor a clear methodology about how to think performance design and scenography within a semi-public space as theatre. The project aims to be a performative Caravan reflecting on itself and -at the same time- on different artistic practices. Existing in the endless exchange between the environments, the guests and the students gravitating around the Caravan. To a certain extend, embracing the uncertainty of gathering different points of view, of creating an heterogeneous community, is what will make the production of knowledge tangible for all the participants.


> Rugilė Barzdžiukaitė (film-maker and theatre director)
She is a Golden Lion winner for the best national pavilion at the Venice Biennale of Arts in 2019, for the collaborative performance Sun & Sea (Marina), a contemporary opera that she directed. In parallel to this, her most recent documentary, Acid Forest, was premiered and received an award at the Locarno International Film Festival in 2018 after 5 years of production.
> Daniel Blanga Gubbay (curator and researcher)
Currently the artistic co-director of the Kunstenfestivaldesarts together withDries Douibi and Sophie Alexandre. In 2014, he has established Aleppo, a curatorial platform for public programme of performance and discursive practices. He has worked as co-curator for LiveWorks of Centrale Fies, and was head of the Department of Arts and Choreography (ISAC) of the Royal Academy of Fine Arts of Brussels.
> Annibale Salsa (antropologist)
Member of the Scientific Committee of the Dolomiti-Unesco Foundation. Expert in alpine culture, formerly teacher at the University of Genua. He is president of the Scientific Committee of the School for the Management of the Territory and Landscape in Trento, president of the Scientific Committe of the Museum from customs and traditions of people from Trentino and board member of Aosta University. He was a president of the Italian alpine club and he has trekked all over Alps.

> Industria Indipendente (Martina Ruggeri, Erika Z. Galli)
Their artistic process crosses different languages and practices, in an endless search for affinity, epidermal sensitivity and glance. Their works focus on articulating issues like the relationship between human beings and nature, the dimension of "unproductive" time and the construction of alternative and fictional worlds in which to build communities and alliances.

> Chiara Pagano (artist and ex Nomadic)
Currently participant in the Dutch Art Institute (DAI), she holds degrees in BA in Graphic Design and Visual Communication, ISIA U, Urbino and an MA in Visual Arts, IUAV Venice University. Interested in the development of critical analysis and in imagining alternative histories, she attempts to create cuts in the capitalist temporal structure of linearity and representation of bodies. Her artistic practice currently focuses on sound and the (non)performativity of language in the intersection of history and speculative fiction.

> Enrico Malatesta (percussionist and sound researcher)
Active in experimental fields between music, performance and territorial investigation. His practice explores the relationship between sound, space and movement and the vitality of materials with particular attention to surfaces, listening modes and the definition of multiple information through an ecological and sustainable approach to the percussive instrument. He presents his work in many countries and festivals of contemporary music and performing arts while collaborating with several other artists.

> Christian Casarotto (glaciologo, collaboratore MUSE)
Bachelor's Degree in Natural Science, he devotes himself to geomorphology, geology of quaternary period and alpine environment evolution with its glacial dynamics. Nowadays, he is glaciologist and scientific communicator; he monitors alpine glacier also as part of Italian Glaciological Committee. He is involved in territorial studies of sustainable development through the valorisation of natural heritage.

> Gabriella Mastrangelo (spatial designer and ex Nomadic)
Her work investigates spatial practices as alternative forms of knowledge production and as relational devices. In 2018-2019 she was part of Open Design School Matera and since 2018 she is co-founder and curator of Post Disaster Rooftops, a curatorial and critical platform that gathers designers, thinkers and artists on the rooftops of Taranto, to investigate the condition of the Mediterranean urban scenario.


> Stefania Tansini (dancer and choreographer)
Graduated at the Paolo Grassi Academy, she has worked and works with numerous artists such as, among others, Romeo Castellucci and Cindy Van Acker, Simona Bertozzi, Enzo Cosimi and Motus. As an author she conducts a research on body and movement, through personal choreographic projects and collaborations with other artists.

> Davide Tomat (composer, musician and sound designer)
Oriented towards “drone ambient” sounds, and experimental electronic music with IDM influences, he has co-founded Superbudda Creative Collective and the a/v project SPIME.IM. He has released records for Berlin’s !K7 Records, for Zurich’s OUS Records label and for London’s Monotreme Records label. He curates the music and sound design of MASBEDO and OHT. In 2021, he has been awarded the Fabrique du Cinema for his Mondo Cane’s OST.


Alice Labor
Gaia Ginevra Giorgi
Paolo Costantini
Simone Gottardi
Elena Lunghi
Camilla Alberti
Anouk Chambaz
Cha Raoutenfeld
Sarah Messerschmidt
Giada Cipollone