William Mazzei
Osservatore partecipante

William Mazzei

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Corpo provato n.2 — Notes for a Dramaturgy of Movement
What makes a body credible? This question gives rise to a research project that aims to serve as a litmus test for William Mazzei, both as an author and as a spectator, through the identification and verification of the elements that contribute to making a body credible. The project investigates the relationship between body, experience and dramaturgy, testing questions and practices under different conditions and through exchange with other artists. The possibility of working across two separate periods will also make it possible to observe the development of the research and, if necessary, redefine its questions. Dramaturgy is understood not as narrative construction, but as the organization of the relationships between body, time, space, action, gaze and unpredictability.

 

William Mazzei graduated in Ballet in 2017 from Il Balletto di Castelfranco Veneto. He continued his training in contemporary dance at A.D.T. in Verona, directed by Greta Bragantini, and later worked as a performer with various dance companies and projects in Italy.

Over time, he developed an increasing interest in creation and personal research, valuing the freedom to experiment without the need to arrive at a defined form. He is curious and drawn to different fields: alongside dance, he is interested in music, music production and technology, particularly in the relationship between hardware and software. He enjoys understanding how things work, taking components apart and putting them back together, building tools and learning new systems.

This curiosity leads him to move continuously between different disciplines and languages, looking for connections and possibilities for experimentation beyond his original field.

William Mazzei is with us in: Edizione 2026,

Yasen Vasilev

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Can you watch a performance the same way you watch the waves of the sea? THE MANY-HEADED BODY brings numerous bodies together to become one — breathing, pulsating and moving like a living organism, carried by rhythms larger than any individual body.

Credits: The project was previously supported by the Royal Conservatoire Antwerp, Toplocentrala Sofia, Akademie Schloss Solitude, and Taiwan art space alliance, among others.

 

Yasen Vasilev is a writer, artist, and dramaturg. Educated at the theatre academies of Sofia and Shanghai, he practices internationally within contemporary dance and performance. He collaborates with Belgian artists across the Flemish and French communities and, alongside Milø Slayers, serves as artistic coordinator for Bâtard, a Brussels-based platform for emerging and experimental practices. His performance works – NUTRICULA (2015), IMPOSSIBLE ACTIONS (2019), and THE MANY-HEADED BODY (2024) – stem from intensive movement research created in dialogue with performers.

Portrait photo: NOW studio Taipei 

Project photo: Po-Yuan Photography, Southern Jump, Kaohsiung

Portrait photo: NOW studio Taipei 

Project photo: Po-Yuan Photography, Southern Jump, Kaohsiung

Yasen Vasilev is with us in: Edizione 2026,

Jovana Malinarić

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Lines of Care is a performative research project that explores maintenance practices as epistemological and relational alternatives to dominant models of artistic production. At its heart lies the relationship between work, action and time, in a present where artistic work is organised as a retrospective future, oriented towards an outcome imagined in advance. Building on this, the project explores how dramaturgy can support forms of epistemological activism, understood as a practice that intervenes not only in the content of knowledge but also in the very ways in which it is produced: who produces knowledge, through what actions, and under what conditions of time, visibility and relationship. It thus proposes practices usually treated as secondary, such as translating, annotating, transcribing and citing. Dramaturgy appears here as a posture that is both generative and disruptive, focused on attention, labour, re/production and the micropolitics of maintenance. The project is supported by the Ministry of Culture of Montenegro.

I am a migrant, multilingual dramaturg, performance maker and lecturer. I hold a PhD in Theatre and Performance Studies from the University of Bologna, in collaboration with Utrecht University. I co-founded the research project also.known.as displaced between Italy and Montenegro, and I am currently co-artistic director of Outis, the National Centre for Contemporary Dramaturgy. Through my work, I seek to build relations between academic research and creative practices, convinced that artistic perspectives can transform not only what we know, but also how we know and whose knowledges are heard.

foto progetto Paolo Foti

foto progetto Paolo Foti

Jovana Malinarić is with us in: Edizione 2026,

OPEN CALL Research Camping – Shifting Bodies 2026 [closed]

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From November 27th to 29th 2026, Research Camping returns for its fifth edition, transforming the spaces of Lavanderia a Vapore aisle, from the foyer to the theater, into hybrid spaces between fiction and reality, serving as devices for the exchange and dissemination of artistic research processes.

WHAT IS RESEARCH CAMPING

During Research Camping, research moves from an intimate, closed-door space to an imaginative public square for new politics – a middle ground hosting alternative postures, thoughts, and imaginaries that generate shifts in perspective. The Camping not only hosts research but constitutes a form of research in itself, oriented towards imagining social and political alternatives, new ways of being together, and modes of existence, thanks to the activating potential that artistic practices unfold and awaken.

What happens to research when it goes public, and what exchanges and benefits does it draw from this? What is the public role of research? In a world increasingly seeking other possible horizons, can research act upon those who encounter it, enabling new visions alongside plastic and imaginative capacities?

In a time obsessed with the shimmer of the new – and not always innovative – product, coupled with rapid planned obsolescence, research offers space for unexpected responses that often layer and revitalize materials and memories through circular, associative, and unpredictable logics. How does research observe and welcome transformation? How can it allow us to experience and imagine transitions of state, in both a physical and political sense? Through the public sharing of individual practices, research spills over and becomes choral, giving life to landscapes that are both visionary and experiential, opening up an uncommon shared space.

SHIFTING BODIES

How does our way of being together change when we lose certain reference points?
How do we stand on the threshold of a space-time?
What ignites in the interstices?
What happens to bodies when they let go of the need to define everything?
What do we see when the light changes? And how?
What torsions and tensions manifest in an ever-changing body?

Research Camping 2026 explores the transition of state as a bodily and spatio-temporal condition. By challenging sharp focus and the linear principle of cause and effect, we disrupt worlds and celebrate smoky, liminal, and blurred atmospheres.
Shifting bodies welcomes transformation and transition as a perpetual state, rather than an intermediate passage towards a reassuring destination.

We explore the threshold and the liminal state to open portals into a new morphology of matter: fluid, broken, vulnerable. Liminal temporalities, sunsets, and frosts that blur past and present in an atmospheric vibration. Thresholds of transformation where bodies sublimate into new forms or seep beyond their own margins. From molecular excitations that crack given bonds to boilings that configure unexpected relationships.

Research Camping is a changing world in which bodies are allowed to experiment with discomposed postures, tensions and torsions that converge in a field of possibility. In a shifting, smoky condition, gaze turns upward or towards other directions. Orientation breaks open toward vast horizons, towards places that allow potential to explode in unexpected directions and new articulations.

If we consider the condition of transition as a perpetual state, what sensory, critical and physical reconfigurations become possible? What new forms can be welcomed?

The environments of this edition embodying these dynamics are the parking lot and the observatory: thresholds that inform bodies and postures, inviting us to rethink how to situate ourselves in space and share practices and materials within the Camping’s choral dimension. Through the sharing of research practices and materials, these environments will be activated by the temporary community of artist-researchers, participants, and visitors inhabiting them.

WHAT WE ARE LOOKING FOR

We invite artists/researchers to send articulate proposals starting from their own research path, resonating with the questions of this edition and the Research Camping dimension.

We invite proposals that not only or not necessarily explore the key words of the call thematically, but that experiment with them in a direct way with attitudes, methods and postures.

Proposal formats can be:

  • research practices, as proposals to be shared with a group of people who practice and/or observe
  • multimodal research materials, as pieces of the research process (sounds, words, images, texts, objects…), to be organised in the space to be traversed by the participants, also as an installation.

Proposals can be placed in one of the Camping spaces:

  • THE PARKING LOTA space of apparent calm, an area of pause, interruption and kinetic and spatio-temporal suspension, the parking lot is simultaneously a place of perpetual motion and constant reconfiguration. Whether underground or surface-level, unauthorized or neatly partitioned, it is a liminal zone where one stands on the verge of going elsewhere. It is a place of continuous interchange, yet so expanded as to seem anonymous – a non-place where it is easy to get lost or collide due to an anarchic spilling beyond given geometric perimeters. A limbo that exists only in relation to other places, a pre-place, a gateway to other spaces: a stopover towards other directions, a place where one never fully stops because one inevitably moves on. A place that flirts with research, ironically named a parking lot but lived as a zone of immersion rather than stagnation.

How do we inhabit a state of pause? What does it mean to pause in a place designed as a functional layover to go elsewhere? What happens if the layover becomes a perpetual state, stripped of its original function?

THE OBSERVATORY

A moor, an unbounded promontory, a site of lunar vertigo from which to spot sidereal horizons, a place of tension where space multiplies and the body engages in radical stretching. The observatory is a place to unhinge the capacities of vision, perception, and imagination; one spots, looks upwards, reaches elsewhere; eyes and senses attune, becoming small observation instruments. Amplifying and increasing, the observatory is thus a multiplier of worlds, an opportunity to question the known horizon. Space joins time: one imagines the future while spotting the past that, through the speed of light, composes the sky we observe right now.

How do we train to imagine another time? How do we venture towards the beyond?

All proposals must have a maximum duration of 30 minutes and be compatible with the rotation and cohabitation of the other proposals: the sharing of space and time is a curatorial and organisational principle of Camping, understood as a collective and shared experience.

WHAT WE OFFER

Participants will receive a lump sum of €300 if resident/domiciled in Turin and within a 50km distance, or €500 if resident at a greater distance.
It is required to be in possession of an individual VAT number or the possibility to be supported by associations or organisations that can issue an invoice.

Selected artists are invited to participate in all Research Camping days.

HOW TO APPLY

To submit your proposal, please fill out this form within the 10th of September 2026.

FORM OPEN CALL
Results will be communicated via email and published on the website www.lavanderiaavapore.eu by September 30st.

For info and questions, contact Anna Estdahl / Lavanderia a Vapore: estdahl@lavanderiaavapore.eu (active until July 31 and from September 01).

Research Camping 2026 – Shifting Bodies
curated by Workspace Ricerca X and Lavanderia a Vapore

 

Credits immagine
Original image: Charles Piazzi Smyth
Editing: Elisa D’Amico

Writing, moving. Dramaturgies in the expanded field

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For the 2026 edition, Workspace Ricerca X aims to further explore and investigate the relationship between dramaturgy and artistic research. After dedicating a specific focus to practice and critical thinking, the intention is now to observe the interactions and areas of intersection between research practices and dramaturgical practices, starting from the question: can we imagine a dramaturgy of research? Once again this year, the project will activate a complex research environment, shaped through shared residency sessions involving hosted artists, guests and artist-curators. Within a horizontal format based on the exchange of practices, self-learning and peer coaching, research and dramaturgy will be explored as interconnected practices, continuing to cultivate critical thinking and discursive reflection around artistic processes and making.

 

How does a dramaturgical gaze observe a research process?
How does a research posture act upon the dramaturgical function?
What alliances, frictions, and opportunities emerge from their encounter?
Can we imagine a dramaturgy of research?

 

Writing, moving. Dramaturgies in the expanded field is the 2025 Workspace Ricerca X program, which is articulated through two research residencies, Research Camping – Shifting Bodies e some public events, with the support of Lavanderia a Vapore / Fondazione Piemonte dal Vivo.

Heike Langsdorf

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At Ricerca X, she would like to use the opportunity of a research and exchange residency to tie in with her questions about the various privileges she lives with and through.
She will attempt to enter into a dialog with herself as a performer of an older work of hers:
BAGS (2010), in which her mute, motionless and faceless body, completely covered in sack cloth, serves as a projection screen for bystanders.
During the three weeks in Lavanderia, she wants to work with interventions and the exchange of written and recorded testimonies.

bags

Heike Langsdorf is a Brussels based artist exploring the performative qualities of choreographing and conditioning within and beyond the art-institutional field: Trained as a dancer, she connects to artistic making, thinking and researching through a continuous exploration of movement principles: who is dis- or enabling what for whom?
She works at KASK school of arts in Ghent as teacher, mentor and researcher. Together with Simone Basani, Alice Ciresola, Heike Langsdorf and Liselore Vandeput she co-runs radical_hope & radical_house.

radical_house

Heike Langsdorf is with us in: Edizione 2024, Edizione 2026,
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