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.


Adamello Brenta Nature Park


> Gabriella Mastrangelo (spatial designer - 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 of Post Disaster, 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.
> Stina Fors (performance artist, drummer and vocalist)
Her howls are not bare words; they are fused with spits and fluids, a certain wetness. She is a one-woman-punk-band and performs regularly at night clubs and underground music clubs. Graduated at SNDO Amsterdam in 2019, she’s also selected for the danceWEB scholarship at ImPulsTanz in Vienna. Since then, she works as author and performer with other artists such as Kate McIntosh, OHT and many more.
> Rosario Talevi (architect and curator at the Floating University in Berlin)
Rosario Talevi is a Berlin-based architect, curator, editor and educator interested in critical spatial practice (Rendell), transformative pedagogies and feminist futures. Her work advances architecture as a form of agency – in its transformative sense and in its capacity for acting otherwise (Schneider) and as a form of care – one that provides the political stakes to repair our broken world (Tronto). Rosario is a founding member of Soft Agency, a diasporic group of female architects, artists, curators, scholars and writers working with spatial practices and Floating e.V., the non-for-profit association organising, programming and maintaining Floating University in Berlin. She was Guest Professor of Social Design (2021-22) at the Hochschule für bildende Künste (HFBK) in Hamburg and a fellow at the Thomas Mann Haus in Los Angeles, California.

> Filippo Andreatta (artist and curator)
Filippo Andreatta graduated in Architecture at Politecnico di Milano (BA) and in Visual and Performing Arts at IUAV University in Venice. He has founded OHT and brings to the stage Delirious New York, the cult book of contemporary architecture by architect Rem Koolhaas. From 2015 to 2020 he is co-curator of the international festival of Performance and Performing Arts at Centrale Fies.
> Elisabetta Filosi (naturalist, MUSE – Science Museum)
Elisabetta Filosi graduated in biology, specialising in Zoology, from the University of Pisa, deals with science communication, mainly related to nature conservation and protection issues. Shw works with Muse, Science Museum of Trento as a science communicator in the field of vertebrate zoology. Since 2019, she has been collaborating with PAMS Foundation to develop projects dedicated to the use of communication to promote human-wildlife coexistence.

> Sarah Messerschmidt (researcher - ex Nomadic)
Sarah Messerschmidt is a writer interested in art, literatures, and critical theory. Her work spans poetic prose and academic essay, through which she explores intertextual and interdisciplinary responses to film and moving image. Sarah has been an affiliated writer with the Maumaus School in Lisbon (2021); ‘The Whole Life: An Archive Project’ at the Haus der Kulturen der Welt in Berlin (2022); and she was a Writer in Residence supported by the Kunstverein München (2022). Her recent publications can be found in Another Gaze, Artforum, Art Monthly (UK), MAP, Texte zur Kunst and Third Text.

> Elisa Zuppini (choreographer and dancer)
Elisa Zuppini is a choreographer and dancer graduated from SNDO- School for New Dance Development in Amsterdam. Her choreographic research articulates around notions of relational movement and materiality in relation to the body and its affective dimensions. Body as a transformative technology through which we can potentially access new (or lost) perceptions of reality. She obtained a scholarship for the dansWEB residency program at Impulstanz Vienna and is one of the members of Jacuzzi; a convergence of Amsterdam-based choreographers.

> Iris Raffetseder (dramaturg, Wiener Festwochen) 
Iris Raffetseder is a dramaturg based in Vienna. Between 2004 and 2010 she followed theatre, film and media as well as romance studies in Vienna and Paris. Between 2011 and 2013 she obtained an Erasmus Mundus scholarship and focused on dance dramaturgy studies in Nice and Frankfurt am Main. For several years she was assistant to the Austrian choreographer Christine Gaigg. In 2014 she started to work as assistant dramaturg at Wiener Festwochen, where is holds the position of head of dramaturgy since 2021. She has been working with various artists and performing arts curators in different work relationships and creation moments.

> Bianca Elzenbaumer (researcher) is an activist and researcher in the field of design and agro-ecological transition based in the Italian Alps. She has founded the collective Brave New Alps, the Alpine Community Economies Lab and the community academy La Foresta. She is co-president of Cipra International, an NGO campaigning for the protection of the Alps. Her research project focuses on supporting and creating community economies and commons from the places where she lives.


Cecilia Colombo 
Chiara Prodi
Flavia Parea
Jakob Jautz
Justine Hartwing
Ludovica Pinto
Marco Ferrari
Marinke Eijgenram 
Miriam Daxl 
Ida Westh-Hansen 
Sofia Pieroni 
Victoria Björk