La Compagnia della Settimana Dopo is a collective of experimentation on the theatrical clown. Founded in 2006 in Rome by Emanuela Belmonte, Emanuele Avallone and Luca Di Luca, develops over the years a research aimed at enriching and contaminating the language of the clown with different techniques and disciplines: music, improvisation, comic therapy and puppetry, building shows as cross as possible and communicative.

Emanuela Belmonte is an actress, clown and musician. In 2007 she graduated in Performing Arts at the University La Sapienza of Rome with a thesis on the role of the clown in the formation of the actor. Her theatrical path crosses the Physical Theatre, the Body Mime and the Theatrical Clown; among the masters: Pierre Byland, Emmanuel Gallot-Lavallée, Michele Monetta. He deepens the study of the clarinet attending the Siena Jazz University from 2013 to 2016. In 2020 he participates in "Animateria", a course of High Education for Operator Expert in the techniques and languages of puppetry, organized by Teatro Gioco Vita, Teatro delle Briciole and Teatro del Drago. One of his main interests is to investigate the mixture of musical language and theatrical clown.

Area 52 is her first solo show, in which he experiments with the use of the theremin and figure theater.
The Theremin is an electronic instrument not well known to the general public that has a very special feature: it does not provide for the physical contact of the performer with the instrument. To see a theremin player is a magical and mysterious experience: you can observe him making strange movements in the air and you can hear a sound similar to a violin.

An interesting curiosity is that if few people know how a theremin is made and how it works, many unconsciously know its particular sound, so closely related to the soundtracks of old science fiction films of the '40s and '50s to have become identifiable of this film genre. It is precisely from those films with special effects necessarily a bit 'naïve that AREA 52 was born, a small universe populated by alien puppets and spaceships, supported by a game that remains deliberately not naturalistic and aims to become pure collective fun.

In a continuous alternation of rules and madness, rigid protocols and improbable hypotheses, schemes and wacky ramblings, spectators of all ages will find themselves involved in an absurd homemade science fiction film, which winks at the great genre cinematography with quotations and references to "Close Encounters of the Third Kind", "Alien", "Independence Day", "Mars Attacks" and the mythical "Plan 9 form Outer Space" by Ed Wood.

A clever parody of science fiction imagery that remains proudly anchored in the theatrical and meta-theatrical language, with its "here and now" and its simple means.

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