Artistic productions

Mirmica, until now, has operated outside the production and distribution system linked to public funding, although sometimes in close collaboration with it.
By choice it does not have an artistic direction, nor does it refer to charismatic figures who point the association to a privileged aesthetic path, it does not have a stable company, because at the moment this seems the best way to guarantee a space where the different experiences that constitute the association can express themselves without being subjected to value judgments that define scales of importance and assoulte priorities.
In addition to this, the theater and performances created by Mirmica's projects are often expressed outside theaters, in unconventional places spread throughout the territories.
All these characteristics reflect its history, which originated in social theater.

Despite this, some professional artistic research and production projects have found in Mirmica a suitable environment to develop in their embryonic phase, or a useful management space to maintain creative autonomy in dialogue with other entities, or even just support in administrative activities during the distribution phase.

Other times, some projects born in social contexts have produced performances that can be distributed in many conventional and unconventional situations, "without labels."

Mirmica is very happy with these collaborations, because it considers that creating connections between professional theater and participatory and social theater is vital for both fronts, with a view to avoiding the risks of self-referentiality and cultivating language and a dialogue between artistic research and society.

Mirmica proposes to the artists in charge of some productions, to imagine projects that can integrate, each time in a specific way, their own research: for example, with workshops for citizenship, meetings with other groups or artists, practices of cultural accompaniment, or by planning training days dedicated to operators of entities touched by the themes of the performance.

This sometimes makes the boundaries of the "products," whether performances or audiovisuals, more fluid and integrated with the contexts encountered from time to time.