Parassiti al Simposio

Jacopo Giacomoni

01/07/2026, 05.00 PM — 06.30 PM

Workshop

Coffee chaser
PARASSITI AL SIMPOSIO
JACOPO GIACOMONI
Arena | 17.00-18.00

At the table there is an unexpected guest, a gate-crasher at the feast. It eats among us—literally “beside us”—and gives nothing in return. The parasite may be tiny, almost invisible. It may devour the entire meal. It may be a slight stumble between one bite and the next. It may ruin the whole lunch. Yet this parasite does not attack the dishes themselves, nor interfere with digestion. It is a dramaturgical parasite, one that feeds on the texts inhabiting the ritual of eating. A whole ecosystem of words buzzes around the table: menus, place cards, receipts, labels, barcodes, wine lists, recipes, coasters, nutritional information, sugar packets, the bill, thank you. Parasites made of words attack this swarm of texts while, seated there, humans simply try to eat.

Image: A jellyfish Aequorea victoria and an amphipod (Hyperiidae) sharing a commensal relationship

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JACOPO GIACOMONI
Holding a degree in Philosophy, with a thesis on the existence of fictional characters, Jacopo Giacomoni works as a dramaturg and performer. In 2025 he won the 58th Riccione Prize with Tacet, a text that had previously received the Biennale Teatro Authors Grant (2024). During 2025–26 he is a Fellow at Scuola Piccola Zattere in Venice. In 2023 he received the Franco Quadri Special Mention at the 57th Riccione Prize for È solo lungo il tramonto. Since 2024 he has served as dramaturg for Mittelfest. Since 2013 he has worked with the theatre company Malmadur, of which he is a co-founder. His structuralist approach to dramaturgy takes shape through theatrical devices that embrace audience participation and chance, creating playful and ritualistic experiences capable of generating short circuits in perception and temporality. Recent projects include dramaturgical parasites that attack pre-existing textual organisms, a theatrical device for electing humanity’s greatest tragedy, a theatrical office for staging funerals, a game that allows participants to relive a second life from scratch, and a hauntological experiment on the loss of a father’s memory. As a performer, he combines his work as an actor with that of a saxophonist, continually exploring free improvisation and non-idiomatic sound practices.