Is a lecturer in Scenography and convenes the all the first year Theatre Making options (Scenography & Technology, Process and Performance, Summer Project). In the past he has taught in Theatre Making 2, and Devised Theatre and Performance Arts for Level 3 students.
He also taught as Associate Lecturer in the MA Performance Theory and Practice and MA Creative Practice for Narrative Environment at Central Saint Martins College of Art and Design and in the BA European Theatre Arts at Rose Bruford College.
Andrea is a director, scenographer, performer, painter and installation artist.
He is the artistic director of CeSDAS (Centre for the Experimentation of Space Applied Dramaturgy) with which he operates between Italy and the UK.
Andrea’s work has been performed and exhibited in several major institutions across Europe and overseas from New York to New Delhi.
In the past he has collaborate with Austrian Actionist Hermann Nitsch, coordinating his ‘6-Day-Play’ (a 6 day long Total-Theatre performance which involves hundreds of actors and musicians). He is also the Conductor of the O.M.Theatre Orchestra, with which he played in several theatres and festivals across Europe (Burgtheater, Vienna; National Gallerie im Hamburgerbahnof, Berlin; Kunst und Austellungs halle der Bundes Republik Deutschland, Bonn; Punta Campanella, Sorrento; Castel Sant’Elmo, Napoli; Prinzendorf Schloss, Vienna).
Interdisciplinary Space Dramaturgy; Object Dramaturgy; Devised Theatre and Performance Compositional Strategies; Live Art; Total Theatre.
My research interest is centred on the definition of Scenography as
a discipline that: is studying and experimenting on the dramaturgical potential of the space, focusing on the function of a space and the way this can affect the dramaturgy as a whole; transforms a text, an image or an idea into a performance that happens in a specific space (theatrical machine) and time (theatrical rhythm); invents a relationship between public and performance in space. In doing so I have experimented with non conventional dramaturgical strategies and compositional methodologies for performance. I have been researching the work of artists, directors and set-designers, whose work attempts to identify alternative methodologies within the field of time-based works. The work on 'The Total Installation' of Ilya Kabakov or the Total-Theatre of Tadeusz Kantor are some of the most representative examples. More specifically, I have analyzed the work of Kantor in a PhD in which I have attempted to decode his complex methodology of work. Developing from my concern with Kantor I have explored the dramaturgical potential of space and objects. It followed a series of workshops, studies and installation-performances where I developed an approach to creating meaning by crossing the borders between written drama, directing, dramaturgy, and set-design. The methodology was developed in several experimental productions: 'Something about Lisistrata', installation-performance, April 2005, 'Cantieri Culturali', Palermo, 'Drabina Jakuba', theatre piece, March 2006 , 'Cricoteka', Krakow 'Tumor lined with infancy', theatre piece, June 2006, Teatro Garibaldi-Union des Theatre de l'Europe, 'A Funeral for Don Quixote', may-september 2007, Edinburgh Festival Fringe.
Selected practice as research:
-‘The Bitter Belief of Cotrone the Magician’ (performance), in collaboration with Central Saint Martins, Municipality of Weiz, Fondazione Orestiadi, Fondazione Banco di Sicilia, DEA-Foundation, Historic Scotland and Italian Cultural Institute New Delhi. Bharat Rang Mahotsav (National Theatre Festival) New Delhi; International Theatre Festival of Kerala,Thrissur; Edinburgh Festival Fringe @ Inchcolm Island, Edinburgh; Steirische Herbst Festival, KunstlerHaus Weiz (Graz); Area 10 Project Space, London; Orestiadi Festival, Gibellina.
-‘Ithaca I’ll never see’ (devised performance), in collaboraton with Andrew Tsao-University of Washington and Rose Bruford College. Roxy Venue, Edinburgh Festival Fringe, Edinburgh.
-‘Defilee des Pontelevoy’(street performance), in collaboration with Halldór Laxness, , Andrzey and Teresa Welminski, Andrew Tsao and Jason Turner. Drama Collective Pontlevoy, Pontlevoy Abbey (Loire Valley).
-‘Oedipage’ (performance),in collaboration with Rose Bruford College. Edinburgh Festival Fringe, Edinburgh; Istropolitana Festival, Bratislava; Rose Bruford International Symposium, London.
-‘Cotronica’(Happening), Shunt Vaults, London
-‘Le ali della farfalla‘ (film, Museum MADRE, Naples). Bermondsey Cinema, London; Small Hall Cinema, Goldsmiths, London.
-‘Le ali della farfalla ‘ (Live Art performance). In ‘Corpus: Art in action’ curated by Adriana Rispoli and Eugenio Viola, Italia Teatro Festival, Museum of Contemporary Art MADRE, Naples.
-‘Cunto’ (Live Art performance). In ‘Speculum Celestiale Festival’, curated by Raffaella Morra and Maurizio Elettrico, Istituto di Scienze della Comunicazione Visiva-Fondazione Morra, Naples.
-‘Cucina Futurista ‘(Live Art performance). In Let's ‘Murder the Moonshine’, curated by John London. Amersham Arms, London.
-‘A Funeral for Don Quixote’ (performance starring Mira Rychlicka), in collaboration with Adam Mickiewicz Institute, Central Saint Martins College, Cricoteka, Polish Cultural Institute London, DEA Foundation. Area 10 Project Space, London; Demarco@Rocket productions, Edinburgh Festival Fringe, Edinburgh; XX Street Theatre Festival, Krokow; Galeria Krzyzstofory, Krakow.
-‘Tumor foderato d’ infanzia‘ (performance starring Mira Rychlicka).Theatre Garibaldi-European Theatre Union, Palermo.
-‘Jacob’s ladder’(performance starring Mira Rychlicka). Cricoteka, Krakow .
Selected papers and publications:
-‘Performance Language/Scenography/ Set Design’ (colloquia). National School of Drama, New Delhi.
-‘The Music of the O.M. Theatre, Hermann Nitsch and the Gesamtkunstwerk' (paper). Goldsmiths Performance Research Seminar, Golsmiths College, London
-‘Andrzey Welminski in conversation with Andrea Cusumano’ (interview). In ‘Performance Research Forum’, Golsmiths College, London.
-‘Der Chance des Realen’ (authored article). In Ralf Bohn, Heiner Wilharm, ‘Inszenierung und Vertrauen. Reihe Szenografie & Szenologie Band 4’, FHDortmund & Transcript Verlag, Bielefeld.
-‘The chance of Reality’ (paper). Centre for Excellence in Training for Theatre « Creating Performance Environments »,Central School of Speech and Drama.
-‘Kantoresque exercises’. In Noel Witts ‘Kantor’, London: Routledge.
-‘The chance of reality’ (paper). Prague Quadrennial 11 - Intersection, Belgrade.
-‘Andrea Cusumano in conversation with Emilo Romero and Noel Witts’ (interview), Rose Bruford International Symposium, London.
-‘The chanche des Realen’ (paper). In Staging Trust’ European Scenography Conference, University of Dortmund.
-‘Space Dramaturgy’ (paper). In ‘Erlebbare Raume’, Symposion der Muthesius Kunsthochschule, University of Kiel.
-‘Lectio Magistralis’. An impossible Journey/Tadeusz Kantor, Sainsbury Centre for Visual Art, Univresity of East Anglia, Norwich.
-Founding Conference of ESI-European Scenography Initiative, University of Graz.
-‘Teaching Scenography’ (colloquia). 2nd International Scenographers’ Festival, University of Applied Sciences Northwestern Switzerland, Basel.
-‘Oggetti e memoria nel Teatro di Tadeusz Kantor’ (authored article). Lettere, University of Ferrara.
-L’Aurora dopo il tramonto (authored book, ISBN - 8878520098). Fondazione Morra. Naples
-‘SalinenSymposium’ (Ed. Dietgard Grimmer). Traklhaus. Salisburg.
-‘Sinfonia Punta Campanella’ (CD). Fondazione Morra, Naples/ O.M. Theatre, Prinzendorf.
-‘Das 2 Tages Spiel’ (DVD). O.M.Theater, Prinzendorf.
-‘Schicht fuer Schicht’ (Ed. Christoph Bertsch). Edizione Medicea, Florence/Universitaet Insbruck.
-Kraftwerk Peripher (Ed. Christoph Bertsch). Edizione Medicea, Florence/Universitaet Insbruck.
-‘Blood and Flowers’ (authored article). In ‘Nitsch/eine retrospective’, Sammlung Essl, Vienna.
- ‘Vita di Galeazzo Maria Sforza’. Hoergaenge/Fremd Vertraut, Konzerthaus, Vienna.
Dramaturgical use of sound in the work of Hermann Nitsch: Havana, Cuba 2012/Leipzig, Germany, 2013
Cusumano, Andrea. 2013. Dramaturgical use of sound in the work of Hermann Nitsch: Havana, Cuba 2012/Leipzig, Germany, 2013. In: "Havana Biennial", Havana, Cuba.