Supra Occidente

From October 2014 to February 2015 an extended match and encounters will be held in the Valles Calchaquies, Northwest Argentina. Set to expand ¡Lazaro!’s creative universe with selected productions, it is also a foundation journey to ground creative and social encounters.

Stem of Super Proposito Power Match vision of production, a match is an intense period of creative production instrumenting a residence period through theatre, dance, music, videomaking and selected artistic scenarios. The full spectrum of production for Supra Occidente match will be presented in Switzerland during 2015.

We will be accompanied throughout this match by local communities, schools, museums, foundations, government logistics, local artists and masters in their skill. A general outline of the project opens this folder.

Activity will be projected towards the following intertwined productions:

“Stage Production”. Theatre, dance and multivisual performance, based on the fundamental work done for ¡Lazaro!. (¡Lazaro! creative universe information attached).To open in Ticino, Switzerland, May 2015.

“Supra Occidente Audiovisual Project”. A visual and narrative experience of the match through the territory, seeking for the stories and its creative output.Distribution and presentation, Switzerland 2015.

“N5 magazine”. A new edition to Nn journalistic work, focusing social and scientific values.Launch and presentation, Switzerland, June 2015.

“Desert Wanderer Film Development”. Laying the grounds for our feature film production (western) in projection for 2016.

PRODUCTION FOLDER LINKS / CREATION / NARRATIVEON PRODUCTION & EXPANSION OF ¡LAZARO! CREATIVE UNIVERSE

MASNÀDA ASSOCIAZIONEVia Ciseri 3Spazio 19296900 [email protected]

masnada.org

Who we are 3 A brief introduction

The intesification of the sprit 4 What is Supra Occidente

The lung 5Breath & historical reference

Images 6,7

General Agenda 8 An outline

INDEX General outline

Project break downSTAGE PRODUCTION 9A scene pelted with vital energy

Direction 10 Note of intent

Build 11Dramaturgical construction

Choreography 12 Images in motion

The place 13 Aesthetic exploration

Structure 14 A rib of life

The music 15Pierce through time

Circularity 16A tale that bites its tail

Schedule 17Work frame

PRINCIPLES back cover Masnàda Associazione -

AUDIOVISUAL PORJECT 19Exploration

Chronicle 20A relationship

The project 21Dash points

Technical Setup 22An agile handle

Points of projection 23Themes

Workform 24No rocks unturned

Schedule 25Sculpting time

DESERT WANDERER 31Into the future

Development 32Feature Film

Schedule 33General information

N5 27Fixing information

Edition 28Scientific & social

Schedule 29Ink & paper

Supra OccidenteGeneral Informatin

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A brief introductionWho we are

Masnàda Associazione is a non profit tax exempt organization that promotes and nourishes a common creative process through multiple artistic and productive scenarios. It’s work aims to have a direct effect on the social tissue of the territories where it is present and to generate creative encounters sharing a common sprit and vision.

Based in Ticino, Switzerland since 2009, it was created as an international plaftorm, with main focus in Europe and Latinamerica.

A small nucleus of production carries the workframe and vision of the group, including expertise in theatre, music, dance, filmmaking, and visual arts in general.

Over the last several years Masnàda has developed and created varied work such as ¡Lazaro! 2009 - 2010 (stage production, music production, audivosiual clips, visual and street art, and journalistic work), Speirsuotio 2012 (dance piece in collaboration with MotoPerpetuo Dance Company), Carnal 2013 (a stage production, dance performance, music production, and live calligraphy performance. Carnal Creative Universe has recently developed into a new dance performance, Miss Understanding in 2014 presented in night clubs as well as theatres).

The association has also been fundamental in the creation of La Combi music ensamble in 2011 - 2012 and the San Biagio Jam Festival during 2013 (growing into an autonomous association San Biagio Jam Associazione in 2014).

It also sustains and continues to pursue an international scope of activity, from visual arts with Australian artist Jacob Logos, and is active in movement of artists to and from Switzerland.

Creative Director, Felix Bachmann Quadros is a Swiss - Uruguayan born director, actor, writer and producer with experience in film and theatre since childhood. He has carried out his profession internationally in U.K., Latinamerica, Europe and Asia. He is an advocate for emerging creative realities and believes that technological availability today offers new space for groundbreaking artistic development and language.

President & Creative DirectorFelix Bachmann Quadros

Production & ChoreographyManuela Bernasconi

Past & Recent Collaborationsinclude:Jacob Logos, Marco Fagotti, Mathias Britos, Luca Congedo, Paolo Brandi, Francesca Sproccati, Nicolás Bachmann, Franco Fasoli, Efren Ramirez Bello, Salvatore Motta, Edgar Villamizar, Jorge Platero, Ricardo Torres, Mario Cubillas, Neda Cainero, Fidel Arenas, Gabriela Carbognani Hess, Paolo Vignolo, Simone Spring, MotoPerpetuo Dance Company, Università della Svizzera Italiana, Teatro Pan, Dicastero Giovani ed Eventi Lugano.

Masnàda Associazione has been supported finantially by the Reppublica Cantone Ticino, Città di Lugano, Federal Office of Culture, international and national foundation grants, and institutions (education and culture) in Europe and Latinamerica.

It is an endeavour carried with deep personal investment.

Due to its nature it is constantly involving local communities and professional artists throughout.

Opposite page: Felix Quadros prepares the set for ¡Lazaro! at Mappa Teatro in Bogotà, Colombia during touring 2009.

In order to understand Supra Occidente it is essential to shed light on one of Masnàda Associazione’s collaborative creative universes entitled ¡Lazaro!.

¡Lazaro! is the outcome of a three year ground-breaking period (2009 – 2011), during which Masnàda Associazione was founded, and from which the full spectrum and productive vision of the company was set in place. Based on XV century anonymous book Lazarillo de Tormes, and finding inspiration in classics such as Apuleiu’s Metamorphoses and Diderot’s Jacques the Fatalist, the heart of the production is a theatrical piece set through the tale of two characters, the Squire and the Bard, in pursuit of a fugitive named Lázaro, and who’s story they retell in finding its trail.

Masnàda’s vision comprises the possibility to concentrate a number of individual productions during a specific moment, through the sharing of creative spirit by a body of artists.

It calls for an evolving artistic conception.

Supra Occidente is a match (part of Masnàda’s general projection Super Proposito Power Match) that rekindles the Lazaresque spirit of creation. As a creative universe, ¡Lazaro! is deeply related to Northwest Argentina, as it was one of the specific geographical territories visited during the first stages of its development. Our taking the full experience of our work there is a natural evolution of its production dynamics.

We have specifically selected four aspects that work in an intertwined environment: a stage production, an audio-visual journey, a literary and journalistic production, and development research for future feature film to be shot in the Andes. Each aspect of the full production is presented in detail and accompanies this booklet.

The general aspect of Supra Occidente as a creative match is that each individual production finds potency within the sharing of a joint creative process. Thus, production values become explicitly exponential.

Three fundamental aspects ground to this work methodology:

1. Where. A geographical place that can generate a heightened state of creative conscience, focusing on the new and surprising one’s creative spring with rich and awesome experiences.

2. When. Time for the development and definition of the subtleties of each individual project within a collaborative frame.3. How. An agile and generous production value.

These prerequisites foresee a concentrated dynamic work scenario, it is basis for the matches success and consents for the encounter of multiple professional artists.

What is Supra Occidente?The intensification of the spirit

Supra OccidenteGeneral Information

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Breath & historical referenceThe lung

The Argentine Northwest comprises an extraordinary cultural, social and geographic richness. Roof to the world, the Chalchaquí Valleys are also cradle to the sense of life.

It is unlike anything one has ever experienced.

The colour of the mountains and the uncompromising beauty of the landscape are grooved by the Calchaquí river into shimmering oasis. To meddle in the waving of its millenary textile is to access a secluded time. It is a region walked by man for almost 12.000 years, today declared World Heritage by UNESCO, and universally acknowledged as one of the most important and fascinating cultural landscapes in South America.

Scene to the Tiahuanaco Culture, it hold Spanish advance for a century (Calchaquí battle) as one of the last receptacles for a surrogate of the Inca civilization before its dissolution, the Calchaquí valleys represent an example of cultural survival. The subsistence of its people prevailed through sustained agriculture and a fundamental role in traditional customs still alive today.

Benefited from a developed tourist avenue, it attracts all sorts of international attention. The natural presence of its snowed peaks and high range mountains, immense salt lakes and desert plains, are also rich in minerals (copper, gold, lithium to quote but a few). The presence of the international grand scale mining industry (Swiss GlencoreXstrata a key player in the region) has had an unprecedented increase over the last decade with a strong environmental impact as well as economic development, despite sustained community rejection.

It is also a land that has accomplished extraordinary reputation with its high altitude vineyards (Yacochuya, Colomé, amongst many), at record breaking heights (between 1500 to 3000 mts.), and famous for its remote national parks.

The valleys also hold a unique school system producing a sustained community education network. It also delivered one of the most important museums in archaeology (MAAM) of the region in the capital city of Salta.

It is in this location that the Lazaresque creative universe is best understood: extreme, inciting, and mesmerizing. Time seems to be formed into stillness, sculpted into the stone. The very definition of the area gives its earth a full sense of respect and permanent sacredness.


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Photographic material provided by Felix Quadros during different productions in Northwest Argentina and neighbouring deserts.

1. A view over the world, riverbeds to Seclantás.2. Walking into the red rock heights with local community.3, 4. Up in Uyuni, Bolivia, during Transeuropa film production with Giacomo Cesari and Donald Ranvaud.5. Cardón and cloud in the Valles Calchaquíes, Argentina.6. A lost town in the vecinity of Oruro, Bolivia.7. Valles Calchaquíes, Argentina.2

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201430th September Travel to Argentina.October Links, reconnaissance, gathering of information. Pre-production Audiovisual (camera assistant, extra technical material). Schools visits, community meetings, museums and local artists.

November Planning and start of creative process. N5 scheduling and structure, first meetings. Audiovisual structure.

December Historical data research. N5 first articles, photographic material, meetings. Audiovisual journeys to specific community and location. Creative process and choreographic analysis for Stage Production. Desert Wanderer Development, layout of activity, location, character research.

2015January First draft Stage Production, movement scenes, music research and sound world. Audiovisual: movement and into the creative group. N5. Articles and interviews with local researchers. 5 to 11. Creative process expansion through visits and encounters. February Closure material. Gathering of information. Desert Wanderer Development, future production set up. Desert Wanderer Development initial creative line. Second draft for Stage Production. Audiovisual final takes.

25 February Travel to Switzerland.

March Post- production, material selection Audiovisual. Research defibriling. Stage Production, rehearsal outline and decanting. General distribution process.

April Stage Production rehearsals & technical composition through images. Audiovisual first editing of material. N5 translation & design. Desert Wanderer Development composition of folders.

May Stage Production mise en scene (opening 27th fo May). Audiovisual editing of material and product distribution. N5 design and print. June Distribution & sales of material. Desert Wanderer Development completed and ready for screenwriting stage.

July - August General sales & distribution.

An outline General Agenda


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¡Lazaro!’s creative universe carries the strength of a living art product. As an ongiong production it has been proposed through multiple artistic disciplines (theatre, music, audiovisual material, illustrations, paintings, street art, graphic and literary work, social encounters), finding definition and simultaneously opening new expressive dimensions.

The work of an artistic body has enriched the theme and constantly provided the vital energy for its evolving life. It is with this guarantee of substance that I propose a new stage production and lay the ground on which the work will be addressed.

This presentation is accompanied and takes speed from pre-existing visual and written information on ¡Lazaro! ‘s creative universe. Attached N1 and N2 magazines.Audivisual material available online: Vimeo MasnadaTV.

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Stage Production 2015A scene pelted with vital energy

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The world has persisted in the sweeping direction it has been carrying over the last decade, the last 500 years, the preceding millennia: thieving. The creative dynamics of a book that inspired the work on ¡Lazaro! such as the Lazarillo de Tormes (XV century, anonymous), or Apuleius’ Golden Ass (II century), as the quality of truth rushed by hunger and need are of daily serving.

Throughout the first adaptation of the Lazarillo de Tormes into the stage production ¡Lazaro! (2009), we dwelled into the classics. What makes these little books a classic? As I published at the time in the first edition of the Nn magazine “…they are books of denunciation. But a creative denunciation, with a game that rummages the spirit of man and not in its politics.”

Classics have always stimulated me to dig further into the intimate sense of expression. This was key to what was once ground breaking work for ¡Lazaro!, an evolving personal expression as truth that can be shared simply and powerfuly.

Truth is the engine of creation when everything seems to be driven by the commercial locomotive and fuelled into social dispersion.

This brings me to my choice for starting this new work process through a monologue. In its solitude, the possibility to expand ¡Lazaro!’s universal frontiers requires an action that transcends the mere stage and falls into life. And as I have experienced with the specifics of this Lazaresque universe, it swells and expands the limits of what we hold fixed, following pursuit of a story that takes the creator towards the edge of its ubiquitous desert landscape, and its transformation into today’s world.

The arguments of a work that was hatched from the nucleus of two bodies (with Mathias Britos partner on stage and co-creator 2009 – 2010), opens today a fundamental relevance into the study of movement: how to singularly charge a dual space. How to generate a totemic pillar through a single scenic presence and with grater muscle dispose of it. How to simplify the movement language and intensify it. Re-assuming the elements touched so far (dust, the desert, hunger), the search for ¡Lazaro! opens into a new character, that in his definition will hold the new dramaturgy. A character today still unrecognized but for a few brushstrokes but will contain the magical elements to provide for a creative scene.

DirectionNote of intent

STAGE PRODUCTION

SUPRA OCCIDENTE

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Text is a mask. The word holds the projection of movement. It awakens and at the same time represents a broad imaginative universe. It is the work of composition through images that gives life to the Lazaresque opera, anchored to the spoken word.

The scope of the dramaturgical work is the construction of environments that drive the vitaliy of the scenes and the foundation of storytelling. In a piece that is in its heart a transformative performance (characters undergo change of status), it is key to find growing amplitude, poetical frequencies and subtleties into the absurd.

Projecting a monologue today is to believe that we can open a space of dialogue directly with an audience. It foresees access into agreement between the spectator and the artists in an implicit, imaginative, manner. As with ¡Lazaro! I will propose two basic environments: the desert in which the story is presented, and storytelling moments in which the story takes flight. Through this dynamic the solitary grit of a man in the desert evidences his fragility, and finds humour in the fiery digression of storytelling moments.

In this simple allusive structure, the audience accompanies our desert wanderer into a dramatic space to be jointly expelled towards the horizon and the story of the fugitive Lázaro. The very same story he is relentlessly pursuing. It is through the plurality of tensions that we are introduced in a common expansive conductor.

Confronting an audience always more habituated to participation, accustomed to generating images, expressing in twits intimate forthcomings, to filming and capturing moments, publishing and emitting personal judgement on everything in terms of likes and dislikes, the relationship and space through which theatre lives has changed.

The saturation of information generates, in its redundancy, a need for saturation. So what is at stake is specifically the dread towards the void: the horror vacui that seems to be moving the world. By creating a vacuum - structuraly - an audience achieves a participation that reverberates and becomes manifest on stage.

One of the dramaturgical premises of ¡Lazaro! (2009) was to reach the back of the thought process of the present spectators with a satiety of images, movement, scenes and suprising elements. During the first storytelling moment of the play we looked to access an intimacy in which the spectator could find repose nourished by a directed exaggeration of information. In the paradox of a creative ambience, active imagination was reached by the indistinctness of information, pelleted out: sung, versed, and composed to generate one image over the next. This sealed the pact for the stage mask to be interpreted (please refer to N1 magazine for development and further information).

The dramaturgical work for this new stage production holds the focus on finding a void in which the audience can also propose a humour.

BuildDramaturgical construction

STAGE PRODUCTION

SUPRA OCCIDENTE MASNÀDA ASSOCIAZIONEVia Ciseri 3Spazio 19296900 [email protected]

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The physical work will command and dominate the expressive action, and find its axis on the choreographic work. The imaginative work for the performance is carried by the movement of the body.

It is through movement that we access a poetic space. Recurrence and repetition generate states. We allow for new levels of understanding to happen by experiencing a dance piece in which every movement is pre-defined. Over this movement the scene materializes, and it is through this that the transformative passage of the central character is proposed, in relation to the texture of secondary characters, the various storytelling moments, and the frequency of the various stages through which he must go through.

Humour, fundamental in telling the story of Lázaro, is primarily the handling of this movement and the rhythm, that enters at moments with great voracity, but that also proposes blows towards the certainty of what we are. In other words, things can become very real.

Having the advantage of creating the piece at a specific location also gives us a full imaginative world to work upon. Images speak through the body. A grass ball being blown by the wind. Dust flown against a wall. The waeving of textile.Movement and physical interpretation is the principle mask of the stage work. This is because the motor of the piece is hunger.

ChoreographyImages in motion

STAGE PRODUCTION


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The desert is an extreme environment. This is the landscape through which our character tracks the fugitive Lázaro, over the roof of the world. A desert above the Andes mountain is a territory much more extreme than a desert at sea level: for one the air is thinner and it is harder to breathe. This environment will find amplitude in all stages of the piece. If a storytelling takes us to an urban landscape, this will find its value both physically but also aesthetically: a metropolis in which we must use masks due to constant pollution issues.

Dust, the colour of the mineral, the clothes and the hardened body, are elementary to carry the character in its development and the physical and intellectual preparation to face such oppressive reality:

The body is dry but agile and muscular.The vestments refined but worn and seasoned.Rags are tough but elastic and pliant.The stage mask is dynamic and zestful. The set design is simple yet with a presence that can envelop the scene and consequently expand our imaginative projection. A tent composted of elastics - remnants, to find the sacred permanence of a place where something has happened and that night after night the character refigures and recreates.

This stillness in time is lifted by a highly technical use of light, at moments holographic. It is an anachronistic space (not post-apocalyptic), where the HERE corresponds in unison to a temporary texture.

The placeAesthetic exploration

& the definition of time

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There are three structural elements that I will take from the stage production of ¡Lazaro! as starting point for further development.

1. The moment of burial as dramatic pinnacle. The Squire character, in his constant search for the fugitive, and having found his remains (with objects that possess him into telling the story), achieves a dynamic passage to a new stage through the act of burying himself in the remnant ashes, re-enacting Lázaro’s death.

I would like to elaborate on the relationship with the ashes as the central element for the performance through research into mineral elements, its different colours, composition and meaning, creating instead of a monticule of cremated remains an extended map of movements. This composition made of minerals will partly cover the stage immanent to the expectation of being swept upon the entrance of the character. This construction is prepared with patience (as would in the distance the millenary landscape of the desert) and as an installation previous to the act of performance.

2. The “here” as element of faith and characterization of human impermanence. “Here”, repeated over and over during ¡Lazaro!, is a preponderant manifestation of circumstances: for the here takes the value of a fix point that changes with the dramatic dynamics, it grows, and adheres to the sense of transformation.

3. The dramatic clown. Even if the subject could seem to limit us to the realm of the mythological, the central character is unaware of much of what is happening to him. He struts into a sort of sacred place, things happen to him, and becomes unpossessed of his acts. So the transformation he undergoes happens in spite of his apparent ignorance: it is mostly subconscious, driven by human limits, fears, blocks, real things. He can be daft, crazy, even slightly stupid, but his aura takes him to port. Like the Lazarillo of Tormes, he is an antihero. Yet, like the Lazarillo, there is much more to him than meets the eye. Beware! Splash. Drop. Bum!

StructureA rib of life

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Music has always been essential to the work in ¡Lazaro!s creative universe. Explicitly it found its way onto the stage through the guitar of the Bard, but also by the musical work done by Marco Fagotti who defined it as the “third actor” on stage, and certainly through the external sound work performed live by several musicians characterized predominantly through the use of percussion.

In the search for a dramatic space that finds its limit in dance but then transcends it, writting text that determines an action but provides a sound world, the conception of music becomes very powerful. A music that like the wind sneaks into the empty spaces and simultaneously sustains the world of the piece; music that somehow is omnipresent even through silence.

Fagotti’s intuitive use of the electric guitar creates a pungent sound dashed by rhythmic suspensions of electronic vibes, that bursts into full strength with the heightened melodies and instruments of the Andes.

Musical work will comprise a theme approach that will have a spinoff into a new musical concept for the new production. What this creates is a creative tension between the live performance of the stage production and an independent production that shares the spirit. Like with ¡Lazaro! we will atomize the staged music in relation to its heterogeneous musical composition, doubling the production value of the creative work done.

The musicPierce through time

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I would like to propose a circular performance: in which themes become defined as they submit one into the next, and in which the audience participates into an act spatially seated around the scene becoming both containment and horizon.

CircularityA tale that bites its tail

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2014July - September Preparation, workout and concentration of inforamation.30th September Travel to Northwest Argentina.October Research, gathering of information, contacts, first experiences, character development, structural analysis for dramaturgy, object and constume approach.November Reading material, inspiration and information. Movement and text. Choreographic work. Structural layout and creative process.December Breakdown of information and poetic spaces. Music into movement. The landscape, the space, imagery for work. Creative work with minerals and instalation material.

2015January First draft of dramaturgy. Rehearsal and movement. Poetic expansion.February First complete movement proposal. Second draft dramaturgy. Definition of music, recording, image details, constumes and props, sound landscape.25 February Return to Switzerland.March First rehearsals in Ticino and decanting. Technical projection. Sales and distribution.April Mise en scène. Music composition, final choreographic work. May Communication.27 May Opening

June - August Sales, distribution and & touring in Switzerland and Europe.

ScheduleWork frame

STAGE PRODUCTION


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An audiovisual journey following Lázaro’s trail, from the mountains of Ticino to the roof of the Andes, in a crucial moment of creative expansion.

This videomaking project explícitly links ¡Lázaro!’s creative universe with real home stories and local reality. The Audiovisual image will be a document translating the everyday work into its imaginative association, (at times very real, at times oneiric), and addressing the circumstances at hand.

The final product will be edited and presented in Switzerland in 2015.

Audiovisual ProjectExploration

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From the beginning of the work with ¡Lazaro! the work of an audiovisual preface has found definition towards a parallel aspect of the touring and the creative encounters. This hands on approach allowed for a personal ambience to be evidenced through our Latinamerican journeys (Colombia, Argentina, Uruguay).

What started with the interest to document the process, managed to expand into its own narrative: The events found root in a personal world, in the research, and in the prevailing sense of things. The possibility today to structure what was once an instinctive work allows for a conscious projection of its form.

ChronicleA relationship

AUDIOVISUAL PROJECT


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1. The work will value its themes from the author’s personal observation, finding contrasting means and layers of imaginative information. This directs the action filmed towards the depth of a personal emotion and towards the texture of the social reality in which they are articulated.

2. The encounter with the territory, the plurality of its culture, the history spoken by the folk of the area, the artistry, the myth as common denominator, the audiovisual project has as objective to show the mirror of a living cultural texture.

3. Taken narratively through the creation of the Stage Production, Supra Occidente Audiovisual Project is the real amplitude of what is then translated poetically onto the stage: it is the real trace of what finds new form through the creative imagination of a nucleus of artistic work.

4. The videomaking work proposes an unaffected space of relation with the spectator but with an artistic appraisal. The closeness to the stories and the emotional charge of the frames find expansion in the dimension of the surrounding nature.

The projectDash points

AUDIOVISUAL PROJECT


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The care of the image, the composition and mise en scène, counterbalances a lurking and available camera movement. An opportune situation finds subsequent life through a detailed elaboration.

The project with be shot full HD on a Canon 5d, Mark ii. This set up allows for manouver and speed.

Sound will be recorded on a Tascam DR – 60D 4- Channel Linear PCM Recorder mounted with Rode Video Mic for directional needs, and aided by an external Zoom H4n Audio recorder for ambience.

Moving lightly with a tripod and stand will provide access in a difficult terrain.

Extra material needed for specific scenes to be shot, movement dynamics, and lighting equipment will be rented in situ.

Technical setupAn agile handle

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Two main themes will carry the structural rapport of the audiovisual opera.

1. The relationship to the earth.A. Ancestors and historic appraisal – detaching the natural scenery, the essence of the place, towards the universal and the artistic.B. Minerals and colours.

2. The intimacy of the creative body.As we look into the trails of Lázaro and live the creative process, the texture of the environment will become defined, one image after the next, to formalize a clear sense of “expansion.” The audiovisual project will put in evidence the explicit sense of what we define as “creative expansion”.

Points of projectionThemes

AUDIOVISUAL PROJECT


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The method of work will find recurrent arguments as structure and subsequent visual transformation of its content. The work will be directed by the author’s personal regard.

The story by which the audiovisual project will be sealed is one of creating a clear understanding of the environment in which the full creative process is deployed. However, this reality contains an array of subtleties that provide a sense of the outworldy territory in which things are also happening.

Details, elements, raw material, are placed into the frame to contain and express a personal universe.

Taking the author’s thought process as narration line, the relationship with the outside world - the image portrayed - is tinted with an emotional journey.

WorkformNo rocks unturned

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201430th Septebmer Travel to ArgentinaOctober Links, recconnaisance, gathering of information. Pre-production (camera assistant, extra technical material). Visits and layout of workplan.November First takes, tests, and structure. Scenes and universe breath.December Journey to community and location. Elements, aesthetic world.

2015January Focus on cretive group and auther. Movement and choreographic work. Story outline.February Closure material. Final footage.25 February Travel to Switzerland. March Post- production, material selection. Research decanting.April Editing and post-production. Music score and links to ¡Lazaro! creative universe.May Final edit. Communication design. Presentation & distribution.June Sales of extra material.

ScheduleSculpting time

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Nn editions have provided a space for research and the continuance of Masnàda’s creative process with its audience and supporters. It opens new dialogue strands, and enhances the intellectual capacity of its vision, complementing the stage or visual arts with a journalistic or literary strength.

The first four editions have been an effort of faithfulness to this artistic space, intended not as a mere journal, but as a sphere of expansion.

Today, the inclusion of professor Enrique del Acebo Ibañez as Editor in Chief of N5 edition, to be framed into the international match to Northwest Argentina, lifts its raw potential into a revised edition that will call upon its development, and take the work into a more scientific (socially as much as creatively) area of research expansion.

For the first time being written during an actual creative process, N5 edition will be a dynamic and powerful experience for the reader.

N5

Fixing information

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The N5 edition will provide a meeting place throughout the fruition of the creative period for Masnàda Associazione and the encounter with the Argentine Northwest territory. Concentrated in the Calchaquí Valleys there will be an active search for stimuli and the projection of local reality within the frame of this new edition.

The endeavour enters an area of investigation through the collaboration of important local players.

Thanks to the support of government logistics (Ministry of Culture), of museums such as the MAAM (Museo de Arqueología de Alta Montaña), private entities and local communities, the work of investigation concentrates on specifying the Lazaresque creative topography.

Articles will lay evidence to the social relationship, by hand of professor Dr. Enrique del Acebo Ibañez, or on a more creative ambience such as native film director Miguel Pereira, and thus complementing the work with the presence of specialists in areas such as mineralogy, anthropology and history. N5 is proposed as a space of dialogue and intellectual focus.

Nn editions project a limited printed layout with a high quality end price (CHF 25) to be accompanied by a free digital edition. To the moment editions N1 to N4 have been directed with digital communication purpose. The re-elaboration of the editions (project available upon request), and this new launch achieved through projected expansion, requires to revalue the work done to date since 2010.

The printed edition aims for an international market as well as a national (Swiss) coverage. Each edition is a unique product and carries a particular design deeply related with its content.

EditionScientific & social


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201430th September Travel to Argentina.October First encounters linking of information. Museums, local artists, foundations. Scientific research, local reality.November General material planning. Scheduling of meetings for interviews.December First articles, photographic material. Travels throughout the region. Analysis.

2015January Bulk articles and interviews with local researchers. Liasons with organizations. Photographic material.February Closure material. Book outline and final drafts.25 February Travel to Switzerland. March Editorial. Final chekup, articles and photo material.April Translation & Design.May Press.June Presentation in Ticino. Distribution & sales. Online launch.July - Nn back editions re-elaboration.

ScheduleInk & paper


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¡Lazaro! has always been inspired by film: the flow of its images, and the constant grapple with the western genre have been essential for the imaginative creation both on stage and for the audience. It carries this level of tension and energy.

The projection of creating an autonomous film production inspired in the work done was born with the full creative universe back in 2009. Scenes were sketched, and an outline of possible scenarios was laid in place for a dormant period.

Thanks to the rekindling of this amazing experience that is ¡Lazaro!, the possibility of generating a full feature film with its lysergic grain, its western structure, and the force of the natural elements that play into the story, enters now a process of development previous to laying its grounds through a screenplay.

Classic in the approach, the scene (Calchaquí Valleys) will dictate the size of its production and subsequent post-production. Desert Wanderer will be a sexy animal, dotted in spice and surprise in its taste. This period is one of getting the right ingredients.

Desert WandererInto the future

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Intertwined into the creative match of Supra Occidente we will work on the development of Desert Wanderer (working title), a feature film projected for production by 2016.

We will generate production links, future Swiss / Argentine co-production.We will establish a comprehensive vision of the possibilities and the limits of production.An extensive location scouting will be in process.There will be a projection and fundamental laying grounds for the screenplay.There will be a first production value analysis, with the pros and cons of filming in the territory.We will generate production relationships with local units, a comprehensive development folder including stories and local narrative, and the encounter of the creative process with local themes.

Development material:Synopsis, log line, and treatment.First production outline.Information and know how of the territory and technical projection.General concept for the project.

DevelopmentFeature Film


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201430th September Travel to Argentina.October Links, reconocimiento, gathering of information.November Meeting, locations planning. Local stories. Gathering of material. December Historical data. Museums, foundations, community. Locations. Prodcution meetings with local producers. Liasons, permits, etc. 2015January Music, sounds, landscapes. Technical capacity and local players. 5 - 11 January. Creative meeting.February Closure material (A.V. and written). Future production set up.25 February Travel to Switzerland. March Audiovisual Clip Edit.April Desert Wanderer development composition of folders. June Desert Wanderer development completed and ready for screenwriting stage.

ScheduleGeneral information


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Founded in Switzerland in 2009 as groundwork for an international artistic reality, Masnàda Associazione places the centre of its activity in the exchange within a creative process, and the opening of an artwork to diverse artistic manifestations.

Masnàda believes and promotes art as an associative movement, fostering relationship with artists at an international level and through consolidated collaborations in Latin America, Australia and Europe.

Masnàda Associazione understands that creative products today do not exist in an isolated or individual space. A work of art takes life and value through the personal expression of each artist to the expansion of the artwork’s spirit and propagating towards social reality.

Creative humus happens at small, qualitative, cross – cultural discussions that have an intense ripple of effect with an audience. Thus, fundamental to our work is to root our creative activity in the territories where we are present.

Masnàda Associazione is a non profit and tax excempt organization.

MASNÀDAASSOCIAZIONE

ATTACHED MATERIALN1 AND N2 MAGAZINES depicting ¡Lazaro! Creative Universe.*all material is translated into English, Spanish and Italian.

AVAILABLE UPON REQUESTMasnàda Associazione Statutes¡Lazaro! bookCanto de Lazaro (recording)Illustrations by Jacob Logos fo LazaroC.V. and BiographiesAudiovisual materialSuper Proposito Power Match * Line up cardsSuper Proposito Power Match * Time frameN4 and N5 digital editions & editorial proposal


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ADDITIONAL INFORMATION

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Supra Occidente

Documents

Transcript of Supra Occidente