Sinopsys

Two performers fully recreate the Globo Network’s programming for 24 hours, starting with the broadcast of the show Fantástico, on Sunday night, and finishing at the end of Jornal Nacional, on Monday night. With headphones that isolate them from the outside world, they receive the audio of the broadcast including news, movies, soap operas, auditorium programs, advertising and vignettes. On the stage, a “survival kit” – refrigerator, stove, food, bathroom, sofa, bed, chair – a “game-kit” – deck, boxing bag, gloves, shuttlecock, ball, bladder – and a “acting-kit” – wig, makeup, masks and costumes. While mimicking or reinterpreting the programming, always reproducing the audio they receive on their earphones, they perform everyday tasks such as cooking, going to the bathroom, resting on the couch, playing. Idealized and directed by Nuno Ramos, We’ll see you here operates through shifting the players – the actors will perform what is a representation on itself, only almost never perceived as such, due to the truths engineering and naturalization which the television imposes on us.

History

Last year, the visual artist, composer and writer Nuno Ramos created his first work for the internet. He edited the images of the national news program, Jornal Nacional, that announced the impeachment of Dilma Rousseff and the audio leakage of Lula with the former president and combined it in such way to recreate the lyrics and melody of Lígia, written by Tom Jobim in the 1970s. Nuno named his work Lídia. In the video, the presenters William Bonner and Renata Vasconcelos sing the words of the song, in tune with the voice of João Gilberto. This work offered the insight for the performance We’ll See You Here, held for the first time last November in Porto Alegre (RS), at the Teatro Renascença.

Nuno Ramos was born in 1960, in São Paulo, where he lives and works. He graduated in philosophy from the University of São Paulo and began painting in 1984, when he joined the group of artists from the Casa 7 studio. Since then, he has exhibited regularly in Brazil and abroad. He participated in the 1995 of the Venice Biennale, representing the Brazilian pavilion, and in 1985, 1989, 1994 and 2010 he exhibited in the International Biennials of São Paulo. In 2006, he received the Barnett and Annalee Grant Award Newman Foundation. His first book, Cujo, was published in 1993. He has also published titles such as Pão do Corvo, Ensaio Geral, Ó, Mau Vidraceiro, Junco, Sermões and, most recently, Adeus, Cavalo, released in 2017.

Credits

Conception and direction: Nuno Ramos
Cast: Danilo Grangheia and Luciana Paes

Sinopsys

Directors and playwrights Florencia Lindner (Uruguay), Jorge Eiro (Argentina), Lucía Miranda (Spain), Mäelle Poésy (France) and Pedro Granato (Brazil) met in an artistic residency at the Directors LAB of the Lincoln Center in New York, in 2014. The show was born in this first exchange, and lasted until the present day. Considered as self-documental, the work uses the technological devices employed during its construction – e-mails and Skype meetings made between three artistic residences – and deals with subjects such as politics, history, art, heritage and personal memories , by the gaze of a generation of artists between the age 30 and 35. The creators explore the idea of testimony, memory, record and their materializations and evolutions in the digital world.

History

The first encounter that would result in the show Clandestine Country was in New York: none of the artists involved in this process were born there or had English as their native language. It was a neutral ground, but loaded with identity. The experience of exchanges in the American metropolis, and the diversity of viewpoints and realities experienced by each of them in their countries, led the five directors and playwrights to continue the exchange and conversations that gave rise to the production.

Credits

Direction: Mäelle Poésy and Jorge Eiro
Dramaturgy and performance: Florencia Lindner, Jorge Eiro, Lucía Miranda, Mäelle Poésy and Pedro Granato
Production: Les Fives Pays
Co-production: Crossroad Compagnie, Cia Sudado, Invasivo Teatral, Pequeno Ato, The Cross Border Project and French Institute
Distribution in Brazil: Ariane Cuminale – Fly
The show was supported by the International Festival of Buenos Aires (FIBA)

Sinopsys

In February, two artists got on a cargo ship, and retraced one of the routes of the Transatlantic Slave Triangle – from the UK to Ghana to Jamaica, and back. Their memories, their questions and their grief took them along the bottom of the Atlantic and through the figurative realm of an imaginary past. It was a long journey backwards, in order to go forwards. This show is what they brought back. salt. Is about grief, ancestry, home, forgetting and colonialism. It’s about where colonial history exists in the everyday, the politics of grief and what happens inside Selina’s head every time someone asks ‘where are you from?’ and wont take Birmingham or her mum’s uterus for an answer. It’s about being part of a diaspora. It’s a show that creates a space for us to talk about all of these things, to see where we fit, and to think about the changing and healing that is still to come.

History

Selina Thompson Ltd is an interdisciplinary performance and visual arts organization based in the United Kingdom. Our practice is primarily intimate, political and participatory, with a strong strand of public engagement and investigation. We make joyous, highly visual work that seeks to connect to those often marginalized by the arts.

Credits

Writing and performing: Selina Thompson
Directed by: Dawn Walton
Set Design: Katherine Radeva
Sound: Sleepdogs
Lighting: Cassie Mitchell
Light fitting: Louise Gregory
Production: Emma Beverley
Production Coordination: Louise Gregory

THE PRESENTATIONS OF THE SHOW AT MITsp ARE SUPPORTED BY THE BRITISH COUNCIL

Sinopsys

In Hamlet author and director Boris Nikitin rewrites the most famous of all theatre pieces and transforms it into a contemporary performance. In a mix out of experimental documentary play and music-theatre the enigmatic performer and electronic musician Julian Meding takes over the part of a contemporary Hamlet who revolts against reality. Supported by the award-winning baroque-quartet Der musikalische Garten Meding takes himself to a tour de force on stage by introducing and exposing himself to the public. Meding, giving details from his life story, revolts against the audience, like Hamlet against his royal court he attacks the public, agitates, flirts with him, mocks him and tries to seduce him. Time and again he seizes the microphone, he starts to sing: raw electropunk, sketchy cover songs, a Hollywood ballad. Words, sung as fragments of emotions. Medings/Hamlets performance dazzles between offensive dilettantism and vain jokes, exaggerated gestures and confrontational pose. Is this Meding? Or Hamlet? Is he serious? Or is it all a game? “Is he or isn’t he”? Is he not both at the same time, eventually? The performance crossfades documentary and fiction into a contemporary version of Hamlet in which the conflict zones illusion and reality, individual and society interplay.

History

The theatre director, author and essayist Boris Nikitin, born in Basel and a son of Ukrainian-Slovakian-French-Jewish immigrants, writes and directs in the international independent theatre scene as well as in established city theatres. He is the initiator and artistic director of the festival “It’s The Real Thing” that takes place biennially in Basel/Switzerland. For the last ten years his theatre works and festivals have been reflecting the representation and production of reality and identity in politics, economy, religion, personal stories and in the arts. Nikitins pieces, texts and programs always look for the dazzling boundary between performance and illusion-theatre highlighting the ambiguous and the potential in which individuality and the capacity to act become thinkable newly. In 2017 Nikitin was given the J. M. R. Lenz-dramatist award by the city of Jena, Germany.

Credits

Concept, Text, Direction: Boris Nikitin
Performance, Text, Songs: Julian Meding
Stage Design, Costumes: Nadia Fistarol
Video: Georg Lendorff und Elvira Isenring
Musical Conception: Boris Nikitin, Julian Meding, Matthias Meppelink, Der musikalische Garden
Sound Technicians: Matthias Meppelink
Technical supervision, Lighting: Benjamin Hauser
Production supervisor: Annett Hardegen
Baroque Quartet: João Guilherme Figueiredo, Letizia Roa, Pedro Augusto Diniz, Raquel Aranha

SUPPORTED BY << COINCIDENCE >> SWISS-SOUTH AMERICA CULTURAL EXCHANGE PROGRAM, OF THE SWISS FOUNDATION FOR CULTURE PRO HELVETIA

Sinopsys

A hotel room, at the center of which sits a “king size” bed, surrounded by blue panelling and floral upholstery – a truly bourgeois, vaudevillian decor. In the intimacy of this room, a man and a woman – accompanied by an older woman – strike up an eclectic musical repertoire, ranging from traditional songs and classical works to “pop music”. According to the pieces they are performing, they outline a few steps of ballroom dance, thus bestowing upon their actions a certain comical dimension. This irresistible zaniness to which Christoph Marthaler invites us is enlivened by the eccentric gestures of the actors. When a man styles his hair although he is bald, when an old woman aunts her senility, or when pop songs are carried by lyrical voices, laughter is everywhere. Incidentally, it is from this last discrepancy that the director extracts the material of his piece. He seeks to create “enharmonics”, compositions that combine different tonalities and create a heterogeneous sound per se. While this sound matter can create a bizarre effect, it is then offset by a more sensitive reality, which relates to human relationships. The desirable peaceful entente of individuals with different personalities is here evoked; however, rather than showing harmonious interactions, it evidences the loneliness, the grotesque conventions and the tragic daily lives of human beings. With “King Size”, Marthaler gives music the lead, thus creating a whimsical show full of tenderness and melancholy.

History

Born in Erlenbach in the Canton of Zürich, Christoph Marthaler first trained as an oboist and flautist before turning to the theatrical world. He took his first steps at the Lecoq School in post-May 68 Paris. Inspired by these two artistic worlds, he then began to create shows in which music and words are in constant dialogue. His first musical piece, “Indeed”, saw the day in 1980 in Zürich. Several different projects would follow, including a performance at Basel train station in 1980, for the 50th anniversary of Kristallnacht. One year later, he parodied the Swiss national anthem with “Quand le cor des alpages se mue, Suisse, tue, tue!!” (“When the alpine horn transforms, kill, kill, Switzerland!!”), a performance in which Swiss soldiers tirelessly strike up “Die Nacht ist ohne Ende” (“The Night is Without End”). His meeting with the scenographer Anna Viebrock and the dramaturg Stephanie Carp in 1991 would nurture his career thanks to fruitful collaborations. After having staged now-classic pieces such as Pessoa’s “Faust” or Horváth’s “Kasimir and Karoline”, he became director of the Schauspielhaus Zürich from 2000 to 2004. Since then, his creations have succeeded each other on stage, such as “Groundings, a Variation on Hope” in 2004, “Riesenbutzbach. A Permanent Colony” in 2009, “Papperlapapp” in 2010 (a show born of his status as associate artist at the Avignon Festival), “Meine faire Dame. Ein Sprachlabor” in 2012, followed by “King Size” and “Letzte Tage. Ein Vorabend” in 2013. As a director, Christoph Marthaler stands out with his innovative aesthetics, anchoring his plays in the scenery of daily life – such as that of waiting rooms or cafés – thus playing with the forms of representations. He presents ordinary figures in a shattered world, in the throes of existential and relational questions; touching on the human condition with tenderness, humour and humanity. A master of slowness, irony and discrepancy, he has invented an idiosyncratic scenic poetry, made of lyrics, songs and music.

Credits

Director: Christoph Marthaler
Music director: Bendix Dethleffsen
Dramaturg:  Malte Ubenauf
Cast: Hildegard Alex, Tora Augestad, Bendix Dethleffsen, Michael von der Heide
Scenic designer: Duri Bischoff
Costume designer: Sarah Schittek
Lighting designer: Heide Voegelin Lights
Stage manager: Stéphane Sagon
Lighting manager: Jean-Luc Mutrux
Dresser: Cornelia Peter
Tour manager: Tristan Pannatier
Production: Theater Basel
Théâtre Vidy-Lausanne

THE PRESENTATIONS OF THE SHOW AT MITsp ARE SUPPORTED BY GOETHE-INSTITUT SÃO PAULO AND THE SWISS FOUNDATION FOR CULTURE PRO HELVETIA

Sinopsys

“An artistic dinner” of old friends who once were a part of an informal bohemian group turns into a wake after the death of one of the characters. The participants are not focused on the deceased, though, they allow themselves to take “liberty” to verbalize hidden and unconscious fears, claims, injuries, and demands. The bohemia of the olden days turns rebel energy into state contracts, good paychecks, decorations, and positions. The production shall be a radical journey deep into the modern world, under the surface of social forms and cultural conventions, in search of what only starts to appear on the line of horizon. The production that touches on the problem of freedom, which is illusory in our life, and constraint, which is the natural condition of a human being. It also includes questions concerning artists and their role in the modern world. Krystian Lupa, one of the most important directors in the world and considered a living theatrical legend, returns to Santiago a Mil to present Wycinka Holzfällen (Woodcutters), a theatrical dramatization of the controversial book by writer Thomas Bernhard. Highly critical of the artistic elite, the play is a radical journey through the modern world, questioning cultural forms and conventions using 13 characters who talk about the role of art, freedom and subordination to a higher power. All this is accompanied by impressive staging, through which Lupa unveils his dramatic, outstanding and rich esthetic.

History

Krystian Lupa (Poland, 1943) is a Polish theater director and one of the great masters of the contemporary performing arts. Having studied the arts, cinema and theater, Lupa began directing at the end of the seventies. Fascinated by authors such as Dostoievski, Rilke, Chéjov and, in particular, the Austrian Thomas Bernhard, he has translated and dramatized countless texts, staged, designed sets and directed several plays. Between 1980 and 2013, he was director of the Stary Teatr in Caronia, where he put on some of his most important productions. He has been awarded the Austrian Cross of Merit, the French Order of Arts and Letters and the Ludwik and Europa awards, among many others. The Polish Theatre (Teatr Polski) in Wroclaw is the oldest drama theatre in Wroclaw. In 1945 a pioneer group came to Wroclaw with Bolesław Drobner and an experienced technical worker Adam Kabaja, who was in charge of preserving the properties of Wroclaw theatres. Kabaja took care of the only theatre building that survived the war – the old City Theatre, the Opera. Currently, the Theatre in Wroclaw has 3 stages: Jerzy Grzegorzewski Stage (classics in modern arrangements), Na Świebodzkim Stage (theatrical experiments) and Chamber (Kameralna) Stage (comedies and music spectacles). The current director is Cezary Morawski.

Credits

Adaptation, scenography, light design and direction: Krystian Lupa
Based on the novel by Thomas Bernhard
Production: Polish Theater in Wroclaw
Cast: Thomas Bernhard – PIOTR SKIBA Maja Auersberger – HALINA RASIAKÓWNA Gerhard Auersberger – WOJCIECH ZIEMIAŃSKI Joana Thul – MARTA ZIĘBA Actor from National Theatre – JAN FRYCZ Jeannie Billroth – EWA SKIBIŃSKA Anna Schreker – BOŻENA BARANOWSKA Albert Rehmden – ANDRZEJ SZEREMETA Joyce – ADAM SZCZYSZCZAJ James – MICHAŁ OPALIŃSKI John – MARCIN PEMPUŚ Mira, owner of the general store – ANNA ILCZUK Cook – JADWIGA ZIEMIŃSKA
Assistant Directors: Oskar Sadowski, Sebstian Dysiak and Amadeusz Nosal
Stage manager: Iwona Rólczyńska
Translation: Monika Muskała
Costume design: Piotr Skiba Musical
Music Arrangements: Bogumił Misala
Video: Łukasz Twarkowski
Hairdresser / makeup: Mateusz Stępniak
Dresser: Joanna Zborowska
Assemblers: Adam Buraczek, Bogdan Dyląg, Grzegorz Kloc, Łukasz Szyszka
Props: Marek Iwanaszko
Light: Dariusz Bartołd, Paweł Olszewski
Projections: Dariusz Bartołd, Kazimierz Blacharski
Sound: Maciej Kabata, Wojciech Bielach

THE PRESENTATIONS OF THE SHOW AT MITsp ARE SUPPORTED BY THE ADAM MICKIEWI INSTITUTE

Sinopsys

CAMPO MINADO is a project that brings together Argentine and English veterans of the Falklands War to explore what was left in their heads thirty-five years later. In a film set turned into a time machine the ones who fought are teleported into the past to reconstruct their war and aftermath memories. Lou Armour was on the cover of every newspaper when the Argentines took him prisoner on April 2nd and is now a special needs teacher. Rubén Otero survived the sinking of ARA General Belgrano and has now a Beatles tribute band. David Jackson spent his time at war listening and transcribing radio codes and now listens to other veterans in his psychology practice. Gabriel Sagastume was a soldier who never wanted to shoot and is now a criminal attorney. Sukrim Rai was a Ghurka who knew how to use his knife and works currently as a security guard. Marcelo Vallejo was an aimer for mortar and is now a triathlon champion. The only thing they have in common is that they are veterans. But what is a veteran; a survivor, a hero, a madman? The project confronts different visions of war bringing together old enemies to tell one single story. MINEFIELD looks into the marks left by war, the relationship between experience and fiction and the thousand ways of representing memory.

Histórico

Born in Buenos Aires in 1976, Lola Arias is a theatre director, writer and performer. She collaborates with artists from different disciplines in theatre, literature, music, film and art projects. Her productions play with the overlap zones between reality and fiction. She wrote and staged Mi vida después, Familienbande, That Enemy Within, The year I was born, Melancholy and Demonstrations, The art of making money, The art of arriving, Minefield and Atlas of Communisms, among others. She also created the exhibition Stunt Double and presented the durational performance Audition for a Demonstration in Berlin, Prague, Athens and Buenos Aires. Together with Ulises Conti she composes and plays music. She has published poetry, fiction and plays and her works for theatre have been performed at numerous festivals including festivals and venues including Lift Festival, Festival d’Avignon, Theater Spektakel, Zurich, Wiener Festwochen, Festival Theaterformen, Spielart Festival, Munich, Alkantara Festival, Lisbon, Under the radar, NY, and in venues like Theatre de la Ville, Red Cat LA, Walker Art Centre, Museum of Contemporary Art Chicago, Royal Court London.

Ficha Técnica

Written And Directed By Lola Arias
Cast: Lou Armour, David Jackson, Gabriel Sagastume, Ruben Otero, Sukrim Rai, Marcelo Vallejo (As Themselves)
Research & Production: Sofia Medici, Luz Algranti
Set Designer: Mariana Tirantte Music Composer Ulises Conti
Light Designer/ Technical Direction: David Seldes
Video Designer: Martin Borini
Sound Engineer: Roberto Pellegrino/ Ernesto Fara
Director’s Assistant: Erika Teichert/ Agustina Barzola
Technical Assistant: Imanol López
Production Assistant: Lucila Piffer
Uk Assistant: Kate O’connor
Costumes: Andrea Piffer
Uk Producers For Lift: Erica Campayne, Carolyn Forsyth, Matt Burman
Associate Producer: Gema Films

Minefild was originally commissioned and co-produced by LIFT, Royal Court Theatre, Brighton Festival Universidad Nacional de San Martín, Theaterformen, Le Quai Angers, Künstlerhaus Mousonturm, Maison des Arts de Créteil, Humain Trop Humain / CDN de Montpellier and Athens & Epidaurus Festival. Supported by Arts Council England, British Council and The Sackler Trust.

Supported by British Council, Embajada de la República Argentina en Gran Bretaña e Irlanda del Norte, Arts Council England, The Sackler Trust.

Synopsis

In 2013, the Encyclopédie de la parole initiated a cycle of four “Choral Suites” all based on the same principle: the live reproduction of documents taken from the Encyclopédie de la parole’s audio collection. The Suite N°1 ‘ABC’ was devoted to putting on stage some of the basic distinguishing features of human speech: how we speak, how we learn to speak, the babbling, the blabla, the hubbub, the basic vocabulary, the joy of talking for talking’s sake, the game of translation and the pleasure of languages that we don’t understand: an ABC of ordinary speech in nine languages, 45 scenes, and twenty-three actors (including 11 guests and a conductor). The second Suite of Encyclopédie de la parole, for its part, orchestrates speeches that all do something, speeches that are actions. Words that do some good and words that scare the world. Words that fight, words that suffer, words that hope. Words that rejoice, rebel, reassure you. Words that dance and words that make love. Words that decide, threaten, condemn and kill. Words that bring people together and words that come between them. Words that say thank you. Words that ask for mercy. Words kept, given, betrayed. Words in crisis, words in debt, words in panic, words on strike. Words that crumble and rise from the dust. Words that struggle. Naked words and words dressed in Versace. Words that put their feet in their mouths. Words that stop talking when there’s nothing more to say. Words that play with fire. Words that fly away and disappear up above the ocean. All of these words are real. Each and every one of them has been pronounced some day, somewhere in the world, then collected by the Encyclopédie de la parole. They meet for the first time in this piece, carried by a quintet of outstanding performers, composed by Joris Lacoste and harmonized by Pierre-Yves Macé. Since its creation in 2015, Suite n°2 has traveled the world: Brussels (BE), Lausanne (CH), Gwangju (KR), New-York (USA), Philadelphia (USA), Rotterdam (NL), Gennevilliers (FR), Graz (AT), Bordeaux (FR), St Jacques de la Lande (FR), Lisbon (PT), Buenos Aires (AR), Porto (PT), Rakvere (EE), Göteborg (SE), Ljubljana (SI), Belgrade (RS).

History

L’Encyclopédie de la parole is an artistic project exploring the spoken word in all its forms. Since 2007, this group of musicians, poets, directors, visual artists, actors, sociolinguists, and curators have been collecting all sorts of recordings of words and then indexing them on its website according to their particular properties or phenomena such as cadence, chorality, emphasis, saturation or melody. What do the following have in common : the poetry of Marinetti or Allen Ginsberg, a sport commentary, a lecture by Jacques Lacan, an excerpt from South Park, the flow of Eminem and Lil Wayne, a message left on an answering machine, a TV game show, an Adventist sermon, an excerpt from The Young and the Restless, a speech by Léon Blum or Bill Clinton, an auctioneer selling horses, a shamanic incantation, a lawyer’s closing arguments, a commercial for shampoo and casual conversations recorded in the local café? From this collection, which now includes about 800 sound documents, L’Encyclopédie de la parole produces sound pieces, performance and shows, lectures, games and exhibitions. Currently in 2017, the Encyclopédie de la parole is: Frédéric Danos, Nicolas Rollet, Joris Lacoste, David Christoffel, et Elise Simonet.

Creditis

Conception: Encyclopédie de la parole
Composition and direction: Joris Lacoste
Music: Music Pierre-Yves Macé
Cast: Vladimir Kudryavtsev, Bianca Iannuzzi, Nuno Lucas, Crystal Shepherd-Cross, Thomas Gonzalez
Artistic collaboration: Elise Simonet
Light and video design and technical management: Florian Leduc
Sound: Stéphane Leclercq
Costumes: Ling Zhu
Video coder: Thomas Köppel
Video assistant: Diane Blondeau
Translation – project manager: Marie Trincaretto
Proofreading and corrections: Julie Etienne
Vocal Coaches: Valérie Philippin and Vincent Leterme
Language coaches: Azhar Abbas, Amalia Alba Vergara, Mithkal Alzghair, Sabine Macher, Soren Stecher-Rasmussen, Ayako Terauchi Besson
Invited archive collectors: Constantin Alexandrakis, Mithkal Alzghair, Ryusei Asahina, Adrien Bardi Bienenstock, Judith Blankenberg, Guiseppe Chico, Manuel Coursin, David-Alexandre Guéniot, Léo Gobin, Haeju Kim, Monika Kowolik, Federico Paino, Pauline Simon, Ayako Terauchi Besson, Helene Roolf, Anneke Lacoste, Max Turnheim, Nicolas Mélard, Tanja Jensen, Ling Zhu, Valerie Louys, Frederic Danos, Barbara Matijevic, Vladimir Kudryavtsev, Olivier Normand, Nuno Lucas
Casting: Vladimir Kudryavtsev, Emmanuelle Lafon, Nuno Lucas, Barbara Matijevic, Olivier Normand
Production: Judith Martin, Marc Pérennès, Dominique Bouchot
Co-production: Echelle 1:1 (compagnie conventionnée par le ministère de la Culture et de la Communication / DRAC Ile-de-France). Coproduction: T2G Théâtre de Gennevilliers / Festival d’Automne à Paris, Asian Culture Complex – Asian Arts Theater Gwangju, Kunstenfestivaldesarts (Bruxelles), Théâtre Vidy-Lausanne, Steirischer Herbst Festival (Graz), Théâtre National Bordeaux-Aquitaine, Théâtre Universitaire de Nantes, Parc de la Villette-résidence d’artistes (Paris), Théâtre Agora-Seinendan. Suite n°2 est co-produite par NXTSTP avec le soutien du Programme Culture de l’Union Européenne. (En cours). Avec le soutien de l’Institut Français dans les cadre des dispositifs Théâtre Export et CIRCLES, et l’Institut Français du Japon. Spectacle accueilli en résidence à l’Usine, Scène conventionnée (Tournefeuille).

You can listen to the full sound collection of the Free Speech Encyclopedia at www.encyclopediedelaparole.org
If you wish to contribute to the project by sending recordings, write to info@encyclopediedelaparole.org
THE PRESENTATIONS OF THE SHOW AT MITsp HAVE THE SUPPORT OF THE INSTITUT FRANÇAIS DU BR