From 22-24 January at Sala Beckett there will be the stage presentation of Peppa Pig realizes she’s a swine by Italian playwright Davide Carnevali. The author will also lead a workshop for teenagers.

At Teatr Dramatyczny of Warsaw in January Smutek I Melancholia (Traurigkeit & Melancholie) by German author Bonn Park will still be running. The show will be on stage on 12-13 January, translated by Iwona Nowacka, with the direction of Piotr Waligorski, the set and costume design of Jak Kozikowski and with Zdzislaw Wardejn as George.

Das Wunder vom Wedding by German playwright Katharina Schlender will be on stage at TAK Kreuzberg / Probebühne from 7-9 December, from 14-16 and on 21 and 22 December.

directed by Rolf Kemnitzer
with Artur Albrecht, Ike Eickholz, Oksana Loidova, Jessica von Randow, Luise Schlender, Susanne Schultze-Jungheim, Klemens Schwabe, Erik Thews, Marianne Wagner, Harald Wissler u.a
music by Harald Wissler, Denitsa Stoyanova, Punkband Panika
costumes design by Viale Lucyna

In collaboration with Teatro di Roma, Silvia Rampelli will lead a workshop with elderly people, based on the text Akvabely by Czech author David Drabek.

AKVABELY / AQUABELLES
Alfréd Radok Award for the best original play of 2003.
A view of the contemporary generation of thirty-somethings. Three university friends conceive a secret hobby: they meet at a hidden reservoir and ”dance“ in the water.
Their furry legs are vibrating in the rhythm of music above the surface, and they experience the moment of harmony and coordination that these thirty-something adults do not experience on the ground. With party picnics after training, they just mask the cracks in their relationships.

After school their paths had diverged. Kajetán had taken the post of TV moderator and became a true celebrity. He oscillate between the models’ arms and the arms of his English teacher.
Petr stayed at the university as a lecturer and continued his stubborn struggle against consumerism. He pedantically watches his wife and son in front of the traps of civilization and exposes Kajetán to betrayal of ideals.

However, the two friends are caught off guard by Filip. He decides to stay in the reservoir forever, returning to an existence as a prehistoric water element. He feels like a beast, webs grow between his fingers. Gradually, he closes himself to the world until all is quiet.
Things take off – Petr leaves his wife, Kajetán, influenced by the loss of his friend, causes a brawl in the TV studio. Over a few seconds their certainty has crumbled to dust. In the final scene on the shore of the lake, Peter and Kajetán carry a wooden chest on their shoulders. The dark suits are open, stones fly away from their heels. They slip Philip into the waters of the lake. Peter saves insects from the surface, and Kajetán opens a “shop” with sticks, mud and leaves. At the end, two orphaned “aqua-belles” dance for their lost friend.

In spite of all its gags and humorous situations, the play is permeated with the nostalgia of a generation and in places even a frosty surreal quality. In the 2004/2005 season, the leading Czech stage director, Vladimir Morávek, staged the Aquabelles. The play won the 2003 Alfred Radok Award and later the Best Czech Play of the Year (2005).

On 28th November, the mise en voix of Qui croire by French author Guillaume Poix takes place at Théâtre Ouvert.

Mise en voix by Guillaume Poix
with Sophie Engel
sound creation by Guillaume Vesin
lights and set design by Sébastien Marc

Like it or not, religion innervates our daily life. It may be decided to disdain the stakes, whatever they are, in the name of the pride inspired by French secularism. We can also feel the deep dysfunctions it causes and the schizophrenia it calls us: we still live according to a ritualized calendar by Christian holidays – while demanding, for some, complete neutrality vis-à-vis religions. We are caught between intransigence and tradition, rigor and free will. We are rightly proud that our state is secular, but we are confusing the state and society. Can we really rid our lives of religion?
We have inherited the scriptures, we doubt their sacredness. We receive them with the same curiosity as a literary work; yet, these texts carry something powerfully prescriptive. What principles can guide behavior, be it atheist, anticlerical, or religious? What are the deep contradictions that inhabit us about this entity named God? How can our existence be, without our being fully aware of it, determined by values ​​internalized since childhood?
Representing religion in the theater inevitably leads to questions of faith and credulity. What leads us to believe, according to what criteria do we trust one or the other of the known truths? We are committed to building a theatrical protocol – in sound, play, light and writing – that plays absolutely the game of fiction without hiding anything from our will to believe: when we believe in fiction, there is there something in us that decides to believe?

On November 16 at Teatrul Odeon there will be the stage reading of Lullaby by Erika Z. Galli and Martina Ruggeri of Industria Indipendente, with the direction of Elena Morar.  The two Italian authors, who will attend the opening, will be also involved in leading workshops with drama students of the Theatre University in Bucharest.

From 14-22 November, Spanish playwright Guillem Clua will be hosted by University of Arts of Targu Mures for leading a playwriting workshop which will involve both Romanian and Hungarian postgraduate students. For this occasion, at Studio Theatre there will be presented of The Swallow, one of Clua’s most famous plays, with the direction of Oana Leahu. The author will attend the rehearsals as well as the opening, which will take place on November 18 – the first day of Studio International Festival, organized by the University of Arts.

On 13-14 October it’s time for Dramatische Republik, a new format, in collaboration with Theater im Aufbauhaus Kreuzberg. All over the two days, there will be presented 8 readings of Fabulamundi texts by Anne-Jelena Schulte, Elise Wilk, Kai Grehn, Kevin Rittberger, Roberto Scarpetti, Claudius Lunstedt, Werner Fritsch, Roman Sikora

In October there will start the rehearsal of Die hockenden by Miroslava Svolikova, directed by Rolf Kemnitzer and of Extremophile by Alexandra Badea with the direction of Irene Mattioli.

Theatre LETÍ in Prague has been working with a group of students in translation on a selection of three Fabulamundi Romanian texts: Antisocial by Bogdan Georgescu, Paper planes and Crocodile by Elise Wilk. The results of this work will be presented all over October involving directly the two authors.

The new season of Teatr Dramatyczny in Warsaw starts with the stage reading of The Calipsh Will Kiss Our Foreheads by the Austrian author Muhammet Ali Baş, with the direction of Aldona Figura.

The play tells in a highly comic manner of the efforts of two young men to enroll in jihad. Its principal aim is to expose the absurd reasons that motivate them to do so. Aside from all the usual, frequently discussed explanations, the play attempts to highlight the role of pop cultural elements and religious illiteracy in this. In the course of the play the two young men meet a plethora of quirky, bigoted characters who are in the jihad business primarily to further their own financial interests. This is often grotesquely funny but is also highly instructive. Not only for the figures taking part, but also for the audience. The play tries to make sense of the incomprehensible in a quirky and comic manner without making it appear cute.

On the 13th September, in the frame of Short Theatre Festival, will be presented the outcome of the residency of the Romanian author Bogdan Georgescu: HIC SUNT LEONESSE.

HIC SUNT LEONESSE – Ambra Angiolini, Raffaella Carrà, Amanda Lear, Iva Zanicchi, Heather Parisi – the legendary figures of the Italian television in the 90’s. Hic sunt Leonesse is an Active Art queer feminist performance. During the 90’s, in Romania, the most watched foreign TV channels were the Italian ones. Together with a group of Romanian women living in Italy, we’ll create a biographical retrospective on the imagined Italy, as it was delivered through TV shows by the feminine icons of that time and the realities discovered once their dreamed new life started in the peninsula. We will explore perspectives regarding women, macho-ism, queerness, work, depression etc. influenced by Italian television.

On the 12th September, in the frame of Short Theatre Festival, will be presented the outcome of the residency of the Romanian author Mihaela Michailov.

The emotional landscape of migration has, in the recent years, an impactful feminin face. The economics of affection center on new points of empathic departure and arrival. Who are the blurring ” “mothers of migration” and how they position themselves on the dominant political map of survival? Is their voice strong enough? How can we give them a space of visibility, challenging the critical conditions of work in a violent market of peripherical lives? What are the new maps of emotional work?

From 11th to 15th September, in the frame of Short Theatre Festival, the Italian company Vico Quarto Mazzini will presented a sound installation based on the text Paper Planes by the Romanian author Elise Wilk.

LEAVE THE KIDS ALONE

idea, design and realisation VicoQuartoMazzini
text in audio taken from Paper Planes by Elise Wilk
translated by Roberto Merlo
performing voices Michele Altamura, Simonetta Damato, Gabriele Paolocà
sound Alessandro De Rocco
photo Valerio Polici
registered at REH studio – MAT Terlizzi (Ba)

We live in a violent world and we learn this at an early age. To grow up, enter into the world of adults, means coming to terms with that violence and deciding which side of it you are on.  LEAVE THE KIDS ALONE is an immersive experience, an installation where visual and sonic elements come together out of an infantile and adolescent universe. A game room, recalling some childhood place, where an element of sound insinuates itself, a recording that tells the story of Miki, an adolescent bullied by his peers who, to get away from it all, decides to carry out an extreme gesture. The spectator hears this drama as if it were a fairy tale told to children, still living in a world of games, like a premonition, like an echo aimed at the deepest roots of one’s first encounter with violence. The narrated story comes from Paper Planes by Romanian author Elise Wilk, one of the texts chosen by Fabulamundi- Playwriting Europe for the support and promotion of contemporary dramaturgy in Europe.

LEAVE THE KIDS ALONE is one of the winning projects of the production announcement promoted by PAV, Short Theatre and Teatro i in the context of Fabulamundi Playwriting Europe.

In the frame of Short Theatre festival, on 6 and 7 September António e Cleópatra by the first Fabulamundi’s Portuguese twinned author, Tiago Rodrigues, will be on stage.

If we say one of the names, the other follows it. Our memory cannot evoke one without the other. Plutarch wrote that, from them on, love became the ability to see the world through the sensibility of someone else’s soul. They mixed love and politics and came up with a politics of love. They are a historical love story. They are a romance based on real events often romanticized about. Shakespeare built them a verbal monument that turned into the truest of truths what never happened to them. In Mankiewicz’s film that led 20th Century Fox to bankruptcy, Richard Burton and Elizabeth Taylor were the celluloid and real couple they never –and always– were.
In this show written and directed by Tiago Rodrigues, Sofia Dias and Vítor Roriz are the here -and- now duo of what they were there-and-then. They are and are not Antony and Cleopatra. They are Antony seeing the world through Cleopatra’s eyes. And vice-versa. Always vice-versa. Vice-versa as a rule of love. Vice-versa as a rule of theatre. This show is seeing the world vicariously, through the sensibility of the souls of Antony and Cleopatra.

On 27th August, in the frame of Mousson d’ètè, will be presented the stage presentation of the text “The Passage” by the Spanish author Josep Maria Miró.

The Passage (La traversée)
Text by Josep Maria Miró 
Translated by Laurent Gallardo
Directed by Laurent Vacher
With Éric Berger, Didier Manuel, Charlie Nelson and Julie Pilod

A young girl dies in the arms of Sister Cecília, who finds her among some brambles after being brutally assaulted. This event will set of all the nun’s alarms regarding the functioning of the humanitarian project in the settlement where she is working, in an area devastated by violence and the numerous needs for aid to children and refugees. The episode will be the starting point of an intense emotional journey in relation to her ethical principles and her faith.
The Passage is the journey that takes Sister Cecília from the point of humanitarian conflict to cross the frontier with the first world, the origin of aid and, possibly, the source of the problems.
This play received the Frederic Roda Prize in 2015.

On the 26th August, in the frame of Mousson d’ètè Festival, will be presented the stage presentation of the text “Sorry we didn’t die at the sea” by the Italian author Emanuele Aldrovandi.

Excusez-nous si nous ne sommes pas morts en mer
Text by Emanuele Aldrovandi
Translated by Federica Martucci and Olivier Favier
Directed by Ivica Buljan
With Alain Fromager, Charlie Nelson, Didier Manuel and Johanna Nizard

In a not-too-distant future, Europe has become a continent of emigrants. European citizens, in a quest to find better jobs and a better future, try to reach the “richer” countries, but they have to do so illegally because those countries have since closed their borders. Among many ways of migrating illegally, one of the most widely used is the shipping container: the illegal immigrants come on board and pay a thousand dollars on departure and a thousand dollars on arrival, without knowing where they’ll be offloaded. The characters in this dystopian story are four, and they have no names. They’re identified solely by their physical traits: Robust, Beauty, Tall are the three migrants and Soft is the owner of the container. The play is divided in four parts. The first one takes place at the harbour, before the journey, the second one inside the container, the third one in the middle of the sea after the shipwreck of the boat they were traveling on and the fourth is a dreamlike epilogue – or perhaps a hallucination: the arrival of whales. As Davide Carnevali writes in the preface to the Italian version published by CUE press, the play’s strength is that it doesn’t act as “a parasite to reality, exploiting the problem of immigration and its media coverage. On the contrary, it’s a play that wants to say something that the media doesn’t regarding this problem; to show an image of this reality that isn’t generally shown; to clearly illustrate its dynamics and its motives. This is how theater reaffirms its meaning, a profound one: that of reopening the dialogue with society, where the media often close it.”

On 25th August, in the frame of Mousson d’ètè, will be presented the text Die Mountainbiker, by the Austrian author Volker Schmidt.

Die Mountainbiker
Text by Volker Schmidt
Translated by Nicolas Gessner
Directed by Julia Vidit
With Éric Berger, Thomas Blanchard, Marie-Sohna Condé, Johanna Nizard, Louise Orry-Diquiéro, Alexiane Torrés and Souleymane Sylla

Where nature meets the city…
Anna, a successful  interior designer,  has everything one could wish to have:
a family, material prosperity, physical health. But when she realizes that she reached the edge her life seems to her like a prison.
Anna starts to do strange things to destroy her beautiful life methododically. Maybe because of the death of her son she has never overcome? When she starts an affaire with Thomas, the boyfriend of her daughter, the situation escalates. Catasthrophies happen within the idyll of her world, it’s a chainreaction between Anna and her sourrounding.
„Mountainbiker“ is a drama about todays „Burgoisie“.

On 24th August, in the frame of Mousson d’ètè, will be presented the stage presentation of the text “Nico – Sphinx of ice” by the German author Werner Fritsch.

NICO – SPHINX AUS EIS (NICO – SPHINX OF ICE)
Text by Werner Fritsch
Translated by Pascal Paul-Harang
Directed by Michel Didym
Director assistant Yves Storper
with Odja Llorca
music by Philippe Thibault and Vassia Zagar

Nico, singer with the Velvet Underground, 60s and 70s icon, and a key figure still for the punk and gothic movements. Andy Warhol called her his moon goddess, she called herself Fata Morgana. In this monologue, Werner Fritsch reflects on her life and work.

From 23-29 August La Mousson d’été festival will take place and many texts by Fabulamundi authors will be staged: La traversée by Catalan author Josep Maria Miró I Coromina, Excusez-nous si nous ne sommes pas morts en mer by Italian author Emanuele Aldrovandi, Les tout-terrain by Austrian author Volker Schmidt and Nico-Sphinx de glace by German author Werner Fritsch. There will be a five-day workshop with 15 trainees led by Italian playwright Davide Carnevali. Moreover, twinned UK author Ella Hickson will be present with her text L’autrice.

For more information visit the official website of the Festival www.meec.org

From 18-20 July there will be Mob Pro – Spain, 3 days of meeting and training to stimulate and raise awareness through open discussions on the role and position of playwrights in contemporary society. Fabulamundi artists involved will be Muhammet Ali Basf for Austria, Roman Sikora for the Czech Republic, French author Lancelot Hamelin,  German playwrights Jelena Schulte and  Katharina Schlender, Roberto Scarpetti for Italy, Polish authors Dana Lukasinska and Sandra Szwarc, Mihaela Michailov for Romania. For Spain will be involved local playwright Ferran Joanmiquel together with others Fabulamundi Spanish authors.

Three texts of Fabulamundi authors have been chosen by three different Italian companies in the frame of the Festival “Primavera dei teatri”. The French author Alexandra Badea with her text “Extremophile”, the Polish author Tomasz Man with his text “111” and the Czech author Roman Sikora with “Confession of a masochist” went in Castrovillari for artistic residences. The result will be presented, as light productions, during the Festival from 30th May to 3rd June.

30th May
111 by Tomasz Man
Stage presentation by the company Zahir
Translation by Francesco Annicchiarico
Directed by Emilia Brandi

31st May
Confession of a masochist by Roman Sikora
Stage presentation by the company Rossosimona
Translation by Eleonora Bentivogli
Directed by Francesco Aiello

1st June
Extremophile by Alexandra Badea
Stage presentation by the company Nastro di Moebius
Translation by Rossana Jemma
Directed by Saverio Tavano

In the frame of ZOOM à Theatre Ouvert in Paris, two Fabulamundi authors, Pier Lorenzo Pisano from Italy and Maxi Obexer from Austria will be host.

On 23-24 May there will be the opening of Per il tuo bene by Pier Lorenzo Pisano, translated by Federica Martucci, directed by Tommy Milliot and with Matthias Hejnar, Caroline Menon-Bertheux, Miglen Mirtchev, Adrien Serre, Agnès Sourdillon.

On 26 May , there will be the opening of Illegale Helpers by Maxi Obexer, with the translation of Charlotte Bomy et Katharina Stalder, the artistic and dramatic collaboration of Lars Studer, directed by Marceau Deschamps-Ségura and with Anissa Daaou, Eva Chico, Marceau Deschamps-Ségura, Marion Feugère, Lucie Grunstein, Alexiane Torres.

The Italian author Pier Lorenzo Pisano will be in Paris from 15th to 24th of May for an artistic residence about his text “Per il tuo bene”. The text will be presented at Theatre Ouvert as a stage presentation.

FOR YOUR OWN GOOD
A brother comes back home and his arrival triggers family mechanisms that have always been jammed, expounded through dialogues in the guts and humour that only the family know.
Mother, father, grandparent, uncle, are all part of a criminal conspiracy based on the blackmail. The blackmail of love.
What family really is?
How does it relate to strangers?
And above all, can you survive it?

The Spanish author Helena Tornero will be at Teatro i (Milano) from the 17th to the 23th April.
The author will be involved in a workshop with students, an artistic residence and will be attend the stage presentation of her text “Fascinacion”.

Fascination
Fascination (Latin) 1. f. Delusion or hallucination. 2. f. Irresistible attraction.
They work all day long. A stressful, committed, misunderstood job. But three nights a week they meet there and dance. Cha-cha-cha. Rumba. Waltz. Dance classes for all. Paid for by the company. Pasodoble. Bolero. Salsa. Because the company loves them. The company is like a big family. A big family united by the same idea. And families will do anything to stay united. Fox-trot. Tango. Nothing can alter the family harmony. Swing. Nothing. One, two, three, Mambo.
Fascinación is a text that is read with the rhythms and movements of bodies that dance. That try to dance, despite their minds, fears and prejudices. Because the body does not deceive. The mind does, however, and a great deal. Ideas are barriers, walls, frontiers. The body, however, always goes one step further. The body moves. The body dances. The gesture always ends up revealing those stories that the mind tries so hard to hide.

This month Warsaw Dramatic Theatre continues to host public readings of Fabulamundi selected texts translated into Polish. On the evening of 16 April, there’ll be a reading of Out There by French Fabulamundi author Nathalie Fillion (translated by Aleksandra Stelmach and directed by Aldona Figura). The reading will be followed by an open discussion with the audience and experts.

The text “Lingua Madre Mameloschn” by the German author Sasha Marianna Salzmann will be presented at Teatro Stabile di Torino from the 6th to the 11th February.

Lingua Madre Mameloschn / Muttersprache Mameloschn (Mother Tongue Mameloschn)
by Sasha Marianna Salzmann
directed by Paola Rota
translated by Alessandra Griffoni
with Elena Callegari, Francesca Cutolo, Maria Roveran
costum designer Ursula Patzak
The italian version of the text is published by CuePress