Jón Magnús Arnarsson er fæddur árið 1982. Hann lauk Diplómanámi í leiklist í Kaupmannahöfn árið 2011 og hefur leikið í kvikmyndum, sjónvarpi, útvarpi, leikhúsi og auglýsingum. Auk þess hefur hann skrifað ljóð, texta og rímur (rapp) frá unga aldri og komið að textasmíð óteljandi músíkverkefna og hljómplatna.
Tvískinnungur er hans fyrsta sviðsverk.

Tvískinnungur 

Black Widow og Iron Man hittast á svölunum í grímupartíi; eru þau andstæðingar eða elskendur, fjandmenn eða vinir – eru þau ókunnug eða hafa þau þekkst í þúsund ár? Leikarapar tekst á í snörpum orðasennum þar sem tungumálið er notað til að særa og meiða, heilla og táldraga, strjúka og svíkja, elska og hata, rifja upp, rífa niður og allt þar á milli. Hálfrímaður textinn fleytir verkinu áfram og snertir á ýmsum málefnum sem ungt fólk glímir við í dag;  undir niðri kraumar ólgandi fíknarkvika, logandi ástríður, kynferðislegt markaleysi, ofbeldi, órar og spurningin um hvað sé satt, hvað sé raunverulegt, hvað sé á endanum trúverðugt.

Hrafnhildur Hagalín er fædd 1965. Hún lauk burtfararprófi frá Tónlistarskólanum í Reykjavík 1986 og lagði stund á frönsku og leikhúsfræði í Sorbonne-háskóla í París 1989-1992.  Hún hefur stundað ritstörf og þýðingar um árabil, meðal verka hennar eru, “Ég er meistarinn”, “Hægan, Elektra”, “Norður”, leikgerð að “Sölku Völku” Sek, Flóð og útvarpsverkin „Einfarar“ og „Opið hús“.  Meðal helstu þýðinga eru m.a. verk eftir Söru Kane, Arthur Miller, Harold Pinter, Wajdi Mouawad og Dúkkuheimili eftir Henrik Ibsen.  Hrafnhildur hefur hlotið margvísleg verðlaun og viðurkenningar fyrir verk sín, m.a. Grímuverðlaunin, Menningarverðlaun DV og Leikskáldaverðlaun Norðurlanda fyrir “Ég er meistarinn”(1992) – verkið hefur verið þýtt á ellefu tungumál og sýnt víða um heim. “Hægan, Elektra” var tilnefnt til Leikskáldaverðlauna Norðurlanda 2001 og sýnt í Frakklandi 2008.  Hrafnhildur hlaut ásamt Kristínu Eysteinsdóttur, Norrænu útvarpsleikhúsverðlaunin fyrir úvarpsverkið „Opið hús“, verkið hlaut þriðja sæti í Prix Eruropa 2013.  „Sek“ var valið í Norrænu leikskáldalestina 2014, Hrafnhildur viðurkenningu úr Rithöfundasjóði RÚV sama ár.  Verk hennar hafa komið út hjá Máli og menningu, (Ég er meistarinn og Hægan Elektra) , Oxford University Press (Hægan Elektra) og Iperborea á Ítalíu (Ég er meistarinn), Flóð (Leikritaútgáfa Borgarleikhússins).  Hrafnhildur hefur verið stundakennari og kennt póstdramatíska leikritun við LHÍ. Hún er listrænn ráðunautur við Borgarleikhúsið.

Guilty

Magnað leikrit sem byggir á dómsmáli frá 19. öld. Lífsþræðir ábúenda og vinnumanns í Rifshæðarseli á Melrakkasléttu fléttast saman í örlagaríkum ástarþríhyrningi. Með því að styðjast við texta og tilsvör úr dómskjölum frá þessum tíma byggir höfundurinn upp spennandi atburðarás sem kemur áheyrandanum sífellt á óvart. Sagan hverfist í kringum ástarþríhyrninginn og hina eilífu spurningu um sekt og sakleysi.

Born in Reykjavík in 1965, Hrafnhildur Hagalín graduated from the Reykjavík College of Music as a classical guitarist and later studied Lit- erature and Theatre at the University of Sorbonne, Paris-III. Her first play, “I am the Maestro”, was produced at the Reykjavík City Theatre and won the Icelandic Critics ́ Award in 1991 and the Nordic Theatre Prize in 1992. It has since been translated to many languages and produced widely around the world, including Australia, France, Italy, Poland and the USA. It was nominated as Best Foreign Play in Italy 2004. “Easy now, Electre”, Hrafnhildur ́s second play, premiered at the Icelandic National Theatre in 2000 (nominated to Gríman, the Icelandic Theatre Prize 2001 and The Nordic Theatre Prize 2002). It was produced in France in 2008. Her other plays include “North” 2004, “Salka Valka” (an adaption of the novel by Halldór Laxness) 2005, a television play and several radio plays including “Loners” (Gríman Icelandic Theatre Prize 2011, Prix Europa nomination 2011) and Open House (Gríman 2013, Nordic Radio Drama Award 2013, Prix Europa 3. Place 2013). Her most recent stage plays are “Guilty” 2013 (Nordic Drama Train 2014/15, produced In New York off off Broadway 2017) and Avalanche, a documentary play cowritten with actor Bjorn Thors, Reykjavík City Theatre 2016 (Prix Europa nomi- nation 2016).
Hrafnhildur ́s plays have been published by Mál og menning in Reykjavík, Iperborea (Io sono il Maestro, 2003) and Oxford University Press (Easy now, Electre in Anthology of Modern Women Playwrights of Europe, 2002 ).
Hrafnhildur is dramaturg at the Reykjavík City Theatre. She is represented by The Nordiska https://nordiska.dk 

Guilty

2F, 3M
Translations: English

An intense and thrilling chamber play based on an authentic Icelandic criminal case from 1837, where an 8-year old girl was molested by a farmhand, who turned out to be the mother ́s lover. The play was the Icelandic winner of the Nordic Drama Price Train in 2014.

The plays presents the audience with a grim tale of fatal attraction in the remote desolate moors of the northern coast of Iceland where fog, sea, and frost merge into an implacable darkness that permeates the soul. The dramatic structure merges a courtroom drama with a memory play using multiple points of view, a bit like “Rashomon”, through which the act of the crime is gradually revealed while our per- ceptions of the character motivations and the consequences to them are undergoing a blurring and shifting under the presiding judge’s questioning. Contemporary Icelandic playwright Hrafnhildur Hagalín revisits this infamous case with , a verse play that examines issues of obsession and mercy which cling to it to this day.

Jón Magnús Arnarsson graduated as an actor/performer from The Commedia School in Copenhagen 2013. After graduating he wrote and performed two monologues at the Act Alone Theatre Festival in Iceland. He is the founder of the Golden Gang Comedy Group which has been organizing and performing sould-out Stand-Ups in English in Gaukurinn, Reykjavík, for the last three years. He is one of the aritstic diriectors of Reykjavík Fringe Festival. Jón Magnús is the Icelandic Champion of Poetry Slam and has been invitied to take part in the European Poetry Slam Competition and the World Championsip of Poetry Slam in Nottingham, England in 2019.

Skin Deep

1F,1M
Translations: English

Black Widow and Iron Man meet on a balcony at a masquerade party and head for a dangerous game; are they friends or fows, are they lovers or adversaries – do they know each other or are they strangers? An actor ́s couple are lost in a play within a play within a play and use brutally clever language to hurt and destroy, seduce and fascinate, love, deceive, hate and tear down. The text is partly rhymed, like a long poem, touching some of the most important issues young people are facing today; the youngsters are torn between contrasting feelings of love, hate, sexual desire, dreams, and the eternal question about what is real and what is unreal. The play premiered at the Reykjavík City Theatre in 2018 and was hailed as “the most original new theatre work in years”.

Bjarni Jónsson er fæddur á Akranesi. Hann lauk magisterprófi í leikhúsfræðum frá háskólanum í München 1992 og hefur frá árinu 1994 verið sjálfstætt starfandi sem leikskáld, dramatúrg, þýðandi og framleiðandi. Bja- rni skrifaði sitt fyrsta leikrit, Korkmann, árið 1989, en það var flutt í sviðsettum samlestri í Þjóðleikhúsinu 1992. Árið 1998 var leikrit hans, Kaffi, sett upp í Þjóðleikhúsinu. Sýningunni var boðið á Evrópsku leikritahátíðina í Bonn sama ár og verkið var einnig tekið til flut- nings í Westdeutscher Rundfunk í Köln. Bjarni hlaut tilnefningu til Norrænu leikskáldsverðlaunanna árið 2000 fyrir Kaffi. Árið 2004 sýndi Þjóðleikhúsið leikrit hans, Vegurinn brennur og hann var höfundur að leikgerðunum upp úr Vesturfarasögum Böðvars Guðmundssonar, Híbýli vindanna og Lífsins tré sem sýndar voru í Borgarleikhúsinu árið 2005. Leikrit Bjarna, Óhapp! var frumsýnt í Þjóðleikhúsinu árið 2007, en hann hlaut útnefningu til Norrænu leikskáldaverðlaunanna fyrir það verk, auk tilnefningar til Grímunnar. Falið fylgi var frumsýnt hjá Leikfélagi Akureyrar í janúar 2009. Hann Norrænu útvarpsverðlaunin 2004 fyrir Svefnhjólið, verk sem byggði á sögu Gyrðis Elíassonar og var framleitt í samstarfi við hljómsveitina Múm. Bjarni hefur á síðustu árum starfað sem dramatúrg og höfundur með Kriðpleir leikhópi. Hann er einnig dramatúrg leikhópsins The Brokentalkers í Dublin. Verk hans hafa verið þýdd á ensku, sænsku, þýsku og pólsku.

Óhapp!

Óhapp! er óvanalegt stofudrama með þar sem ólíkir heimar skarast. Við lítum inn til ungra hjóna sem glíma við fortíðina og hvort annað, kennaraverkfall setur óvænt strik í reikning sjónvarpsstjarna, sálfræðingurinn leggur línurnar og kokkurinn töfrar fram unaðslegt lambakjöt. Hér er á ferðinni „heimilisleg“ umfjöllun um þjóðfélag sem er á kafi í sjálfu sér og ósköp kunnuglegt fólk sem er ekki allt sem það sýnist.

Bjarni Jónsson is a playwright and a dramaturg. A two-time nominee for the Nordic Drama Award and a recipient of the Nordic Radio Drama Award, Bjarni has worked for theatres and theatre groups for over two decades, including the National Theatre of Iceland, Reykjavík City Theatre, Kviss Búmm Bang, Kriðpleir Theatre Group, Erna Ómarsdóttir and The Brokentalkers. Amongst Bjarni´s plays are COFFEE (National Theatre of Iceland, 1998), THE BURNING ROAD (National Theatre of Iceland, 2003), MISHAP!(National Theatre of Iceland, 2007 and Akvavit Theatre Chicago, Scandinavian American Theatre Company New York), THE VOTE  (Akureyri City Theatre, 2009), SENDING (Reykjavík City Theatre, 2016) and the radio plays HE WEAVER (State Broadcasting Service, 2007), THE KEY (State Broadcasting Service 2007) and  HOME RUN (State Broadcasting Service 2007). Bjarni’s plays have been translated into English, Swedish, German and Polish.

Mishap!

3F,3M
Translations: English

Jóhanna and Halldór are a depressed married couple dealing with a tragedy involving Jóhanna’s daughter from a previous partner. Jóhanna openly cheats with Daníel, a drunken psychiatrist who is friends with Halldór. These three work on constructing a sign for Jóhanna’s protest of an upcoming teacher’s union strike that threatens to put some 50,000 students out of the classroom. All the while, a reporter and two cheesy cooking show hosts cover not only the protest, but the intimate details of the couple’s relationship. In the early moments of the play, there’s some division between the cooking show taking place upstage and the domestic scenes downstage. Before long the lines become blurred and the television personnel address not only the audience, but Jóhanna, Halldór, and Daníel as well, imploring them to recount the mishap that precipitated their sullen state. Towards the play’s climax, we find that the TV folks have something of a love triangle going themselves, and everyone sits down to dinner together in a fully integrated scene.

Jón Atli Jónasson er fæddur í Reykjavík árið 1972. Hann er stofnmeðlimur Mindgroup, evrópskra regnhlífarsamtaka fólks sem hefur stundar tilraunleikhús. Jón Atli er einn fremsti leikritahöfundur á Íslandi og eftir hann liggja fjölmörg verk, t.d. Draugalestin, Hundrað ára hús, Brim, Rambó 7, Mindcamp og Djúpið sem síðar varð að samnefndri kvikmynd í leikstjórn Baltasars Kormáks. Jón Atli hefur einnig sent frá sér skáldsöguna Í frostinu og Börnin í Dimmuvík og auk þess skrifað smásögur. Verk hans hafa verið sett upp víða um heim, meðal annars í Schaubühne-leikhúsinu í Berlín.

The Deep

Djúpið er einleikur byggður á sannsögulegum atburðum um mann sem lenti í sjóskaða og barðist hetjulega fyrir lífi sínu, einn í sjónum, í margar klukkustundir. Verkið varð síðar að kvikmyndinni Djúpið, leikstýrt af Baltasar Kormáki.

Jón Atli Jónasson, born 1972, is an Icelandic playwright and screenwriter. He is a founding member of the Mindgroup, an European umbrella group of people involved in experimental theater. Considered one of the foremost Icelandic playwrights, he has refused to accept nominations for Gríman, the Icelandic Theater Awards. Stage plays are e.g. Ghost train (Reykjavik City Theatre), Surf. Vesturport. Crowdpleaser (Icelandic arts theatre) Rambo 7 (National Theatre of Iceland), Mindcamp (Hafnarfjördur Theatre), A hundred year old house ( Frú Emilía – theatre), Democrazy Camp-X theatre Copenhagen), The Deep (Reykjavik City Theatre and Schaubuhne am Lehninerplatz, Berlin).

The Deep

Monologue: 1 M
Translations: English, French, German

The Deep is a monologue for the stage which was later made into a film and directed by the Icelandic film director Baltasar Kormákur. The film was selected as the Icelandic entry to The Best Foreign Language film at the 85th Oscar Academy Awards making the January shortlist. It was also nominated for the 2013 Nordic Council Film Prize. The play and the film are based on a true story of an Icelandic fisherman who survived in the freezing ocean after his boat capsized off the south coast of Iceland. Written in a beautifully poetic language it is a breathtaking insight into the mind of a fisherman and his desperate struggle to survive.

Salka Guðmundsdóttir er fædd í Reykjavík 1981 og starfa sem skáld, dramatúrg og þýðandi. Hún var leikskáld Borgarleikhússins 2016-17 og hefur starfað við framkvæmdastjórn leikhópsins Soðins sviðs og framleiðslu leiksýninga á Íslandi, í Skotlandi og Ástralíu. Frumsamin verk Sölku eru m.a. Súldarsker( Tjarnarbíói 2011 og Samkomuhúsinu 2012, einnig sýnt á Festival for ny europæisk dramatik 2012 hjá Husets Teater og valið í ETC Book of Plays 2012), And the Children Did Not Look Back(Oran Mor í Glasgow 2012), Breaker(Adelaide Fringe og Edinburgh Fringe 2013), Manstu?(Þjóðleikur 2013), Svona er það þá að vera þögnin í kórnum(Borgarleikhúsið 2013), Hættuför í Huliðsdal(Soðið svið, Kúlunni 2013), Ljósberarnir(Útvarpsleikhúsið 2016), Old Bessastaðir(Sokkabandið, Tjarnarbíói 2016), Extravaganza(Soðið svið, Borgarleikhúsinu 2016), Eftir ljós(Útvarpsleikhúsið 2017), Skúmaskot(Borgarleikhúsið 2018). Salka hefur hlotið margvísleg verðlaun og viðurkenningar t.d. Underbelly Edinburgh Award 2013 á Adelaide Fringe, Weekly Award for Theatre á Adelaide Fringe, Susan Sontag Prize for Translation 2010 (honorary mention), Gaddakylfan 2007, The Gwilym and Dilys Edmund Award for Excellent Academic Achievements 2005. Og tilnefningu til Grímuverðlaunanna 2011 í flokknum leikskáld ársins fyrir Súldarsker og 2016 fyrir Old Bessastaði. Hættuför í Huliðsdal hlaut auk þess tilnefningu sem barnasýning ársins 2014 og Eftir ljós hlaut tilnefningu sem útvarpsverk ársins 2017.

Breaker

Verkið fjallar um ungan mann, Daníel, sem kemur á afskekkta eyju þar sem amma hans ólst upp. Hann er í leit að svörum við spurningum um fortíðina og hittir fyrir kennarann á staðnum, Sunnu. Þau taka tal saman og ungi maðurinn reynir að grafast fyrir um fortíðina. Sunna er þögul sem gröfin en smátt og smátt fara að koma upp á yfirborðið þeir skelfilegu atburðir sem gerðust á eynni og allir hafa reynt að halda leyndum.

Salka Gudmundsdottir (1981) was born in Reykjavik, Iceland, where she currently resides and works as a writer and translator. Salka‘s original writing has been published in various forms. In 2007, her short story One of the Lads was awarded first prize in the annual crime writing competition run by the Icelandic Crime Association. Her first play Súldarsker (Mizzle Rock) received excellent reviews when it opened in January 2011, among other accolades earning Salka a nomination for best playwright at the Icelandic Theatre Awards 2011. Mizzle Rock was featured inEuropean Theatre Today 2012 as one of the best new plays from Europe. Her one act play And the Children Never Looked Back was staged as part of a Play, a Pie and a Pint at Oran Mor in Glasgow in September 2012 and was later developed into Breaker which was produced at Holden Street Theatres during Adelaide Fringe 2013 and won both a Weekly Fringe Award for Best The- atre and the prestigious Underbelly Edinburgh Award. Breaker was subsequently performed at Underbelly Cowgate throughout the Edinburgh Fringe 2013. A one-act play by Salka ran at the Reykjavik City Theatre from April to June 2013 and she wrote a play for young actors as part of the National Theatre of Iceland’s youth project 2012-2013. Salka’s most recent play is The Elusive Portal, a children’s play produced by Sodid Svid Theatre Company in a 2013 co-production with the National Theatre of Iceland.
Salka holds a BA (First Class) in Drama from the University of Wales, Aberystwyth, an MLitt (First Class) in Creative Writing from the University of Glasgow, and an MA (First Class) in Translation Studies from the University of Iceland.

Breaker

1F,1M
Translations: Scottish, English

Breaker is a powerful new play by Icelandic writer Salka Gudmundsdottir, translated and directed by Scottish director Graeme Maley. Caught up in nostalgia and myths, Daniel comes to the remote island where his grandmother grew up, seeking answers and closure but finds local teacher Sunna trying to make her own way through the darkness following a horrific series of events in the community. Gripping and thought-provoking.

 

Adelaide Now: “This Icelandic play, translated into Scots, is a powerful story of the effects of tragedy on a community and two peo- ple’s attempts to make sense of it.”

Kryztoff Raw: “This is another high-quality production at Holden Street, which offers strong performances, interesting subject mat- ter and an opportunity to think, feel and contemplate.”

1/2 Adelaide Theatre Guide: “This poetic, dark tale of legend and loss is well worth putting on your list of Fringe productions to see!”

Kristín Eiríksdóttir fæddist árið 1981 í Reykjavík. Hún lauk B.A. prófi frá myndlistardeild Listaháskóla Íslands árið 2005.
Fyrsta ljóðabók Kristínar, Kjötbærinn, kom út árið 2004. Áður höfðu ljóð hennar birst í tímaritum og dagblöðum. Á eftir fylgdu svo ljóðabækurnar Húðlit Auðnin árið 2006 og Annarskonar sæla árið 2008. Árið 2010 kom út smásagnasafnið Doris deyr og haustið 2012 sendi hún frá sér sína fyrstu skáldsögu, Hvítfeld – fjölskyldusaga. Hún hefur einnig skrifað tvö leikrit: Karma fyrir fugla ásamt Kari Ósk Grétudóttur, sem frumsýnt verður í Þjóðleikhúsinu í febrúar 2013 og Skríddu sem sett var upp í Borgarleikhúsinu í apríl 2013.
Kristín hefur lagt stund á þýðingar, en árið 2010 kom út í hennar þýðingu bókin Hundshaus eftir danska rithöfundinn Morten Ramsland.
Auk þess að sinna ritstörfum hefur Kristín tekið þátt í samsýningum og sett upp gjörninga í samstarfi við Ingibjörgu Magnadóttur, bæði hér heima og erlendis. Sögur hennar og ljóð hafa verið þýdd yfir á dönsku, þýsku og ensku.
Kristín býr í Reykjavík.

Hystory 

Hystory fjallar um þrjár ungar konur, æskuvinkonur, sem hittast eftir mörg ár hjá einni þeirra. Boðið gengur vel í fyrstu, þær spjalla og skiptast á sögum úr fortíðinni sem virðast ætla að tengja þær sterkum böndum á ný. En skyndilega breytist allt og ógnvænlegur atburður úr fortíðinni kemur upp á yfirborðið. Óumflýjanlegt uppgjör á sér stað.

Born in Reykjavík in 1981, Kristín Eiríksdóttir is the author of three works of fiction, four poetry collections, three plays, and a radioplay. Her first book, Meat Town (2004), straddles the divide between poetry and narrative and was hailed upon its release for its idiosyncratic sense of humor and powerful imagery. Since then, Kristín’s work has consistently earned her both critical and popular acclaim, including a nomination for the prestigious Icelandic Women’s Literature Prize for her first novel, White Fur (2012). Her last novel, A fist or a heart (to by published in English in the fall of 2019 by A.C.), is her most celebrated work to date, winning the Icelandic Literary Prize and the Ice- landic Women’s Literature prize and being recognized as one of the best books of 2017 by the Icelandic National Broadcasting Service. Her radioplay Fákanfan won as the best radioplay at Gríman, the Icelandic theater awards, in 2018.

Hystory

3F
Translations: English, French

Hystory tells the story of three young women who have been childhood friends but have not met for many years. One of them decides to invite the other two to her home. The gathering goes well at first; they chat and enjoy their mutual stories which seem to bring them close together again. But suddenly terrible things start to merge from their past.

Tyrfingur Tyrfingsson hefur þegar skipað sér í hóp helstu leikskálda á Íslandi.
Nýjasta verk hans; Helgi Þór rofnar verður frumsýnt í Borgarleikhúsinu leikárið 2019/20. Áður hafa Kartöfluæturnar, Auglýsing ársins, Bláskjár og Skúrinn á sléttunni verið sýnd þar við fögnuð áhorfenda og lof gagnrýnenda. Verk Tyrfings hafa hlotið veglegar kynningar á leiklistarhátíðum í Evrópu og á næsta leikári mun eitt virtasta leikhús Hollendinga, Toneelgroep Oostpool, sviðsetja Kartöfluæturnar þar í landi. Það hefur jafnframt tryggt sér sýningarrétt á hinu nýja leikritiskáldsins. Tyrfingur hefur hlotið Íslensku leiklistarverðlaunin, Grímuna, fyrir list sína og margsinnis verið tilnefndur til þeirra.
Tyrfingur býr í Amsterdam.

 

Kartöfluæturnar (The Potato Eaters)

Verkið fjallar um örvæntingu og skömm, sektarkennd, leyndardóma og lífslygi fólks. Það styðst að nokkru leyti við viðtöl við íslenska ástar- og kynlífsfíkla. Ættmóðirin Lísa er virt og dáð fyrir störf í þágu kvenna sem orðið hafa fyrir ofbeldi bæði í stríðinu í Kosovo þar sem hún stundaði stríðshjúkrun og í friðsælu Reykjavík. Með árunum hefur hún þróað með sér ástar- og kynlífsfíkn sem hún hefur þekkingu til að takast á við en skortir hugrekki til að leysa. Nú er hún komin heim til að takast á við fortíðina, dóttur sína og stjúpson – og innrétta æskuheimilið alveg upp á nýtt.
Verkið fjallar um hin ýmsu andlit valdbeitingarinnar og nálgast kvikuna við að lýsa einlægri löngun móður til að ná aftur sambandi við dótturina sem hún skildi eftir þegar hún fór til Kosovó. Upp kemst síðan um ástæður þess að Lísa fór þegar fyrrum stjúpbróðir birtist í gættinni og biður líka um hjálp sinnar gömlu fjölskyldu. Verkið fjallar um þau mörk eða það markaleysi sem liggur á milli ástar og fíknar, stríðs og friðar.

Tyrfingur Tyrfingsson was born in 1987 and grew up in the small town of Kópavogur Iceland. He finished a BA in performance making at The Iceland Academy of the Arts in 2011. He was an exchange student at Janáček Academy of Music and Performing Arts in The Czech Republic and then went on to study Writing for Performance at Goldsmiths, University of London.

Tyrfingur Tyrfingsson’s first play Grande was his graduation piece from the Art Academy, earned him recognition in Reykjavík and a nomination to Gríman, the Icelandic Theatre Award. Two years later Blue Eyes (Bláskjár) premiered at the Reykjavík City Theatre where Tyrfingur was made resident playwright. There he wrote The Commercial of the Year.

His latest play The Potato Eaters received five star reviews, critic Jakob S. Jónsson naming Tyrfingur as one of Iceland’s preeminent playwrights. The Potato Eaters is set to be premiered in The Netherlands with Marcus Azzini directing his theatre group Toneelgroep Oostpool.

Blue Eyes was given a staged reading at the Avignon festival in July 2018 during a European forum dedicated to contemporary writings organised by the Avignon Festival, the Strasbourg National Theatre, The Nanterre University and de Maison Antoine Vitez.

Tyrfingur has received six Gríma nominations and won the award once. His plays have been published in books and translated into En- glish, French, Dutch and German. He has written for Glamour Magazine Iceland and taught at both The Iceland Academy of the Arts and the University of Iceland.

In the fall of 2018 The Potato Eaters were nominated for the Cultural Awards (Menningarverðlaun DV). Tyrfingur Tyrfingsson lives in Amsterdam.

The Potato Eaters (Kartöfluæturnar)

3F, 1M
Translations: English, French, Dutch

Lísa is a war nurse and renowned for her work in the Yugoslav wars and her attribution to the feminist movement. We meet Lísa as her estranged daugther, Brúna a busdriver, asks her to babysit for the first time. As Lísa is trying to connect with her peculiar grandson, she hears a knock on the door. Outside Mikael, her former step-son and lover, is standing and in desperate need of help.

A dramedy about the selfishness of suffering, codependency and how trauma travels within the family and isn’t stopped until it is seen.

Aaf Brandt Corstius started as a daily columnist for nrc.next. After several years she moved to de Volkskrant. She publishes columns and articles in a variety of magazines and is also the author of The Year I Turned 30 (Het jaar dat ik 30 werd), The Modern Woman’s Manual (Handboek voor de moderne vrouw) and The Year I Became a Mother (Twice) (Het jaar dat ik (2x) moeder werd). She wrote her first play, Fifty Fifty, (about an open marriage) for Mosquitowiththegoldentooth featuring the actors Marcel Musters and Lies Visschedijk. This was followed by A Hefty Lefty Matron (Een Flinke Linkse Vrouw) (about a woman who takes in a street newspaper vendor). The last part of her trilogy BELLY (BUIK) came out in 2017.

BELLY (Buik)

For her birthday, Bob is taking his sister Marit to a cottage near the beach on the Dutch isle of Texel. However, once settled at their holiday home, it turns out he has a hidden agenda: he intends to subtly inquire whether she’ll agree to be a surrogate mother for him and his male partner.

A comedy about old grudges and new life. About lazy sperm, quick decisions, easy accusations and difficult choices. And about the question: How far will you go for your brother or sister? “But Marit, just hear me out. If it was a kidney I needed you’d help me too, wouldn’t you?”

After the success of Fifty Fifty and Een flinke linkse vrouw, actors Marcel Musters and Lies Visschedijk are cooperating with writer Aaf Brandt Corstius once again. The resulting performances have become a trilogy about man/woman relationships: a couple’s struggle with their open marriage, the uneasy relationship between two total strangers and the complicated family ties between brother and sister.

Vyštudoval všeobecnú medicínu na Lekárskej fakulte Univerzity Komenského v Bratislave. Deväť rokov pracoval ako chirurg a anesteziológ. Napísal  viaceré prozaické knihy, poéziu, filmové scenáre. V roku 1985 spoluzakladal Divadlo GUnaGU v Bratislave, ktoré patrí k najvýznamnejším alternatívnym divadlám na Slovensku. V tomto divadle dodnes pôsobí ako manažér, umelecký šéf, režisér, autor aj herec.  Jeho rozsiahle dielo ho radí k najplodnejším slovenským dramatikom a veľa jeho hier bolo uvedených na slovenských aj zahraničných javiskách. Jeho dramatická tvorba predstavuje most medzi socialistickou a postsocialistickou dobou. Množstvo Klimáčkových hier vyhralo ceny doma aj v zahraničí – je šesťnásobným držiteľom Ceny nadácie Alfréda Radoka, dvakrát vyhral súťaž DRÁMA za najlepšiu slovenskú hru.

Komunizmus

Žáner: neskoro-normalizačná tragédia

Obsadenie: 4 muži, 1 žena

Každý rok oslavuje Alena, dcéra aktívneho disidenta, narodeniny v kruhu blízkych. Jej manžel Michal je bývalým manažérom Československého filmu, dnes už archivár, syn študuje na medicíne. Ale vo februári 1984 generálny tajomník Ústredného výboru Komunistickej strany Sovietskeho zväzu Jurij Andropov zomiera a jeho pohreb sa vysiela celý deň v televízii. V ten deň  všeličo vychádza na povrch a od toho momentu sa všetko pre Alenu v jej živote mení. Čo všetko má človek obetovať pre rodinu? Možno pochopiť zlé skutky konané v mene dobrých úmyslov? Kto je obeť a kto vinník? Dá sa uniknúť režimu?

Klimáček studied general medicine at the Faculty of Medicine of Comenius University in Bratislava. After graduating, he worked for nine years as a surgeon and anaesthetist. He has written a lot of prozaic  books or even poems. In 1985 he co-founded The GUnaGU Theatre in Bratislava, which ranks among the most prominent alternative theatres in Slovakia. He acts as a manager, an artistic head of the theatre, director, writer and actor. His extensive dramatic work makes him one of the most prolific playwrights in Slovakia and many of his plays have been staged on the Slovak as well as world stage. Klimáček´s dramatic work represents some kind of a bridge connecting the socialist period with the post-socialist era. A number of Klimáček´s plays have won prizes at home and abroad – he is a sixtime holder of the Prize of The Alfréd Radok Foundation, two times he has won the DRÁMA competition for the best Slovak drama.

Communism

Genre: late-normalization tragedy

Cast: 4 men, 1 woman

As every year, Alena, a daughter of an active dissident, celebrates her birthday only in the circle of her closest relatives – her husband Michal, a former manager of the Czechoslovak Film and at the moment an archivist, and her son who is in his first year of medicine studies. After all, February in Bratislava belongs to the most awful months and the basic unit of society is – a socialistic family. Alena is preparing canapés with a garlic spread and pours wine bought at Tuzex. Michal is coming down from the roof of a block of flats where he spends most time and gives Alena a secretly smuggled washing powder Persil. However, on February 9, 1984, the Soviet General Secretary Yuri Vladimirovich Andropov dies and his funeral is broadcasted on TV the whole day. The Soviet Union mourns but Alena is supposed to lose a lot on that day. Nothing is going to be definite for her any more. How does it feel to sacrifice yourself for your family even though you need to swallow your pride? Is it possible to protect others when you get involved with totalitarianism? Does evil done with a good intention count? What is a person willing to give up for the others? Will somebody recognize the victim? There is no escape from the system.

Vyštudovala ruštinu a poľštinu na Filozofickej fakulte Univerzity Komenského v Bratislave. Pracovala ako dramaturgička v Divadle pre deti a mládež v Trnave, zástupkyňa šéfredaktora časopisu Slovenské pohľady, komentátorka rádia Slobodná Európa a študovala na ústave slovenskej literatúry Slovenskej akadémie vied. V roku 1993 spoluzakladala feministický projekt Aspekt, na ktorom pracuje dodnes.  Do roku 2018 pracovala aj v Divadelnom ústave ako redaktorka. Je autorkou niekoľkých prozaických kníh (Zverinec, 1994; Siete, 1996; Utrpenie starého kocúra, 2000; Orodovnice, 2006; Žila som s Hviezdoslavom), 2008; Lásky nebeské, 2010, Nevybavená záležitosť, 2013, Cudzie príbehy, 2016. Viaceré z nich boli nominované na Cenu Anasoft Litera. Píše aj pre deti (Iba baba, 1999; Bubliny, 2002; Babeta ide do sveta, 2003 a Ježibaby z Novej Baby, 2005). Píše pre časopisy a prekladá z ruštiny a angličtiny. Jej hry boli inscenované v Činohre SND, v Štúdiu 12 Bratislava či v Bábkovom divadle na Rázcestí v Banskej Bystrici. Výber jej divadelných a rozhlasových hier (Reality snov, Salome, Tichý bič, Misky strieborné, nádoby výborné a iné) vyšiel aj knižne. Je laureátkou viacerých literárnych aj štátnych ocenení.

Reality snov

Obsadenie:  4 ženy, 1 muž

Som veľmi často sama, hovorí matka a dožaduje sa informácií o živote svojich dcér. Nič o vás neviem, čo máte nové. Odpovede od dcér však neprichádzajú a ani nemôžu. Aj dcéry bývajú totiž veľmi často samé, nešťastné, nenaplnené. Ich manželstvá sú štúdiom možností pokazených životov od bežných mužsko-ženských doťahovaní až po sadomasochistické týranie.
Mediálny svet sa v hre prepletá s realitou, v hlave starnúcej ženy sa miešajú seriály s imaginárnymi prienikmi do životov jej dcér. Mŕtva sestra Božka, s ktorou sa matka neustále zhovára, zostáva akousi fiktívnou normou ideálneho života. Hra okrajovo reflektuje aj svet politiky a náboženskú manipuláciu.

She studied Russian and Polish language at the Faculty of Philosophy of Comenius University in Bratislava. She worked as a dramaturg in the Theatre for Children and the Young in Trnava, a deputy editor-in-chief of Slovenské Pohľady magazine, Radio Free Europe commentator and studied at the Institute of Slovak Literature at the Slovak Academy of Sciences. In 1993 she co-founded a feminist project ASPEKT in which she has worked since. She is the author of several prose books A Menagerie, 1994; Nets, 1996; The Ordeal of the Old Tomcat, 2000; Mediatrices, 2006; Ilona. My Life with the Bard, 2008, LovesActually, 2010, Uncleared Mater, 2013, Other Stories, 2016 and others. Many of them were nomitated for Anasoft Litera Award. She also writes for children, for magazines and translates from Russian and English. Her plays were produced by the Slovak National Theatre, The Studio 12 Bratislava or by the Puppet Theatre at the Crosroads in Banská Bystrica. The selection of her plays Juráňová has written plays (a monodrama, Salome – 1989 and a play, Silver Bowls, Beautiful Vessels – 1997 (Salome, Reality of Dreams, A Silent Batch, Silver Bowls, Beautiful Vessels and others) was published in a book.  She is a laureate of various literary and state awards.

Reality of Dreams

Cast: 4 women, 1 man

„I am almost always alone“ says the mother and demands a piece of information about the life of her daughters. I know nothing about you, what is new? Yet the answers never come, as they simply cannot. As a mater of fact the daughters are also almost always alone, unhappy and frustrated. Their marriages are studies of all possible ways to ruin one’s life by indulging in anything on the scale from ordinary male-female cattiness to sadomasochistic tyranny.
The media world interweaves with reality and in the head of an aging woman soap operas mix with the imaginary infiltrations into lives of the daughters. The mother speaks to her dead sister Božka, who is a fictive norm for her of what ideal life should look like. The play also gently touches the world of politics as well as the theme of religious manipulation.

Eva Marie de Waal

Eva Marie de Waal is actrice en schrijfster. Zij studeerde aan de Rotterdamse dansacademie, behaalde een Bachelor Geschiedenis aan de Universiteit van Amsterdam en studeerde in 2009 af aan de Amsterdamse Toneel en Kleinkunst Academie.
Ze speelde onder andere bij Theatergroep Oostpool, het Nationale Toneel, de Toneelmakerij en Zeelandia. Ook maakte ze de Paradevoorstellingen Michael versus Madonna (2010), Sexupsadmess(2011) en Happynasty (2014). Sociaal Kapitaal is de tweede mugmetdevuurvliegen productie van mugmetdegoudentand waar zij deel van uitmaakt. Eerder maakte zij daar Superkapitalisten (2012). Als theatermaker is zij ook verbonden aan Theaterzaken Via Rudolphi. Waar zij als een van de makers van het collectief waar ‘Waal en Wind’ Holy-F (2016) maakte en momenteel schrijft aan Mama Marlene (2020).
Sinds 1995 is zij ook in verschillende televisieseries te zien geweest waaronder: Bellicher: de macht van meneer Miller, het tweede seizoen van In Therapie, en speelde zij een hoofdrol in de televisieserie de Spa en de televisiefilm Laptop.
Superkapitalisten was zijn eerste eigen voorstelling bij mugmetdegoudentand, Sociaal Kapitaal zijn tweede.

 

Sieger Sloot

Sieger Sloot (1977) studeerde in 2000 af aan de Amsterdamse Toneelschool. Hij speelde sindsdien onder andere in voorstellingen als Cloaca en De ontdekking van de Hemel bij Hummelinck Stuurman,  Expats bij Het Toneel Speelt, De Hulp van Maria Goos, Emilia Galotti bij Toneelgroep Amsterdam en bij mugmetdegoudentand speelde Sieger in Verlichtinglight, Superkapitalisten, Kunsthart en Sociaal Kapitaal.
Ook was hij te zien in televisieseries zoals Vuurzee, Floor Faber, Bitterzoet en Klem 2. Hij was medeschrijver en acteur bij het komische programma Nieuw Dier. Sieger speelde daarnaast in het comedyprogramma Wat Als…? en in de films Dolfje Weerwolfje, Hartenstraat en Riphagen.
In het najaar van 2019 zal Sieger te zien zijn in één van de hoofdrollen van de televisieserie Stanley H.
Superkapitalisten was zijn eerste eigen voorstelling bij mugmetdegoudentand, Sociaal Kapitaal zijn tweede.

Superkapitalisten

‘Egoïsme zou de belangrijkste drijfveer van de mens moeten zijn. Je moet alleen datgene doen wat je zelf wilt; dat is uiteindelijk het beste voor de wereld,’ aldus Ayn Rand. Deze invloedrijke Amerikaanse filosofe was bevriend met een van de machtigste mannen ter wereld, Alan Greenspan, negentien jaar lang voorzitter van de Amerikaanse Centrale Bank. In 2008 breekt de kredietcrisis uit. Het economische beleid van Greenspan, gevormd door het gedachtengoed van Rand, wordt hiervoor mede verantwoordelijk gesteld. Aan de vooravond van zijn verhoor door het Amerikaanse Huis van Afgevaardigden raakt Greenspan in paniek. Hoe heeft het zover kunnen komen?
De jonge theatermakers Eva Marie de Waal en Sieger Sloot zijn er niet op uit een historisch juiste reconstructie te geven. Ze zijn gefascineerd door het gedachtengoed van Rand. Aan de hand van het wereldberoemde boek ‘The Fountainhead’ waarmee Rand in 1943 doorbrak, proberen ze greep te krijgen op de ideeën van Rand en Greenspan en de mogelijke gevolgen van de crisis op hun eigen leven.

Superkapitalisten is de eerste productie van mugmetdegoudentand onder de noemer ‘mugmetdevuurvliegen’. Onder deze naam gaat het theatergezelschap samenwerkingen aan met jonge aan de Mug verwante theatermakers. Dat varieert van het beschikbaar stellen van de repetitieruimte tot, zoals bij Superkapitalisten, het op artistiek en productioneel niveau begeleiden van nieuw Nederlands repertoire.  

Eva Marie de Waal

Eva Marie de Waal was born in Amsterdam and grew up in Hilversum. She first studied modern dance at the Rotterdam Dance Academy and history at the University of Amsterdam and then went on to study at the Amsterdam Theater School. She graduated in 2009. Since then she has been working as a freelance actress in theater groups, TV series and films. She also creates her own pieces; conceiving, writing, choreographing and playing in collaboration with others.

 

Sieger Sloot

Sieger Sloot (1977) graduated in 2000 from the Amsterdam Theater School. Since then he has acted in plays such as Hurly Burly by De Praktijk, Cloaca and The Discovery of Heaven by Hummelinck Stuurman, De Hulp (The Cleaner) by Maria Goos and Superkapitalisten (Super Capitalists) by Mosquitowiththegoldentooth. With this group he also played in Kunsthart (Artifiical Heart), which was selected for the Theater Festival. He wrote the play Superkapitalisten in which he also acted, together with Eva Marie de Waal.

 

They are currently working on a new play for Mosquitowiththegoldentooth: Sociaal Kapitaal (Social Capital).

Superkapitalisten

‘Egoism should be the most important of men. You should only do the things you want to do yourself; in the end, this is best for the world,’ said Ayn Rand. This influential American philosopher was befriended with one of the most powerful men in the world, Alan Greenspan, Chair of the Federal Reserve of the United States from 1987 to 2006. In 2008, the financial crisis breaks loose. The economical policy Greenspan created, inspired by Rand’s ideas, is considered one of the causes for this crisis. On the verge of his interrogation by the House of Representatives, Greenspan panics. How did it come this far?
Young theatre makers Eva Marie de Waal and Sieger Sloot are not trying to create a historical correct reconstruction. They are fascinated by Rand’s thinking and ideas. Based on the famous book ‘The Fountainhead’, Rand’s breakthrough in 1943, they try to get a grip on Rand and Greenspan’s ideas and the possible consequences of the financial crisis on their own lives.

Nathan Vecht is een Nederlandse toneelschrijver en scenarioschrijver.
Hij schreef toneelstukken voor onder meer mugmetdegoudentand, het Noord Nederlands Toneel en festival De Parade. Zijn werk is geselecteerd voor het Nederlands Theaterfestival en is uitgegeven door de Nieuwe Toneelbibliotheek en International Theatre & Film Books. Voor televisie schreef hij onder meer de comedyserie Missie Aarde en leverde hij tekstbijdragen voor Koefnoen.
Vecht maakte zijn debuut in het theater als cabaretier als helft van het cabaretduo Ruben & Nathan. in 2002 won het duo in het Nieuwe Luxor Theater in Rotterdam zowel de jury- als de publieksprijs op het Cameretten-festival. In september 2006 hield het duo op te bestaan. In 2007 maakte Vecht zijn debuut als toneelschrijver.

Mugmetdegoudentand

Het kabinet is op een geheime locatie bijeen voor crisisoverleg over een menswaardig asielbeleid.
Een jonge, bevlogen presentatrice wil groen licht van de omroep krijgen voor een nieuw, journalistiek programma.
De bewoonster van een door de aardbevingen getroffen boerderij in Groningen vecht voor een schadevergoeding.
Een maand later treffen de drie elkaar in een live talkshow op televisie. De belangen, frustraties en wensen van de gasten botsen frontaal. Terwijl het hele land zich voor de buis verzamelt, storten ze hun hart uit in een uitzending die niemand had voorzien.
Mugmetdegoudentand, schrijver Nathan Vecht en regisseur Lineke Rijxman maken na het veel geprezen Kunsthart een nieuwe actuele komedie over de Nederlandse identiteit. Over polderaars, opportunisten en idealisten. Over een land dat de weg wijst als er geen wolkje aan de lucht is. Maar hoe gedragen we ons als er wel iets op het spel staat?

Nathan Vecht has written the plays Kunsthart (Artifiical Heart) and Gidsland (Leading Country) for Mosquitowiththegoldentooth, Don Juan (Noord Nederlands Toneel), Post (Bellevue Lunchtheater), Fietsen voor Malawi (Biking for Malawi), Go Vote! and God in Frankrijk (God in France) (de Parade). He wrote the musicals In de ban van Broadway (All About Broadway) and Selma Ann Louis for Delamar Producties. His work has been selected for the Nederlands Theaterfestival, has been performed in Germany and Belgium and has been published by de Nieuwe Toneelbibliotheek (The New Theater Library) and International Theatre & Film Books. He has also written for television, including the comedy series Missie Aarde (Mission Earth) and sketches for Koefnoen (a satirical show) and Het Klokhuis (a children’s show).

HEART FOR ART (Mugmetdegoudentand)

The performance Heart For Art consists of three consecutive one-act plays, each lasting about 30 minutes. Every part refers to a different, more or less recent news item in which art and politics meet.
These three parts present a fictional rendering of what went on behind closed doors (‘what if’) at the time of the actual issues. Together they present a ­– rather ambiguous – image of the Dutchman’s nature in regard to art. The first part is titled Heart For Art; the second is called Tunnel Vision and the third An Honest Human Being.

Part 1: Heart For Art

Hans Wijers, chairman of the inauguration committee, is a member of the board at het Concertgebouw, the famous classical stage in Amsterdam – but he’s also on the boards of Ajax, Shell, Heineken and Natuurmonumenten.
As we speak, he has just made the top-3 of Most Influential Dutchmen in national newspaper De Volkskrant. Hans is the Netherlands: art, soccer, oil, beer and the landscape in one.
Mariss Jansons stems from a Latvian family of classical musicians.  Born while his parents were in hiding, he grows up to become a renowned conductor, a global citizen in the realm of music. Mariss’ father, a conductor as well, died with his boots on in the middle of a concert. Mariss himself has also had a heart attack while conducting in 1996. For the Jansons family, art is quite literally a matter of the heart, and one they’re willing to die for.
Internationally renowned DJ Armin van Buuren has been raised on classical music, of which his father was a great lover. His spouse and tower of strength, Erika van Buuren, keeps him firmly down to earth. She’s also his level-headed and unrelenting agent, taking care of all negotiations.
To Mariss, it’s incomprehensible that Hans (a board member of the Concertgebouw!) is allowing a DJ in front of the orchestra. It leads to a vehement discussion between the unyielding artist (Mariss), the pragmatic negotiator (Erika) and the board member looking for a compromise (Hans). Hans resorts to blackmailing Mariss: if you don’t go on stage with this DJ, we’re withdrawing government funding. Mariss doesn’t budge. In the end, Hans comes up with a typically Dutch compromise: we’ll keep the DJ, but we’ll turn off his sound.

Lineke Rijxman

Lineke Rijxman is regisseuse en actrice. Ze studeerde aan de Toneelschool in Amsterdam en werkte na een korte freelance periode dertien jaar vast bij Toneelgroep Amsterdam onder de artistieke leiding van Gerardjan Rijnders. Ze speelde er in meer dan 32 producties. In 2004 verliet Rijxman Toneelgroep Amsterdam om als freelance actrice verder te gaan. Ze speelde in verscheidene voorstellingen, films en televisieseries.
In 2006 speelde ze de dochter in Quality Time bij mugmetdegoudentand. Deze voorstelling werd geselecteerd voor het Nederlands Theaterfestival (2006) en Rijxman won voor deze rol de VSCD Toneelprijs de Colombina 2006. In 2009 werd Lineke Rijxman vast lid van het artistieke team van mugmetdegoudentand. In 2009 maakte ze samen met Willem de Wolf en Joan Nederlof de voorstelling Hannah en Martin. Voor de rol van Hannah Arendt won ze de belangrijkste Nederlandse toneelprijs: de Theo d’Or.
Rijxman regisseerde voor mugmetdegoudentand o.a. Gidsland, Kunsthart, De Freudjes, Verlichting Light en Mug-inn.

 

Willem de Wolf

Willem de Wolf studeerde in 1985 af aan de Amsterdamse Toneelschool. In datzelfde jaar formeerde hij samen met Ton Kas het theaterduo Kas & de Wolf. Kas & de Wolf schreven/maakten samen een vijftiental stukken. In 2002 wonnen zij de VSCD Mimeprijs voor hun voorstelling Ons soort mensen. Nadat in 2004 de subsidie werd stopgezet schreef Willem de Wolf o.a. voor Dood Paard de tekst bazel en bij mugmetdegoudentand schreef hij samen met Lineke Rijxman en Joan Nederlof Hannah & Martin.
Zijn monoloog Krenz, de gedoodverfde opvolger werd in 2012 genomineerd voor de Taalunie Toneelschrijfprijs en voor het Theaterfestival. In zogenaamde polycoproducties met tg STAN, Dood Paard en Maatschappij Discordia maakte hij de voorstellingen Onomatopee, We hebben het boek wel/niet gelezen en Beroemden. Van 2004 tot 2009 studeerde Willem de Wolf Duitse Taal & Cultuur aan de Universiteit van Amsterdam. Sinds 2010 maakt hij deel uit van de artistieke kern van Compagnie de KOE, in Antwerpen.

HANNA AND MARTIN

Hannah en Martin (Theo d’Or 2009) van Lineke Rijxman en Willem de Wolf is gebaseerd op de kortstondige liefdesrelatie tussen Hannah Arendt en Martin Heidegger. Beiden filosoof, hij korte tijd een vooraanstaand nationaalsocialist, zij Joods. De relatie tussen Arendt en Heidegger is veelvuldig als immoreel bestempeld.
Rijxman en De Wolf willen weten hoe deze twee beroemde Duitsers zich door de dramatische tijd waarin ze leefden heen hebben geslagen. En wat ze gevonden zouden hebben van de tijd waarin wij leven.
Hannah en Martin is een voorstelling waarin de twee acteurs minstens even belangrijk zijn als het feitelijke uitgangsmateriaal. Hun leven met elkaar tijdens de repetitieperiode van Hannah en Martin, werd het gefantaseerde samenleven van Hannah Arendt en Martin Heidegger. Samen met het publiek zoeken zij naar wie ze zijn. Het persoonlijke en het politieke samengebracht in een voorstelling.

Lineke Rijxman

Lineke Rijxman (1957) is a Dutch theatre director, actress and playwright. Educated at Theatre School Amsterdam, she became a permanent member of the ensemble of Toneelgroep Amsterdam (now ITA), where she stayed on for thirteen years.
She also performed in several films and tv-series as well as directing many plays for Mugmetdegoudentand (‘Mug’), among which were Kunsthart, Gidsland and Mug-Inn. She created the play Wat is het nu and, together with Willem de Wolf, Hannah and Martin.
In 2006 she was awarded the Colombina (award for best supporting actress) for portraying the daughter in Quality Time; and in 2009 the Theo d’Or (best leading actress) for her performance in Hannah and Martin, both staged by Mug.
Since 2009, Rijxman has been a valued member of the Mug’s artistic team.

 

Willem de Wolf

Willem de Wolf (1961) is a Dutch actor and playwright, graduated from Theatre School Amsterdam in 1985. In the same year, together with Ton Kas he started theatre duo Kas & de Wolf, which duo created and performed some fifteen plays. In 2002 they were awarded the annual VSCD Mime award for their performance Ons soort mensen.
After the duo’s government funding was withdrawn in 2004, De Wolf worked as a playwright creating, among others, Bazel (for theatre company Dood Paard) and together with Lineke Rijxman and Joan Nederlof Hannah and Martin (for Mugmetdegoudentand). In 2012 his monologue Krenz was nominated both for the ‘Taalunie Toneelschrijfprijs’, an national award for playwrights; and for the Dutch Theatre Festival (crowning it as one of the best performances of the year).
In so-called ‘poly-coproductions’ with Belgian company tg STAN and Dutch companies Dood Paard and Maatschappij Discordia, De Wolf created the performances Onomatopee, We hebben het boek wel/niet gelezen en Beroemden. From 2004 to 2009 he studied German language and culture at Amsterdam University. Since 2010 he is a permanent member of the artistic team of (Belgian) theatre company De KOE.

HANNA AND MARTIN

The play Hannah and Martin is based on the secret love affair between the Jewish philosopher Hannah Arendt and her teacher, philosopher Martin Heidegger, who was briefly an active National Socialist. The relationship between Arendt and Heidegger has often been labelled as immoral. They didn’t want to discuss it. But we do. Because the separation of private and public life they both prized so much simply doesn’t cut it in our times. We want to know how these two famous Germans managed to beat out a path for themselves in the dramatic pe- riod they lived through. And what would they have thought of our times? Arendt’s deeply political work still possesses an enor- mous vitality; Heidegger’s philosophical writing is less yielding – we still haven’t finished his best known work Being and Time. In Hannah and Martin the personal lifes of the two actors or equally important as the historical facts about Heidegger and Arendt. The lifes of Rijxman and De Wolf during the rehearsals of Hannah and Martin became the fantasized relationship of Arendt and Heidegger.

Joan Nederlof studeerde in 1985 af aan de Toneelschool in Amsterdam en was dat jaar medeoprichter van mugmetdegoudentand. Sindsdien speelde ze in vele producties van de Mug. Sinds 1997 richtte ze zich voornamelijk op het schrijven voor televisie en ontwikkelde ze met regisseur Pieter Kramer in totaal 36 afleveringen van de drie-onder-een-kap dramaserie Hertenkamp waarin ze ook acteerde.

Nederlof kreeg een Gouden Kalf (2001) en een Gouden Beeld (2000) voor de rol van Grace Keeley in Hertenkamp. Naast haar werk voor de Mug schrijft Nederlof ook mee aan televisieseries als Gooische Vrouwen en speelt ze gastrollen in diverse televisieseries en films. Inmiddels is ze teruggekeerd op toneel bij mugmetdegoudentand en schrijft ze de tekst voor verschillende voorstellingen.

De Eurocommissaris is een voorstelling waarin Joan Nederlof het publiek meevoert in de gedurfde gedachtestroom van de fictieve – doch zeer populaire – eurocommissaris Charlotte Hajenius.
Zoals zovelen, wist Nederlof weinig over de Europese Unie. Een gat in de theatermarkt, dacht ze in 2015. Vanuit haar eigen nieuwsgierigheid, onwetendheid en vragen maakte ze een solovoorstelling over dit complexe maar belangrijke onderwerp. En de vraag drong zich op of een democratisch, verenigd Europa wel haalbaar is als alle lidstaten vooral hun eigen nationale belangen nastreven.
We zijn inmiddels drie jaar verder en Europa is ingrijpend veranderd. Tijd dus voor een nieuwe versie van De Eurocommissaris.
Wie bang is in een bureaucratisch eliteproject verzeild te raken, hoeft niet te vrezen. Want de rasechte liberale Hajenius heeft naar eigen zeggen niet alleen geen talent om te somberen, ze beschikt bovendien over een bovengemiddelde verbeelding.
Een must-see voor iedereen die Europa een warm hart toedraagt, dat juist niet doet of op die plek een hardnekkige blinde vlek heeft.

Joan Nederlof (1962) is a Dutch actress and playwright/scenarist. She graduated in 1985 from Toneelschool Amsterdam and subsequently established theatre company Mugmetdegoudentand (‘Mug’), along with, among others, Marcel Musters. She has performed in many of the company’s productions, such as Lost in Hotel Paradise and Onder Controle, which was selected for the Dutch Theatre festival in 1995, thus crowning it as one of the best performances in the Netherlands that year.
Since 1997 she has been mainly writing for television. Together with director Peter Kramer, she created 36 episodes of drama series Hertenkamp, in which she also played a main character, Grace Keeley. Nederlof was personally awarded several prestigious national prizes for her performance in this series. This achievement was followed by creating and writing tv- series TV7 and up-to-date adventure series De Koekoeksclub. In 2005 she returned to the stage in a play she wrote herself, Brünnhilde 40+, which received much praise from both audiences and press alike. In 2006, she performed in the second play she wrote, Quality Time, which was selected for the Theatre Festival 2006.
In 2008, Nederlof was nominated for a gold ‘Notekraker’. This annual award honours the ‘most noticeable performance on stage in the Netherlands’. From 2007 to 2013, Nederlof participated in writing several productions for Mug. Additionally, she created several issues for the 3d, 4th and 5th season of popular tv series Gooische Vrouwen.
In 2014 Nederlof started working on a trio of solo performances, both written and performed by her, of which the first two, Sinaasappelstraat and De Eurocommissaris have now been staged. Since 2017, when she became artistic leader of Mugmetdegoudentand, she has also been working on a tv-series in eight episodes about a national newspaper, which will be produced for tv in 2019.

De Eurocommissaris

A few years ago, I realised I knew very little about the European Union. That struck me as strange considering the importance and power of Brussels. So I did some research and made a little show about the EU and a fictional Dutch European Commissioner. But I grasped that my monologue arose entirely from my Dutch point of view. Is a democratic Europe even possible, if, subconsciously, we remain so rabidly nationalistic? – Joan Nederlof (writer of De Eurocommissaris)

In De Eurocommissaris, a fictional European commissioner (Charlotte Hajenius) takes the audience on a humorous journey through her thoughts and tribulations. Is the dream of a democratic, united Europe even possible if Member States persistently put their own agenda first? Charlotte Hajenius gives the audience a glimpse into the inaccessible politics and conflicting values of Europe.

Aaf Brandt Corstius begon als dagelijkse columnist bij nrc.next en stapte een paar jaar later over naar De Volkskrant. Ze publiceert columns en artikelen in allerlei tijdschriften en schreef onder andere de boeken Het jaar dat ik 30 werd, Handboek voor de moderne vrouw en Het jaar dat ik (2x) moeder werd. Bij mugmetdegoudentand schreef ze haar eerste drie toneelstukken (Een Flinke Linkse Vrouw, Fifty Fifty en Buik), en is aldaar bezig aan haar vierde: Margreet heeft de groep verlaten.

BUIK

Bob neemt zijn zus Marit voor haar veertigste verjaardag mee naar de Texelse duinen. Maar als ze in het vakantiehuisje zijn, blijkt dat hij nog een plan heeft: haar op subtiele wijze vragen of ze draagmoeder wil worden voor hem en zijn vriend.
Een komedie over oude wrok en nieuw leven. Over traag zaad, snelle beslissingen, makkelijke beschuldigingen en moeilijke keuzes. En over de vraag: wat heb je over voor je broer of zus?
“Maar Marit. Luister nou. Als ik een nier nodig had zou je me toch ook helpen?”
Na het succes van Fifty Fifty en Een Flinke Linkse Vrouw is Buik de derde samenwerking van Marcel Musters en Lies Visschedijk met schrijfster Aaf Brandt Corstius. Samen vormen de voorstellingen een drieluik over man-vrouwrelaties: een open relatie van een echtpaar, de ongemakkelijke relatie van twee vreemden en de familieband van een broer en een zus.

Sisarukset Ruusu ja Seidi Haarla tekivät huikean läpimurron suomalaiselle teatterikentälle vuonna 2014 teoksellaan Traumaruumis. Molemmat heistä ovat valmistuneet Teatterikorkeakoulusta, Ruusu ohjaajaksi ja Seidi näyttelijäksi. Ruusu Haarlan näytelmäkirjailijan ura on tämän jälkeen jatkunut teoksilla Ruska (2015), Turkka kuolee (2018) ja MeNaiset (2019). Parhaillaan sisarukset työstävät uutta teosta, joka jatkaa Traumaruumiin teemoja.

Traumaruumis (The Trauma Body) 

Me kerromme itsellemme tarinoita elämästämme ja läheisistämme, ja luulemme että ne ovat totta, mutta kunnellessamme ruumistamme, se alkaakin kertoa aivan toisenlaista tarinaa. Se ei olekaan se tarina, jonka me halusimme kuulla. Ruumis muistaa kaiken ja on aina itsekäs. Ruumis tallentaa kaiken toisista ja on silti kaikki itseä. Mikä on vanhempiani, mikä on minua? Mitä sille kaikelle pitäisi tehdä, kun on vain yksi ruumis?

Traumaruumis on kertomus kahdesta sisaruksesta, heidän vanhemmistaan ja muistoistaan, heidän pyrkimyksestään kohti itsenäisyyttä ja riippumattomuutta omista vanhemmista ja lapsuuden traumoista. Henkinen tasapainottomuus, narsismi, väkivalta ja salaisuudet kohdataan kasvoista kasvoihin, yhtä aikaa hauskalla ja puhdistavalla tavalla.

Sisters Ruusu (b. 1989) and Seidi Haarla (b. 1984) made an astonishing breakthrough to the Finnish theatre scene in 2014 with their extraordinary play The Trauma Body. They both have recently graduated from the Theatre Academy, Ruusu as a dramaturg and Seidi as an actor. Ruusu Haarla has also written the plays Ruska (2015) and Turkka kuolee (2018).

The Trauma Body – A Thirty-Year History of One Body (Traumaruumis) 

1 F

We tell ourselves stories about our life and loved ones and think they are true, but when we listen to our body, it begins to tell a whole different story. It’s not the story we wanted to hear. The body remembers everything and is always selfish. What is my parents, what is me? What should be done with it all, when there is only one body?

The Trauma Body is the story of two sisters, Sadie and Rose, their parents and memories, their struggle towards independence. Mental instability, narcissism, violence and secrecy are faced head-on, in a simultaneously funny and purifying way.

Eeva Turunen teki huikean läpimurron suomalaiseen teatteriin vuonna 2014 monologinäytelmällään Muutama sana Ullasta. Intensiivinen ja salakavalan hauska pakkomielteen kuvaus herätti heti laajaa huomiota ja palkittiin vuonna 2015 valtakunnallisen monologifestivaalin pääpalkinnolla. Turunen on koulutukseltaan arkkitehti ja soittaa rumpuja Blondit amazoonit –yhtyeessä. Hänen tyyliään leimaa psykologinen tarkkanäköisyys, joka ei kuitenkaan juutu realismiin, vaan käyttää kielellisen ilmaisun skaalaa monipuolisesti ja varmaotteisesti. Turusen kertomuskokoelma Neiti U muistelee niin sanottua ihmissuhdehistoriaansa voitti Helsingin Sanomien vuoden 2018 kirjallisuuspalkinnon.

Muutama sana Ullasta (A Few Words About Ulla)

1 F

Nuori nainen on linnoittautunut kerrostaloasuntoonsa ja alkaa vähitellen kadottaa otteensa todellisuuteen. Pakkomielteisiä piirteitä saavan ystävyyden kohde on naapuritalossa asuva opiskelutoveri Ulla. Arkisten yksityiskohtien alta kuoriutuu yleispätevä ihmiskohtalo rakkauden ja huolenpidon kaipuusta, tukahdutetusta kunnianhimosta ja äänekkäistä unelmista.

Eeva Turunen burst onto the Finnish theatrical scene in 2014 with her debut monologue Muutama sana Ullasta.  An intense and subtly humorous study of obsessive compulsive behavior, the play was an immediate success and gained first prize at the National Monologue Festival in 2015. Turunen was trained as an architect and is a drummer in the band Blondit Amazoonit.  As an author, she displays accuracy for psychological detail without the fetters of realism, confidently exploiting a wide range of linguistic expression.

A Few Words About Ulla (Muutama sana Ullasta)

1 F

Having incarcerated herself in her apartment, a young woman gradually loses her grip on reality.  Her friendship with a fellow student and neighbor by the name of Ulla soon acquires hints of obsession.  Beneath the minutiae of daily life, the author paints a universally applicable portrait of the yearning for love and affection, of suppressed ambitions and turbulent dreams.

Leea Klemola (s. 1965) on suomalaisen teatterin tämän hetken kiinnostavimpia ja hätkähdyttävimpiä tekijöitä. Näyttelijänä uransa aloittanut Klemola rikkoo näytelmissään teatterin rajoja ja luo uutta, häpeilemätöntä ja rehellistä ilmaisua. Klemolan tuotanto käsittelee häpeää, ruumiillisuutta ja seksuaalisuutta, mutta myös rakkautta, yhteisöllisyyttä ja ihmisyyden rajoja. Hänen teksteissään rivous ja pyhyys sulautuvat erottamattomasti yhteen, ja ihmisen ja eläimen väliset rajat hämärtyvät.

Klemola kuuluu helsinkiläisen Aurinkoteatterin perustajiin. Hän on ohjannut useita oopperoita ja näytellyt lukuisissa elokuvissa ja tv-sarjoissa. Hänet on palkittu Jussi-patsaalla parhaasta naispääosasta vuosina 1997 ja 2013. Klemola sai Olavi Veistäjä –palkinnon vuonna 2005 ja Pro Finlandia –mitalin vuonna 2009.

Klemolan näytelmistä tunnetuimpiin kuuluu ns. Arktinen trilogia: Kokkola (2004), Kohti kylmempää (2008) ja New Karleby (2011). Trilogia saa jatkoa syksyllä 2019, jolloin ensi-iltansa saa neljäs osa Arktiset leikit. Muita Klemolan näytelmiä ovat Jessika – vapaana syntynyt (2002), Jessikan pentu (2012), Maaseudun tulevaisuus (2014), Vaimoni, Casanova (2016) ja Viettelyksen asuntovaunu (2017). Hän on kirjoittanut lisäksi tv-sarjat Hopeanuolet (2007) ja Myrskyn jälkeen (2017).

Vaimoni, Casanova

Vaimoni, Casanova on kertomus Jukka Merenmiehen vaimon, 60-vuotiaan näyttelijä Kyllikki Lallan työhönpaluusta Casanova-näytelmän harjoituksiin pitkän sairasloman ja seksuaalisten häirintäsyytteiden jälkeen.

Vaimoni, Casanova on näytelmä rakkaudenkaipuusta ja kivusta, sekä tuhoon tuomitusta yrityksestä pysyä kohtuudessa ja hyvässä käytöksessä. Se on eroottinen komedia loppuunkulutetusta valloittajan naamiosta, jonka läpi jo kuultavat kantajansa epävarmat, nälkäiset, avuttomat ja yksinjäämistä pelkäävät kuolevaiset kasvot.

I deliberately try to avoid all methods.

See below all the activities involving Leea Klemola in the frame of Fabulamundi.

Leea Klemola (b. 1965) is one of the most interesting and indeed shocking theatre practitioners in Finland today. She began her career as an actress. In her plays she breaks the bounds of theatre, creating forms of expression which are new, unabashed, and honest. Klemola’s works examine shame, the body and sexuality, as well as love and community.

Klemola is an award-winning actress, having won Finland’s highest acting honour, the Jussi Award, for her leading role in the Finnish movie Neitoperho (1997) and again in 2013 for Kerron sinulle kaiken. In 2005 she was recognized by the Finnish Cultural Foundation, which awarded her an Olavi Veistäjä Grant for her significant contributions to Finnish theatre as a director and playwright. She is a founding member of the Aurinko (Sun) Theatre in Helsinki, where many of her productions were first produced.
A series of plays co-authored with Pentti Halonen, Kahelianainen (Wacky Woman,1995), Seksuaali (Sexual, 1998) and Anne Krankin päiväkirja (The Diary of Anne Krank, 2001), raised eyebrows due to their provocative style and deliberate absence of good taste. Jessika – vapaana syntynyt (Jessica – Born Free, 2002) tells about a teenage girl’s life and growing pains, though its main role was written to be performed by the oldest possible actress. Klemola calls her play Kokkola (Kokkola, 2004, co-authored with Klaus Klemola) an „arctic tragedy.“ This absurd but also moving story, populated by colourful characters, has been both a critical and popular success. The Kokkola saga continues in Kohti kylmempää (Into the Cold, 2008) and New Karleby (2011) written by Leea and his brother Klaus Klemola. In Jessikan pentu (Jessika’s Cub, 2012), the teenage girl from Jessica – Born Free has grown up. Now she tries to deal with her failure as a mother while she feels more and more that her place is in the nature not with the people in urban setting saturated with technical gadgets. She wants to fight for her survival. Klemola’s Maaseudun tulevaisuus (The Shepherd), a twisted pastoral play about dystopian Finland of the future, premiered at the Finnish National Theatre in 2014.

Casanova, My Wife (Vaimoni, Casanova)

2F, 3M

Casanova, My Wife is the story of the 60-year old actress Kyllikki Lalla, the wife of Jukka Merenmies, and her return to work in the rehearsals of a play about Casanova, after a long sick leave and allegations of sexual harassment.

Casanova, My Wife is a play about pain, craving for love and a doomed attempt to stay within the limits of reason and good behaviour. It is an erotic comedy about the worn-out mask of a conqueror, through which shines the insecure, hungry, helpless face of its wearer, afraid of ending up alone.

Juha Jokela (s. 1970) on nykyaikainen kirjailija sanan parhaassa merkityksessä. Hänen terävä ja yllättävä huumorinsa, mukaansatempaava tarinankerrontansa sekä vivahteikas ihmiskuvauksensa ovat tiukasti kiinni tässä hetkessä. Hän kuvaa niin yritysmaailmaa, politiikkaa, kuin uskonnollista elämääkin samalla tarkkanäköisyydellä, mutta henkilöitään ymmärtäen. Jokelan näytelmiä leimaa vahva dialogisuus niin kielen kuin dramaturgiankin tasolla: Hän nostaa esiin yhä uusia kysymyksiä, valottaa teemoja lukuisista näkökulmista ja välttää valmiita vastauksia.

Jokelan tuotantoon kuuluu näytelmien lisäksi lukuisia tv-sarjoja. Hänen näytelmänsä Fundamentalisti (2006) voitti vuoden 2008 Pohjoismaisen näytelmäkirjailijapalkinnon ja vuonna 2013 hänelle myönnettiin opetus- ja kulttuuriministeriön Suomi-palkinto. Muita hänen näytelmiään ovat it-alalle sijoittuva komedia Mobile Horror (2003), perhedraama Patriarkka (2012), sekä trilogia Esitystalous (2010), Esitystalous 2 – Tehtävä Espoossa (2013) ja Esitystalous 3 – Radio (2018).

Sumu (Fog)

− Tehään tää projekti pois alta ja mietitään etiikkaa vasta sen jälkeen.

− Mites toi nyt kuulostaa aika pahalta, kun sen noin sanoo.

 

On alkuvuosi 2014. Kolmen miehen Somnimag-yhtiön huippuinnovaatio, laite nimeltä MGD, kartoittaa ihmisen aivotoimintaa ennennäkemättömän tarkasti. Ainoa ongelma on kalliin koneen saaminen kaupaksi. Kun laitetta lähdetään työ- ja elinkeinoministeriön tuella viemään Venäjälle, ongelmia on äkkiä paljon enemmän.

Somnimagin toimitusjohtaja Olli jää puun ja kuoren väliin, kun markkinointipäällikkö Jone on valmis tinkimään moraalista projektin nimissä ja päätutkija Taisto vastustaa koko Venäjä-yhteistyötä. Kun itänaapurin ulko- ja sisäpoliittinen toiminta seurauksineen käy yhä vaikeammin ennustettavaksi ja avustajaksi palkattu, suomenvenäläinen Larissakin vaikuttaa epäilyttävän pätevältä, ei paluuta harmaalta alueelta enää ole.

Näytelmäkirjailija-ohjaaja Juha Jokelan komedia tarttuu tuoreella tavalla suomalaiseen ikuisuusaiheeseen: pienen valtion ja sen kansalaisten eettiseen akrobatiaan ja ennakkoluuloihin suuren, arvaamattoman naapurimaan varjossa. Näytelmä yhdistelee liike-elämän, tieteen, politiikan ja moraalin kuvioita älykkäästi, vauhdikkaasti ja hykerryttävän hauskasti.

Juha Jokela (b. 1970) is a modern writer in the best sense of the word. His witty and surprising humour, compelling narratives and nuanced characterizations are tightly bound to the present moment. Whether focusing his sharp vision on the world of business or the spirit, he writes with deep understanding of the personalities involved.

Jokela began his career in television as a screen writer. His first play, Mobile Horror (A Mobile Horror, 2003), garnered unprecedented critical acclaim, and can truly be said to be one of the most successful plays in recent Finnish theatrical history. This comedy, set in a mobile phone company, was quickly produced by a number of theatre companies. Jokela’s Nordic Drama Award-winning play, Fundamentalisti (The Fundamentalist,2006), is a more serious two-person play examining religious fanaticism; it, too, has achieved both popular and critical success. Jokela’s highly-anticipated play Esitystalous (Performance Economy, 2010) premiered at the Espoo City Theatre into huge success. This satire deals with performance as a basic element of society, politics and business. The first season was sold out already in advance sales. Critics have praised the play for its phenomenal and witty dialog, humor and criticism against the contemporary society where narcissism has become the main fuel of all kind of action. Patriarkka (The Patriarch2012), the most tender and poetic of Jokela’s plays, written for the Finnish National Theatre, was also a huge hit success among critics and audiences. The play won the Audience Award at the 2014 Heidelberger Stückemarkt. In 2013 Jokela continued the themes of Performance Economy in Esitystalous 2 – Tehtävä Espoossa (Performance Economy 2 – Mission: Espoo) which delved into the themes of local identity and the relationship between art and public power. Jokela’s comedy Sumu (Fog2016)  is a sharp study of ethics, business and politics in the shadow of Russia. In 2013 Jokela received the Finnish Ministry of Culture’s Finland Prize.

Fog (Sumu)

3 F, 4 M

In early 2014, Somnimag, a small technology company, has developed a revolutionary brain scan machine, but needs marketing capital to sell it. When the company receives government funding to export the product to its eastern neighbour, the company directors are faced with a moral dilemma: is doing business with Putin’s Russia a viable option? Olli, the CEO, is between a rock and a hard place, as Jone, the Marketing Director, is willing to put morals aside for the project, whereas Taisto, the Head of Research, is against any kind of cooperation with Russia. As Russia’s domestic and foreign policies become more and more difficult to predict and the new hire, Russian-Finnish Larissa appears to be so qualified as to be suspicious, there is no return from the grey area.

Juha Jokela brings his famously intelligent and humorous touch to the eternal theme of a small country’s balancing act in the shadow of a large and unpredictable neighbour.

 

The characters in Juha Jokela’s new play are trudging through thick fog, but for the audience the work opens up like a clear autumn day. And a crisp one too, just as a comedy should be. – Lauri Meri, Helsingin Sanomat

Jokela is exceptionally skillful in making ideological and human fixations collide in his marvelously natural dialogue. The characters are always deliciously our contemporaries, us. – Soila Lehtonen, Aamulehti

Violence, sexuality and religion are only a few of the deep themes Antti Hietala’s plays deal with. In his works history and the present are equally tangible and a bright, revealing light is focused on the darker side of the human mind. Hietala’s theatrical language is deceptively simple, but carefully thought out.

Hietala has been involved with Q-Teatteri, one of the most important independent thetre groups in Finland, since its foundation, and is currently the theatre’s director.  Besides writing his own plays he has adapted novels from such authors as Dostoyevsky and Alfred Döblin for stage and directed Shakespeare’s and Chekhov’s plays. His play Lovely People received the Lea Award for the best Finnish play of 2014.

Lovely People (Ihanat ihmiset)

2 F, 2 M

A married couple has been partying and brought a young girl home with them. During the night the girl overdoses and the couple has to decide what to do. Later the girl’s brother arrives to find out what really happened that night. But does anyone really know the truth?
The play complicates the matters by showing several variations of the situation. Scenes repeat themselves with different outcomes and the truth becomes more and more elusive. The choices people make and their consequences come to life in an urgent and vivid way.

The play premiered at Q-Teatteri, September 18, 2014. It won the Lea Award for the best Finnish play of the year.

Väkivalta, seksuaalisuus ja uskonto ovat vain muutamia niistä syvistä teemoista, joita Antti Hietala (s. 1958) käsittelee näytelmissään. Hietalan teoksissa historia ja nykypäivä ovat läsnä yhtä konkreettisina ja ihmismielen pimeisiin puoliin suunnataan kirkas, paljastava valo. Hietalan näyttämökieli on pettävän yksinkertaista, mutta tarkkaan mietittyä.

Hietala on ollut mukana helsinkiläisen Q-teatterin toiminnassa sen alusta lähtien ja toimii nykyään sen johtajana. Omien näytelmiensä lisäksi hän on sovittanut näyttämölle niin Dostojevskin kuin Alfred Döblininkin teoksia, sekä ohjannut Shakespearen ja Tsehovin näytelmiä. Hietalan näytelmä Ihanat ihmiset sai vuoden 2014 parhaan suomalaisen näytelmän Lea-palkinnon. Muita hänen näytelmiään ovat Variatio delectat (2006), Tulipunainen hevonen (2012), Kevyttä mielihyvää (2016) ja Mount Everest (2018).

Ihanat ihmiset (Lovely People)

Aviopari tulee juhlimasta ja tuo mukanaan kotiin nuoren tytön jatkoille. Yön aikana tyttö ottaa yliannostuksen ja pariskunta joutuu päättämään mitä tehdä. Myöhemmin tytön veli saapuu selvittämään mitä yön aikana todella tapahtui. Mutta tietääkö kukaan todella mitä tapahtui?
Näytelmä mutkistaa asioita näyttämällä tilanteesta useita variaatioita. Kohtaukset toistuvat erilaisilla lopputuloksilla ja totuus karkaa yhä kauemmas tavoittamattomiin. Ihmisten valinnat ja niiden seuraukset heräävät eloon kouriintuntuvalla tavalla.

Ihanat ihmiset on näytelmä, jossa tapahtumat eivät noudata luonnollista järjestystään. Se kertoo pariskunnasta, jolle aika tuntuu oudolla tavalla antavan monia valinnanmahdollisuuksia. Se kertoo pariskunnasta, jonka elämä on kuin noiduttua.

Ihanat ihmiset on näytelmä siitä, että valinnanvapaus ei ole sama asia kuin vapaus ja että jokin meitä työntää kohti jyrkänteen reunaa, vaikka me kuinka valitsisimme sivupolkuja.

Violence, sexuality and religion are only a few of the deep themes Antti Hietala’s plays deal with. In his works history and the present are equally tangible and a bright, revealing light is focused on the darker side of the human mind. Hietala’s theatrical language is deceptively simple, but carefully thought out.

Hietala has been involved with Q-Teatteri, one of the most important independent thetre groups in Finland, since its foundation, and is currently the theatre’s director.  Besides writing his own plays he has adapted novels from such authors as Dostoyevsky and Alfred Döblin for stage and directed Shakespeare’s and Chekhov’s plays. His play Lovely People received the Lea Award for the best Finnish play of 2014.

Lovely People (Ihanat ihmiset)

2 F, 2 M

A married couple has been partying and brought a young girl home with them. During the night the girl overdoses and the couple has to decide what to do. Later the girl’s brother arrives to find out what really happened that night. But does anyone really know the truth?
The play complicates the matters by showing several variations of the situation. Scenes repeat themselves with different outcomes and the truth becomes more and more elusive. The choices people make and their consequences come to life in an urgent and vivid way.

The play premiered at Q-Teatteri, September 18, 2014. It won the Lea Award for the best Finnish play of the year.

Part-Time Associate Researcher, Fixed-Term
3 June 2019 – 31 July 2020
Honorarium: €2,000
Deadline for applications: 9 May 2019

Job Description

We are seeking a highly motivated individual to join the Fabulamundi team as Associate Researcher for our project ‘Fabulamundi Workbook: Mapping Contemporary Playwriting and Theatre Translation Practices in Europe’, led by Dr Margherita Laera, Senior Lecturer in Drama and Theatre at the University of Kent, Canterbury (Principal Investigator). The position will involve a variable number of hours per week (4 to 8) across the whole period, depending on the availability of the candidate. This is a highly flexible role which would suit a recently appointed Lecturer, or post-doc, or PhD student based at any institution in the EU, who could freely choose to spend their paid research time on this project. The remit of the role is to collaborate with Dr Laera on carrying out primary research, and to contribute to the project with a sole- and joint-authored research publications.

Fabulamundi

“Fabulamundi Playwriting Europe: Beyond Borders?” is a cooperation project among theatres, festivals and cultural organisations from 10 EU Countries (Italy, France, Germany, Spain, Romania, Austria, Belgium, UK, Poland and Czech Republic). The network aims to support and promote the contemporary playwriting across Europe, in order to reinforce and enhance the activities and strategies of professionals and artists working in the sector and to provide theatre authors and professionals with opportunities of networking, multicultural encounter and professional development.

Funded by the European Commission twice before the current edition, “Fabulamundi Playwriting Europe” won the Creative Europe Call as cooperation project 2017 – 2020 and now intends to widen both its reach and impact on the theatre sector. Through its experiences of the last four years, Fabulamundi has observed a growing interest in European contemporary playwriting and a constant need to provide the sector with adequate and suitable tools that can help it overcome its weaknesses. Therefore, the need to improve multilateral relationships and exchanges has become urgent as well.

The theme of this edition of Fabulamundi is “Beyond borders?”, a wide reflection about a relevant, challenging and dramatic urgency for Europe and European citizens. In the current climate, characterized by the migration “crisis” and the building of new walls, “Fabulamundi – Beyond borders?” intends to focus on the issue of overcoming borders, in order to foster an understanding of contemporary socio-political and cultural matters.

Fabulamundi and its network have taken on a big challenge in order to develop their own cultural mission. Fabulamundi aims to be a strong and wide platform of support and promotion of contemporary playwriting across Europe.

Fabulamundi Workbook

Through an internal audit of Fabulamundi partners and associated institutions and individuals operating in ten European countries, the project seeks to map the different national and regional ecologies, structures and landscapes enabling the mobility of plays across cultural and linguistic borders in Europe. At a time when internal migration is perceived to be one of the most prominent issues on political agendas in Europe, theatre can provide a powerful paradigm to encourage a sense of intercultural exchange and understanding that can help contextualise migration and facilitate communication across borders. This research is timely and necessary in that it seeks to promote wider and more effective circulation opportunities for living and contemporary writers, thus enabling more European audiences to access plays in translation and recognise themselves in fellow Europeans’ stories.

Through questionnaires and one-to-one or focus group interviews with key stakeholders, the Principal Investigator, Dr Margherita Laera, aims to collect in-depth information about how each national or regional theatre culture supports living dramatists, what conventions drive the translation (or lack thereof) of contemporary plays, and what perceptions are held by gatekeepers, theatre-makers and other cultural operators about the theatre system in which they work. Drawing on the existing network of partners, venues, playwrights, translators, directors and performers working with the EU-funded project Fabulamundi, Dr Laera will evaluate and compare cultural practices and institutional habits in the field of contemporary theatre writing and its translation. While it cannot be claimed that the pre-selected respondents fully represent their national ecologies in Italy, Austria, Belgium, Czech Republic, France, Germany, Poland, Romania, Spain and the UK, they will each provide a partial snapshot of different regional practices that can form the basis of further analysis and comparison.

Dr Laera and her Associate Researcher will deliver academic articles analysing the data obtained through social research and contribute to an industry-focused report sharing key information and best practices in contemporary playwriting and theatre translation. The latter will allow writers, producers and translators across the globe to gain knowledge of each country’s local conventions and mechanisms, increasing their chances of being staged abroad within the Continent. As a member of the research team, the associate researcher will have access to the contacts, data and conversations informing this project and will be able to draw on this material for their own independent research purposes. The report will be published and disseminated widely in English and Italian through the Fabulamundi network.

For more information about the research project, please read email Valentina De Simone at projects@pav-it.eu to request a project outline. Any questions should be directed to Valentina De Simone or to Margherita Laera, at m.laera@kent.ac.uk

The Candidate

The ideal candidate will hold, or be near completion of, a PhD in Drama or related subject.
The position will be part-time and might include responsibilities such as:

  • Identifying and reviewing existing research on the topic
  • Assisting the PI with research admin tasks
  • Attending Fabulamundi partner meetings
  • Liaising with Fabulamundi partners
  • Networking with other academics working in the field across Europe
  • Elaborating, uploading and monitoring online questionnaires
  • Liaising with Social Scientists on the design of questionnaires
  • Interviewing key stakeholders
  • Transcribing interviews with key stakeholders
  • Writing reports on data gathered
  • Contributing to the project with own publications
  • Presenting at conferences on the project

Person Specification

Essential Qualifications:
Have a PhD, or be near completion, in Drama or related subject

Desirable Experience:
Social Sciences research methods

Essential Characteristics

  • Highly motivated
  • Highly organised and punctual
  • Excellent attention to detail
  • Excellent interpersonal skills
  • Proficiency in one or more European languages (other than English)

Relations

Reporting to:
Claudia Di Giacomo, Director, PAV, www.pav-it.eu, and Fabulamundi Project Leader.
Margherita Laera, Senior Lecturer, University of Kent, PI, Fabulamundi Workbook research project.

How to Apply

To apply, please send a CV and cover letter, clearly stating how you meet the person specification and essential characteristics.

Applications should be sent to Valentina De Simone at projects@pav-it.eu

Shortlisted candidates will be invited for a Skype interview in May.

Associate Researcher, Part-Time
Fixed-Term
3 June 2019 – 31 July 2020
Honorarium: €2,000
Deadline for applications: 9 May 2019

Job Description

We are seeking a highly motivated individual to join the Fabulamundi team as Associate Researcher for our project ‘Fabulamundi Workbook: Mapping Contemporary Playwriting and Theatre Translation Practices in Europe’, led by Dr Margherita Laera, Senior Lecturer in Drama and Theatre at the University of Kent, Canterbury (Principal Investigator). The position will involve a variable number of hours per week (4 to 10) across the whole period, depending on the availability of the candidate. This is a highly flexible role which would suit a recently appointed Lecturer, post-doc, or PhD student based at any institution in the EU. The remit of the role is to collaborate with Dr Laera on carrying out primary research, and to contribute to the project with a sole- and joint-authored research publications.

Fabulamundi

“Fabulamundi Playwriting Europe: Beyond Borders?” is a cooperation project among theatres, festivals and cultural organisations from 10 EU Countries (Italy, France, Germany, Spain, Romania, Austria, Belgium, UK, Poland and Czech Republic). The network aims to support and promote contemporary playwriting across Europe, in order to reinforce and enhance the activities and strategies of professionals and artists working in the sector and to provide theatre authors and professionals with opportunities of networking, multicultural encounter and professional development.

Funded by the European Commission twice before the current edition, “Fabulamundi Playwriting Europe” won the Creative Europe Call as cooperation project 2017 – 2020 and now intends to widen both its reach and impact on the theatre sector. Through its experiences in the last four years, Fabulamundi has observed a growing interest in European contemporary playwriting and a constant need to provide the sector with adequate and suitable tools that can help it overcome its weaknesses. The need to improve multilateral relationships and exchanges has become urgent.

The theme of this edition of Fabulamundi is “Beyond borders?”, a reflection about a relevant, challenging and dramatic theme for Europe and European citizens. In the current climate, characterized by the migration “crisis” and the building of new walls, “Fabulamundi – Beyond borders?” intends to focus on the issue of overcoming borders, in order to foster an understanding of contemporary socio-political and cultural matters.

Fabulamundi and its network have taken on a big challenge in order to develop their own cultural mission. Fabulamundi aims to be a strong and wide platform of support and promotion of contemporary playwriting across Europe.

Fabulamundi Workbook

Through an internal audit of Fabulamundi partners and associated institutions and individuals operating in ten European countries, the project seeks to map the different national and regional ecologies, structures and landscapes enabling the mobility of plays across cultural and linguistic borders in Europe. At a time when migration is perceived to be one of the most prominent issues on political agendas in Europe, theatre can provide a powerful paradigm to encourage a sense of intercultural exchange and understanding that can help contextualise migration and facilitate communication across borders. This research is timely and necessary in that it seeks to promote wider and more effective circulation opportunities for living and contemporary writers, thus enabling more European audiences to access plays in translation and recognise themselves in fellow Europeans’ stories.

Through questionnaires and one-to-one or focus group interviews with key stakeholders, the Principal Investigator, Dr Margherita Laera, aims to collect in-depth information about how each national or regional theatre culture supports living dramatists, what conventions drive the translation (or lack thereof) of contemporary plays, and what perceptions are held by gatekeepers, theatre-makers and other cultural operators about the theatre system in which they work. Drawing on the existing network of partners, venues, playwrights, translators, directors and performers working with the EU-funded project Fabulamundi, Dr Laera will evaluate and compare cultural practices and institutional habits in the field of contemporary theatre writing and its translation. While it cannot be claimed that the pre-selected respondents fully represent their national ecologies in Italy, Austria, Belgium, Czech Republic, France, Germany, Poland, Romania, Spain and the UK, they will each provide a partial snapshot of different regional practices that can form the basis of further analysis and comparison.

Dr Laera and her Associate Researcher will deliver academic articles analysing the data obtained through social research and contribute to an industry-focused report sharing key information and best practices in contemporary playwriting and theatre translation. The latter will allow writers, producers and translators across the globe to gain knowledge of each country’s local conventions and mechanisms, increasing their chances of being staged abroad within the Continent. As a member of the research team, the Associate Researcher will have access to the contacts, data and conversations informing this project and will be able to draw on this material for their own independent research purposes. The report will be published and disseminated widely in English and Italian through the Fabulamundi network.

For more information about the research project, please read email Valentina De Simone at projects@pav-it.eu to request a project outline. Any questions should be directed to Valentina De Simone or to Margherita Laera, at m.laera@kent.ac.uk

The Candidate

The ideal candidate will hold, or be near completion of, a PhD in Drama or related subject.
The position will be part-time and flexible, and might include responsibilities such as:

  • Identifying and reviewing existing research on the topic
  • Assisting the PI with research admin tasks
  • Attending Fabulamundi partner meetings
  • Liaising with Fabulamundi partners
  • Networking with other academics working in the field across Europe
  • Liaising with Social Scientists on the design of questionnaires
  • Elaborating, uploading and monitoring online questionnaires
  • Interviewing key stakeholders
  • Transcribing interviews with key stakeholders
  • Writing reports on data gathered
  • Contributing to the project with own publications
  • Presenting at conferences on the project

Person Specification

Essential Qualifications:
Have a PhD, or be near completion, in Drama or related subject

Desirable Experience:
Social Sciences research methods

Essential Characteristics

  • Highly motivated
  • Highly organised and punctual
  • Excellent attention to detail
  • Excellent interpersonal skills
  • Proficiency in one or more European languages (other than English)

Relations

Reporting to:
Claudia Di Giacomo, Director of PAV and Fabulamundi Project Leader.
Margherita Laera, Senior Lecturer, University of Kent, PI, Fabulamundi Workbook research project.

How to Apply

To apply, please send a CV and cover letter, clearly stating how you meet the person specification and essential characteristics.

Applications should be sent to Valentina De Simone at projects@pav-it.eu

Shortlisted candidates will be invited for a Skype interview in May.

Aaf Brandt Corstius started as a daily columnist for nrc.next. After several years she moved to de Volkskrant. She publishes columns and articles in a variety of magazines and is also the author of The Year I Turned 30 (Het jaar dat ik 30 werd), The Modern Woman’s Manual (Handboek voor de moderne vrouw) and The Year I Became a Mother (Twice) (Het jaar dat ik (2x) moeder werd). She wrote her first play, Fifty Fifty, (about an open marriage) for Mosquitowiththegoldentooth featuring the actors Marcel Musters and Lies Visschedijk. This was followed by A Hefty Lefty Matron (Een Flinke Linkse Vrouw) (about a woman who takes in a street newspaper vendor). The last part of her trilogy BELLY (BUIK) came out in 2017.

BELLY (Buik)

For her birthday, Bob is taking his sister Marit to a cottage near the beach on the Dutch isle of Texel. However, once settled at their holiday home, it turns out he has a hidden agenda: he intends to subtly inquire whether she’ll agree to be a surrogate mother for him and his male partner.

A comedy about old grudges and new life. About lazy sperm, quick decisions, easy accusations and difficult choices. And about the question: How far will you go for your brother or sister? “But Marit, just hear me out. If it was a kidney I needed you’d help me too, wouldn’t you?”

After the success of Fifty Fifty and Een flinke linkse vrouw, actors Marcel Musters and Lies Visschedijk are cooperating with writer Aaf Brandt Corstius once again. The resulting performances have become a trilogy about man/woman relationships: a couple’s struggle with their open marriage, the uneasy relationship between two total strangers and the complicated family ties between brother and sister.

Je absolventom Vysokej školy múzických umení v Bratislave, kde študoval divadelnú réžiu a neskôr získal doktorát z dramaturgie. V roku 1991 spolu s Blahom Uhlárom a Milošom Karáskom založil Divadlo Stoka – nekonformné alternatívne divadlo, kde pôsobil ako herec, režisér a autor. S divadlom navštívil rôzne festivaly – inscenácia Impasse vyhrala Hlavnú cenu poroty v Périgeux vo Francúzsku (1994) a s Eo Ipso sa zúčastnili Bonnského bienále (1996). Vydal zbierku rozhlasových hier Rádiové hry (1999), v ktorej sa nachádzajú hry: Na hladine, Chrobáci v škatuli, Do teplých krajín, Kvapky. Všetky hry nahral Slovenský rozhlas, Chrobákov v škatuli inscenovali v AHA Divadle v Prahe. Knižne vyšla aj divadelná hra Večera nad mestom. V roku 2002 založil Divadelné združenie MED, kde režíroval svoje vlastné divadelné hry. Vydal zbierky poézie Hriešny spánok (1991), Prišiel som, videl som… (2000), knihu poviedok Mám sa… (2004), román Zlý herec (2009) ktorý sa dostal v roku 2010 do finále ceny Anasoft litera a vyšiel aj v českom preklade.  V roku 2014 mu vyšiel román Ešte som tu a zostanem, v roku 2019 uviedol román Suché roky (Jediný pravdivý príbeh o budúcnosti). Od roku 2017 pravidelne píše rozhlasové hry a poviedky aj pre Český rozhlas. Pracuje aj ako režisér v Slovenskom rozhlase, stále aktívne hrá ako herec, venuje sa písaniu rôznych literárnych a dramatických foriem, žije v Bratislave.

Dobro

Obsadenie: muži 4, ženy 3 (hrajú viac postáv)

Dobro (hlavná postava rovnomennej inscenácie) ako svojrázna paródia na hrdinov iniciačných románov prechádza rôznorodými situáciami, v ktorých spoznáva, kto ťahá za nitky nášho sveta. Neúspešného herca, zakríknutého zápecníka, ktorý stále býva s mamičkou, postupne koristnícki príbuzní s mafiánskym „priateľom“ dotlačia až do Bruselu. Tam sa má stáť tvárou slovenského predsedníctva. „Dobro“, teda výhody a tučné zisky, ktoré si všetci od inštalácie Dobroslava v centre európskych byrokratov sľubujú, sa však kamsi vytráca. Dobroslav sa v Bruseli vymyká spod kontroly.

He graduated from the Academy of Performing Arts (VŠMU) in Bratislava where he studied theatre directing. In 1991, together with Blaho Uhlár and Miloš Karásek, he established the Stoka Theatre – a non-conformist alternative theatre where he worked as an actor, director and author. Stoka theatre visited many theatre festivals – with the play Impasse won the Main Jury Prize in Périgueux, France (1994), and with Eo Ipso they took part at the Bonner Biennale in 1996. In 2002 he established the MED Theatre Association where most of the productions are the results of collective and individual improvisations. He has published books of poetry Sinful Sleeping (1991), I came, I saw…) (2000), book of short stories I Feel… (2004), the novel A Bad Actor (2009) and a collection Radio Plays (1999) in which he presented texts of plays: On the Surface, Beatles in a Box, Into Warm Countries, Drops. All of these plays were recorded by Slovak Radio, the Beatles in a Box was staged at the AHA Theatre in Prague, Czech Republic. His play Dobro was recently produced by the Andrej Bagar Theatre in Nitra. He has also regularly co-operated with amateur ensembles. He works as an actor, radio and dubbing director and screenwriter. Since 2006 he has worked as a dramaturg and since 2008 as a director in Radio and Television of Slovakia.

Dobro

Cast: 4 men, 3 women (multiple roles)

Dobro (the protagonist of the play bearing the same name; „Dobro“ means goodness) is a peculiar parody of the heroes in initiation novels. Dobroslav experiences a variety of situations in which he gets to understand who pulls the strings in this world. The unsuccessful actor and timid homebody still living with his mother is gradually pushed by his predatory relatives and a mobster „friend“ to take a job in Brussels. Once there, he is supposed to become the face of the Slovak EU presidency. „Dobro“ also means the „good stuff“, i.e. the advantages and big profit his Slovak supporters expect he will amass in the centre of European bureaucracy. But the goodness they await goes amiss. In Brussels Dobroslav gets out of control.

Je absolventkou Vysokej školy múzických umení v Bratislave, kde študovala dramaturgiu. Jej prvé hry uviedli viaceré slovenské divadlá medzi nimi Štúdio 12 Bratislava, Mestské divadlo Žilina či Divadlo Alexandra Duchnoviča v Prešove.  S režisérkou Júliou Rázusovou v roku 2013 založili alternatívne Prešovské národné divadlo. Pre toto divadlo napísala doteraz päť hier: Single radicals (2013), Kindervajco (2015), Good place to die (2015), Deň, keď zomrel Gott (2017) a Cesta hrdinov (2018). Hra Single radicals bola uvedená aj v zahraničných divadlách – Váci Dunakanyar Színház, Maďarsko (2015) a Teatr im. Stefana Jaracza Olsztyn, Poľsko (2016). Autorsky spolupracuje so Slovenským rozhlasom RTVS (rozhlasové hry, minidrámy, adaptácie). Venuje sa aj písaniu pre deti. Pôsobí ako lektorka dielní tvorivého písania pre mládež.

Single radicals

Tragikomédia

Obsadenie: 2 muži, 2 ženy

Štyria single prešovčania, jedna noc v hudobnom klube, päť taktov opitosti a odhalenie túžob. Tragikomická výpoveď o generácii ľudí, ktorí prednedávnom skončili vysokú školu a rozmýšľajú o tom, čo urobiť s načatým životom. Vymedzujú si priestor v ktorom chcú žiť, hľadajú cieľ o ktorý sa dá zachytiť a túžia po ideálnom partnerovi.
Egoizmus, nevyvážené pomery medzi západom a východom Slovenska, chýbajúca generácia single dvadsiatnikov a tridsiatnikov v meste, núti našich hrdinov prehodnocovať vzťahy a hodnoty. V snahe nanovo definovať lásku si uvedomujú, že sa z nich stali Single radicals a zbavení ideálov nie sú schopní pustiť sa do budovania vzťahov.

She graduated at the Academy of Performing Arts in Bratislava where she studied dramaturgy. Her early plays were staged in various theatres in Slovakia such as Studio 12 Bratislava, Municipal Theatre in Žilina or the Alexander Duchnovič Theatre in Prešov. With a director Júlia Rázusová founded an alternative Prešov National Theatre in 2013.  For this theatre she wrote already five plays: Single radicals (2013), Kinderegg (2015), Good place to die (2015), The day when Gott died (2017) A Road of Heroes (2018). A play Single radicals was produced also in Váci Dunakanyar Színház, Maďarsko (2015) and in Teatr im. Stefana Jaracza Olsztyn, Poľsko (2016). She co-laborate with a Slovak Radio RTVS (radio plays, minidramas, adaptations of classic theatre plays and other works). She writes plays for children as well. She teaches creative writing at the worshops for teenages.

Single radicals

tragicomedy

4 caracters (2 men, 2 women)

Four young inhabitants of the Eastern Slovakian city of Prešov. One night in the music club, the disclosure of the hidden passions. A tragic comedy about a generation of young people which just finished their university study and wish to settle down.
About people that still dream about their ideal partner trying to find what to to with the rest of your life.
Egoism, split between the East and the West of Slovakia and much more.
Those „single radical“ are without any ideals and they are incapable to build any relations.

Je absolventom réžie na Divadelnej fakulte Vysokej školy múzických umení v Bratislave. V rokoch 1996 až 1998 sa zúčastnil študijného pobytu  na divadelnej škole Circle in the Square Theatre na Broadwayi. V deväťdesiatych rokoch sa ako režisér a scenárista podieľal na rôznych televíznych projektoch. Pracoval tiež na animovanom filme. V roku 1999 sa stal umeleckým šéfom Divadla Slovenského národného povstania Martin. V rokoch 2006 až 2009 pôsobil ako umelecký šéf v Mestskom divadle Zlín a v rokoch 2010 až 2019 v Švandovom divadle v Prahe. Ako režisér spolupracoval s množstvom slovenských a európskych divadiel (Česká republika, Maďarsko, Taliansko), viacero jeho inscenácií dostalo medzinárodné ocenenia. Príležitostne sa venuje dramatickému písaniu.

Peniaze

Obsadenie: 6 mužov, 5 žien

Hra postupne spriada dohromady vlákna osudov jednotlivých postáv, aby ich v dramatickom finále nechala rýchlo hovoriť jednu cez druhú na jednom mieste, v bankovej hale. Jednotlivé obrazy sú chronologicky poprehadzované, aby sa postupne vynárali príbehy, ktoré majú spoločnú tému peňazí. Dvojica stále zhulených lúzrov sa rozhodne za asistencie svojho šéfa prepadnúť banku, z cudziny sa navrátivší syn začne opäť bývať so starostlivou matkou a je platonicky zamilovaný do bankovej úradníčky, kde pracuje ako ochrankár. Mladšia partnerka a o jej oveľa starší partner sa tesne pred svadbou rozídu, hoci partner už bol v banke vybaviť novomanželskú pôžičku. Muž hrá na harmoniku v pasáži vedľa banky, obľúbi si ho matka syna. A nakoniec dôjde v prepadnutej banke k chaotickej streľbe.

He is a graduate of directing at the Drama and Puppetry Faculty of the Academy of Performing Arts (VŠMU) in Bratislava. In 1996–1998 he was on his study stay at the Circle in the Square Theatre – Theatre School in Broadway in New York. In the 1990s he took part in various TV projects as a director and scriptwriter. He also worked on an animated film. In the 1999/2000 theatre season he became the artistic director of the Theatre of the Slovak National Uprising in Martin. In 2006 – 2009 he worked as the artistic director in the Town Theatre in Zlín, Czech Republic and from 2010 he works as the artistic director in Švandovo divadlo in Prague. As a director he co-operated with a number of Slovak and European theatres (Czech Republic, Hungary, Italy) and many of his productions received international awards. Sporadically he focuses on dramatic writing.

Money (Peniaze)

Cast: 6 men, 5 women

The play tells intervowen stories of various characters, that meet in the dramatic finale in a bankhall. Scenes are not sorted chronologically and gradually reveal individual stories with the common topic of money. A couple of permanently stoned losers decides with an assistance from their boss to rob a bank, a son coming home from abroad to live with his mother and is in platonic love with a bank clerk, where he works as a security man. Young woman breaks up with her older partner just before wedding, even though he has already gone to bank to obtain a loan for newly-wed. The mother gets to like a man playing harmonica in the arcade next to the bank. And finally there is a chaotic shoot-out in the robbed bank.

EU flag_resize

Fabulamundi Playwriting Europe: Beyond Borders? is a cooperation project among theatres, festivals and cultural organisations from 10 EU Countries (Italy, France, Germany, Spain, Romania, Austria, Belgium, UK, Poland and Czech Republic) for the promotion of contemporary dramaturgy. The network aims to support and promote the contemporary playwriting across Europe, in order to reinforce and enhance the activities and strategies of the professionals and artists working in the sector and to provide the theatre authors and professionals with opportunities of networking, multicultural encounter and professional development.

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Playwrights

Desde que começou a trabalhar como ator, há 20 anos, Tiago Rodrigues tem sempre abordado o teatro como uma assembleia humana: um local onde as pessoas se encontram, como num café, para discutir as suas ideias e partilhar o seu tempo. Cruzou-se pela primeira vez, quando ainda era estudante, em 1997, com a companhia tg STAN, confirmando o seu vínculo a ao trabalho colaborativo sem hierarquia. A liberdade que encontrou quando começou a trabalhar com este colectivo belga viria influenciar para sempre os seus trabalhos futuros. Em 2003, co-fundou a companhia Mundo Perfeito com Magda Bizarro, na qual criou e apresentou cerca de 30 espetáculos em mais de 20 países, tornando-se uma presença regular em eventos como o Festival d’Automne à Paris, METEOR Festival na Noruega, Theaterformen na Alemanha, Festival TransAmériques no Canadá, kunstenfestivalsdesarts na Bélgica, entre outros. Colaborou com um grande número de artistas portugueses e internacionais, como também coreógrafos e bailarinos. Foi, também, professor de teatro em várias escolas, nomeadamente a escola de dança belga PARTS, dirigida pela coreógrafa Anne Teresa De Keersmaeker, a escola suíça de artes performativas Manufacture e o projecto internacional École des Maîtres. Paralelamente ao seu trabalho em teatro, escreveu argumentos para filmes e séries televisivas, artigos, poesia e ensaios. Com as suas peças mais recentes, obteve um reconhecimento internacional alargado e diversos prémios a nível nacional e internacional. Algumas das suas obras mais notáveis são By Heart, António e Cleópatra, Bovary, Como ela morre e a sua última criação Sopro, estreada no Festival d’Avignon 2017. Quer combinado histórias reais com ficção, quer reescrevendo clássicos ou adaptando romances, o teatro de Tiago Rodrigues é profundamente enraizado na ideia de escrever para e com os atores, procurando a transformação poética da realidade usando as ferramentas teatrais. Essa aspiração é óbvia em projetos como a Occupation Bastille, a ocupação artística do Théâtre de la Bastille em Paris, por cerca de uma centena de artistas e espectadores que decorreu em 2016. Em 2018 foi galardoado com o XV Prémio Europa Realidades Teatrais. Diretor artístico do Teatro Nacional D. Maria II desde 2015, Tiago Rodrigues tem sido um construtor de pontes entre cidades e países e, ao mesmo tempo, um anfitrião e um defensor de um teatro vivo.

Antonio e Cleopatra

Se dizemos um dos nomes, o outro surge de seguida. A nossa memória não consegue evocar um sem o outro. Plutarco escreveu que, a partir deles, o amor passou a ser a capacidade de ver o mundo através da sensibilidade de uma alma alheia.
Misturaram amor e política e inventaram uma política do amor. São uma história de amor histórico. São um romance baseado em acontecimentos reais frequentemente romanceados. Shakespeare ergueu-lhes um monumento verbal que transformou na verdade mais verdadeira aquilo que nunca lhes aconteceu. No filme de Mankiewicz que levou a 20th Century Fox à falência, Richard Burton e Elizabeth Taylor foram o casal celuloide e real que eles nunca e sempre foram.
Neste espetáculo que Tiago Rodrigues escreve e dirige, Sofia Dias e Vítor Roriz são a dupla aqui-e-agora do que eles foram ali-e-então. São e não são António e Cleópatra. São o António a ver o mundo pelos olhos da Cleópatra. E vice-versa. Sempre vice-versa. Vice-versa como regra do amor. Vice-versa como regra do teatro. Este espetáculo é ver o mundo através da sensibilidade das almas alheias de António e Cleópatra.

Since he started out as an actor, 20 years ago, Tiago Rodrigues has always looked at theater as a human assembly: a place where people meet, like in a cafe, to confront their thoughts and share their time. His encounter with tg STAN, in 1997, when he was still a student, definitely confirmed his attachment to the absence of hierarchy in a creative group. The freedom he found when he first started working with this Belgian collective would forever influence his future works. In 2003, he co-founded with Magda Bizarro the company Mundo Perfeito, with which he created and presented about 30 performances in more than 20 countries, becoming a regular presence in events such as Festival d’Automne à Paris, METEOR Festival in Norway, Theaterformen in Germany, Festival TransAmériques in Canada, kunstenfestivalsdesarts in Belgium, among others. He collaborated with a large number of Portuguese and international theatre artists, as well as choreographers and dancers. He also taught theater in several schools, namely the Belgian dance school PARTS, directed by choreographer Anne Teresa De Keersmaeker, the Swiss performing arts school Manufacture and the international project École des Maîtres. Parallel to his theatre work, he wrote screenplays for film and television, articles for newspapers, poetry and essays. His latest performances granted him international recognition and a number of national and international awards. Some of his most notable works are By Heart, Antony and Cleopatra, Bovary, The way she dies and his latest piece, Sopro, created at the Festival d’Avignon. Either mixing true stories and fiction, rewriting classics or adapting novels, the theatre of Tiago Rodrigues is deeply rooted in the idea of writing for and with the actors, searching a poetical transformation of reality through theatrical tools.
That desire is obvious in projects such as Occupation Bastille, an artistic occupation of Théâtre de la Bastille, in Paris, by almost a hundred artists and spectators in 2016. In 2018 he was awarded with the XV Europe Prize Theatrical Realities. Director of the Teatro Nacional D. Maria II in Lisbon since 2015, Tiago Rodrigues has become a builder of bridges between cities and countries, at once host and advocate of a living theatre.

Antonio e Cleopatra

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.

Em 2001, quando fundei o Teatro do Vestido, fi-lo com a consciência de que queria escrever os textos que iria levar à cena. Ou seja, há uma relação directa entre a escrita que faço para teatro e a sua encenação. Lembro-me que procurávamos não ser lineares nas histórias que contávamos nem na forma de as contar. Movia-nos um ímpeto poético e uma relação directa com a cena, para a qual escrevíamos (e isto ainda que à cena não correspondesse necessariamente um palco, uma vez que a maioria dos nossos projectos tinha lugar… fora daquilo a que convencionalmente se chamaria ‘cena’, em ruas, em alas de um hospital psiquiátrico, em casas privadas, em fábricas abandonadas, só para citar alguns desses locais). Em 2019, move-me a mesma vontade de pensar o teatro numa estreia relação com textos que são poéticos e suficientemente complexos para com eles construir partituras cénicas em camadas e em profundidade. É difícil descrever o que tento fazer com a minha escrita. Partir da realidade e desta ideia de que a realidade é um verdadeiro repositório de histórias, imagens, memórias. Partir de nós, da nossa relação com essa realidade e com os materiais e pontos de partida de cada obra. Fazer a síntese disso. Entre o que vemos e o que somos, entre o que ouvimos os outros contar e o como isso ressoa connosco. Situo a escrita que faço para teatro nesse lugar entre.

Encenadora, actriz, dramaturga. Fundadora (em 2001) e directora artística do Teatro do Vestido onde dirigiu e escreveu mais de 30 criações.

Doutorada pela Roehampton University, no departamento de teatro e estudos performativos, com a tese-espectáculo Um Museu Vivo de Memórias Pequenas e Esquecidas (prémio do público do Festival de Teatro de Almada 2015/ Nomeado para melhor espectáculo SPA/2015). Mestrado em Encenação pela Royal Scottish Academy of Music and Drama; Licenciada em Antropologia pela Universidade Nova de Lisboa; formação como actriz pela Escola Superior de Teatro e Cinema (antigo Conservatório Nacional).

Aprofundou os seus processos colaborativos com os Goat Island e os Every House has a Door, na School of the Art Institute of Chicago. Aprendeu sobre o devising – que já fazia, mas a que não dava esse nome – com Alexander Kelly, dos Third Angel, no Programa Gulbenkian de Criatividade e Criação Artística. Foi também aí que consolidou o seu trabalho autobiográfico.

A relação entre os acontecimentos históricos e as suas representações no presente, bem como a recolha de memórias e histórias de vidas, e as cartografias poéticas e afectivas das cidades são algumas das questões a partir das quais tem trabalhado e investigado. Publicou diversos artigos sobre história oral e performance.

Tem editados os seguintes textos de teatro: Margem (2019), Atalhos ou o caminho mais longo entre dois pontos (2017); até comprava o teu amor, mas não sei em que moeda se faz essa transacção (2016). Recentemente, foi editado o livro antológico Teatro do Vestido – Um dicionário, em colaboração com o Teatro Nacional D. Maria II, para o qual contribuiu.

É professora adjunta no departamento de Teatro da Escola Superior de Artes e Design, das Caldas da Rainha (ESAD.CR), e investigadora associada do Instituto de História Contemporânea da Universidade Nova de Lisboa (IHC/Nova). É artista residente do Teatro Viriato para o quadriénio 2018-22.

Em Março de 2012, recebeu juntamente com o Teatro do Vestido a Menção Honrosa da Associação Portuguesa de Críticos de Teatro por “uma actividade aberta a todas as formas de arte, atenta a todos os cidadãos e curiosa de tudo o que se passa no mundo em que as pessoas vivem.”

Viajantes Solitários

Viajantes Solitários  é um texto sobre camionistas, escrito a partir de uma recolha de histórias vida, reais, de motoristas de camiões, realizada no Verão de 2015 na região de Viseu, no norte de Portugal. A partir desse rico material, Viajantes Solitários – escrito para ter lugar dentro de um camião – atravessa os temas mais recorrentes nas vidas destes homens– a solidão, o medo, o tédio, a casa ou a sua ausência, a permanente viagem, ao mesmo tempo que sublinhando aspectos particulares de diversas histórias. É uma peça eminentemente sobre homens, porque não havia mulheres disponíveis para serem entrevistadas aquando da recolha de histórias.

O que pensam estes homens durante todos aqueles quilómetros? – esta foi a inquietação primeira que me levou a conversar com eles durante muitas horas.

In 2001, I founded Teatro do Vestido based upon an awareness that I wanted to write the texts I would be staging. My work as playwright is therefore intertwined with my work as a director. I remember that we tried not to be linear in the stories we were telling nor in the way of telling them. We were driven by a poetic impulse and a direct relationship with the stage (whatever that stage might be, as most of our productions were actually staged… offstage – in places like a mental hospital, several streets, private houses, abandoned factories, and so on). In 2019, I am driven by the same desire of considering theatre in its close relationship with text that are sufficiently poetic and complex as to allow me to construct a staged score made of layers. It is truly difficult to describe what I attempt to do with my playwriting.  I depart from the observance of reality and from a deep conviction that reality – everyday life – is a true repository of histories, images, and memories. I depart from myself and from the life stories of the artists I am working with – from our relationship or connection with the materials and the departing points of each project. My writing is the synthesis of all those elements. It relates and connects what we see with what we are, what we hear the others telling us with how that resonates with each of us. I therefore place my playwriting on that place in between.

Joana Craveiro is a Portuguese director, writer, performer and teacher.

She is artistic director of Teatro do Vestido, a theatre company based in Portugal, for which she has written, directed and performed over 30 pieces in the past 17 years, since she founded the company

Craveiro holds a PhD from Roehampton University, in London, with a thesis entitled: “A Live/Living Museum of Small, Forgotten and Unwanted Memories – Performing Narratives, Testimonies and Archives of the Portuguese Dictatorship and Revolution.” She has published several articles about her thesis on memory and postmemory transmission through performance. Her performance-lectures have been shown in international conferences since 2012: New York, Aarhus, Bristol, London, Skopje, Dallas, Montreal, Barcelona, Bangalore, Belém do Pará, and several venues in Portugal.

She holds a Master Degree in Directing, from the Royal Scottish Academy of Music and Drama (RSAMD, 2004), a Degree in Anthropology (Universidade Nova de Lisboa, FCSH, 2003), and a Bachelor Degree in Acting (Escola Superior de Teatro e Cinema – ESTC, 1997). She has further studied with Alexander Kelly (Third Angel, UK), Goat Island and Every House has a Door (Chicago) – with them she learned and experienced with devising and collaboration.

Craveiro is associated researcher at Instituto de História Contemporânea IHC/Nova, in Lisbon. She is interested in the poetics and the transmission of memory, and her work intersects autobiography, (political) memory and private archives. She keeps investigating about the Portuguese revolution of 1974-75, its subsequent rewritings and remnants, as well as the Portuguese dictatorship and political violence, and the Colonial War of 1961-1974.She is also interested in all kinds of stuff and keeps ethnographic journals of daily observance of reality.

Viajantes Solitários/ Lonely Travellers

Viajantes Solitários/ Lonely Travellers is a play about truck drivers, which I have written after a thorough collection of life stories by truck drivers. I have interviewed these men (they were all male, no female drivers were available for interviewing) in the year 2015 in the region of Viseu, north of Portugal. The play was written already envisioning its staging: in the back of a truck. The text runs through the common thread in the stories of these men: solitude, fear, boredom, home (or its absence), the ongoing journey, while referring to particular aspects of some of these men’s lives.

About what do these men think during so many hours? – This was my primary question, which led me into talking to them for so many hours.

FABULAMUNDI DRAMA LAB is a project conceived and realized in partnership by PAV (Rome) and Teatro-i (Milan), a training course for twelve playwrights under 35. The Fabulamundi Drama Lab workshops will take place between September 2018 and March 2019 with a double focus of work on Rome – in the context of Short Theater – and on Milan, and with translation residencies abroad and in Italy, to trigger new dynamics of relationship and contamination starting from contemporary dramaturgy. The activities in Rome of the Drama Lab will stimulate connections and dialogues with various professionals in the theatre sector specially selected by the Fabulamundi international network, including its partners. Authors, directors, theorists, directors of theaters and festivals, journalists, writers and heterogeneous interlocutors will alternate with the aim of providing participants, thanks to a calendar of meetings and talks, concrete and targeted tools on what it means to do contemporary dramaturgy today, both in terms of production and internationalization.

Fabulamundi Drama Lab is a project conceived and realized by PAV and Teatro-i with the support of MiBACT and SIAE, as part of the initiative “Sillumina – Private copy for young people, for culture”

  • Michelangelo Zeno
    Michelangelo Zeno
  • Irene Petra Zani
    Irene Petra Zani
  • Giuliano Scarpinato
    Giuliano Scarpinato
  • Tatjana Motta
    Tatjana Motta
  • Margherita Mauro
    Margherita Mauro
  • Niccolò Matcovich
    Niccolò Matcovich
  • Matteo Luoni
    Matteo Luoni
  • Valentina Gamna
    Valentina Gamna
  • Riccardo Favaro
    Riccardo Favaro
  • Luca Di Capua
    Luca Di Capua
  • Davide Del Grosso
    Davide Del Grosso
  • Chiara Boscaro
    Chiara Boscaro
  • Valeria Belardelli
    Valeria Belardelli
  • Martina Badiluzzi
    Martina Badiluzzi
  • Joele Anastasi
    Joele Anastasi

The training activities planned for this large scale of Fabulamundi Playwriting Europe aim at providing tools and training paths for all 80 selected playwrights in order to support their professional growth in a European system of networking. Ranging from workshops, residencies and artistic development programmes that give to the authors involved new occasions to push the boundaries of their practice, to share thoughts and creative processes, bring people together and equip them with new skills and confidence.

Si diploma in drammaturgia alla Civica Scuola D’Arte Drammatica „Paolo Grassi“ di Milano nel 2010. Prosegue la sua formazione con seminari di regia. Il suo percorso è a cavallo fra la scrittura pura e la creazione di spettacoli. Con la compagnia Famiglia Mastorna fra il 2011 e il 2014 si occupa della riscrittura e del riallestimento di testi classici (Bernhard, Mueller, Ibsen). Scrive con il compositore Gabriele Cosmi la pocket-opera MagenZeitOpera, edita da Suvini-Zerboni e rappresentata a Venezia all’interno di BiennaleMusica2014. Dal 2017 è dramaturg di produzione presso CuboTeatro di Torino per cui scrive Blatte, testo che ha debuttato al Teatro Gobetti di Torino nel 2018 e che ha ottenuto la menzione della giuria al PremioHystrioScrittureDiScena. Il testo teatrale Malagrazia (edito da Caracò, Bologna) è messo in scena dalla compagnia Phoebe Zeitgeist, ha girato vari teatri in Italia ed ha aperto la rassegna NuoveStorie2018 al Teatro dell’Elfo a Milano. Nel 2019 debutteranno una nuova versione del Tito Andronico di Shakespeare e una nuova spassosa parodia religiosa: il Tempo del Massacro.

BLATTE

Hikikomori o ragazzi fantasma, così sono chiamati i giovani che non lavorano, non studiano finendo per rinchiudersi in casa e rifiutando qualsiasi tipo di contatto con l’esterno. Alex era uno di loro. Ma la sua non è una famiglia tradizionale. La madre, Gwen, in seguito alla morte del primo marito, ha sposato il collega Carl, già padre di Olivia, una ragazza dell’età di Alex. Ma Alex non accetta la nuova vita. O non riesce ad accettarla? La sua scelta sarà fatale: lo porterà alla morte per inedia. Una fine assurda e imponderabile per una famiglia benestante del mondo occidentale. Com’è stato possibile? A queste e altre domande dovranno rispondere Gwen, Carl e Olivia durante una diretta televisiva in cui verranno pressati dalla voce di un’intervistatrice tanto maliziosa quanto eterea, che sembra non lasciare nulla al caso, nemmeno i silenzi. Fra rimpianti e sensi di colpa, fra liti furibonde e confessioni glaciali seguiranno la loro parabola di negazione del dolore, si libereranno delle loro pulsioni distruttive, prepareranno il futuro cancellando il passato. Sullo sfondo, come per evocazione o apparizione, Alex vive la sua avventura eroicomica in un mondo fantastico alla scoperta di una popolazione sconosciuta: le Blatte, piccoli esseri che prosperano al di là del tempo e degli eventi nutrendosi delle macerie.

Michelangelo Zeno obtains a diploma in dramaturgical writing at the Dramatic Art School „Paolo Grassi“ of Milan in 2010. He continues his training with workshops of direction. His route is halfway between pure writing and creation of plays. Between 2011 and 2014 he rewrites and stages some classics (Bernhard, Müller, Ibsen). He writes for the composer Gabriele Cosmi the libretto of MagenZeitOpera, edited by Suvini-Zerboni and represented in Venice during BiennaleMusica2014. From 2017 he is resident dramaturg at CuboTeatro in Turin. He writes Coackroaches that opens at Teatro Gobetti in Turin in 2018 and obtains the jury’s mention of the writing prize HystrioScrittureDiScena. His play Malagrazia (edited by Caracò, Bologna) is staged by Phoebe Zeitgeist Company in many theaters in Italy and it opens the season NuoveStorie2018 at Teatro dell’Elfo in Milan. In 2019 he will debut with a new version of Shakespeare’s Tito Andronico and a new funny religious parody: The Slaughter’s.

COCKROACHES

Hikikomori or ghost-boys, so are called the young people that don’t work, don’t study and finally lock themselves up and refuse all the outside contacts. Alex was one of them. But he has not a traditional family. The mother, Gwen, after the first husband’s death, married Carl, her colleague, father of Olivia, a girl with the same age of Alex. But he doesn’t accept the new life, or he can’t accept. His choice will be fatal: Alex will die of starvation. An absurd death for a high family of the western world. How was it possible? To these and other questions they will have to answer during a Tv-show where they are pressed by a malicious and ethereal interviewer who doesn’t leave anything to chance, even the silences. Between regrets and senses of guilt, between furious arguments and icy confessions, they will follow a parable of grief’s negation, they will get rid of their destructive drives and will prepare the future deleting the past. In the background, as for evocation or apparition, Alex lives his mock-heroic adventure in a fantastic world discovering an unknown population: the Cockroaches, little beings that flourish beyond the time and the events eating rubble…

Irene Petra Zani nasce in provincia di Bergamo nel 1986 e si diploma in Scrittura Drammaturgica all’ Accademia d’Arte Drammatica Paolo Grassi di Milano. Lavora e collabora come drammaturga e assistente alla regia con diverse compagnie teatrali, di danza contemporanea e altre realtà artistiche (Teatro i, Fattoria Vittadini, Atopos Compagnia teatrale, Fragile Artists performing photography, Fulvio Vanacore e recentemente con The Baby Walk). Fa parte del progetto Playstorm di Fausto Paravidino per il Teatro Stabile di Torino.

IL BAMBOLO – dov’è più facile guardare

Una donna davanti al mare con il suo compagno di una vita, un bambolo gonfiabile. Lei non sa nuotare. Per la donna, lui è vero e i suoi occhi senza sguardo sono gli unici occhi che lei riesce ad amare. La coppia esiste e resiste da più di diecimila anni, il loro amore è difficilmente degradabile, come la plastica. Come un’illusione.

Il testo affronta la patologia dell’anoressia, intesa nell’accezione di sintomo e difesa a seguito di un abuso avvenuto nell’infanzia, e racconta la comica tragedia di un amore impossibile e la sua inesauribile richiesta di incontro e di dialettica con l’Altro, eternamente presente e assente.

Irene Petra Zani was born in Bergamo in 1986 and graduated in Playwriting at the Accademia d’Arte Drammatica Paolo Grassi in Milano. She worked and collaborated as playwright and as assistant director with several theater companies and artistic collectives, including dance companies (Teatro i, Fattoria Vittadini, Atopos Compagnia teatrale, Fragile Artists performing photography, Fulvio Vanacore and recently with The Baby Walk). She is in Playstorm team, a project by Fausto Paravidino for Teatro Stabile of Torino.

THE DOLL – where it’s easier to look

A woman in front of the sea with her life’s partner, a male inflatable doll. She is not able to swim. For her, it is real and its eyes without eyes are the only eyes that she can love. The relationship existed and lasted since more than ten thousand years: this love is hardly degradable, like plastic. Like an illusion.

The play deals with the pathology of anorexia, understood here in the sense of symptom and defense following an abuse occurred in childhood, and tells the comic tragedy of an impossible love and its inexhaustible request for meeting and dialectics with the Other, eternally present and absent.

Giuliano Scarpinato nasce a Palermo nel 1983. Dopo aver conseguito nel 2006 la laurea in lettere moderne all’Università di Palermo, si diploma nel 2009 alla Scuola del Teatro Stabile di Torino fondata da Luca Ronconi e diretta da Mauro Avogadro. Nel 2014 debutta come regista e drammaturgo con lo spettacolo Fa’afafine, che riceve il Premio Scenario Infanzia 2014, il Premio Infogiovani 2015, l’Eolo Award 2016.  Nel 2015 cura la regia e l’adattamento drammaturgico di Elettra di Hugo von Hofmannsthal , che vince nel 2016 il Premio Attilio Corsini. Nel 2017 scrive e dirige Alan e il mare , dedicato al profugo siriano Alan Kurdi, e Se non sporca il mio pavimento – un mélo, ispirato all’episodio di cronaca nera dell’omicidio Rosboch; entrambi sono frutto della collaborazione con la drammaturga Gioia Salvatori. Nel 2018 debutta ‘A Supirchiarìa, dedicato alla figura e all’opera di Leonardo Sciascia, e inizia il cantiere di Ovid Hotel, liberamente ispirato a “The lobster” di Yorgos Lanthimos (debutto previsto in autunno 2019).  Fa’afafine, giunto nel 2018 al suo terzo anno di tournèe con quasi 100 repliche in tutta Italia, debutterà a Parigi nel maggio 2019 al Theatre de Montreuil, in collaborazione con il Theatre de la Ville.

Fa’afafine

Esiste una parola nella lingua di Samoa, che definisce coloro che sin da bambini non amano identificarsi in un sesso o nell’altro. Fa’afafine vengono chiamati: un vero e proprio terzo sesso cui la società non impone una scelta, e che gode di considerazione e rispetto. Alex non vive a Samoa, ma vorrebbe anche lui essere un fa’afafine ; è un “gender creative child”, o semplicemente un bambino-bambina, come ama rispondere quando qualcuno gli chiede se è maschio o femmina. Oggi per Alex è un giorno importante: ha deciso di dire ad Elliot che gli vuole bene, ma non come agli altri, in un modo speciale. Cosa indossare per incontrarlo? vestito da principessa o scarpette da calcio? Occhiali da aviatore o collana a fiori? Il ragazzino ha sempre le idee chiare su ciò che vuole essere: i giorni pari è maschio e i dispari è femmina, dice. Ma oggi è diverso: è innamorato, per la prima volta, e sente che tutto questo non basta più. Fuori dalla stanza di Alex ci sono Susan e Rob, i suoi genitori: lui non vuole farli entrare, ha paura che non capiscano, e probabilmente è così è stato fino a questo momento. Nessuno ha spiegato a Susan e Rob come si fa con un bambino così speciale; hanno pensato che fosse un problema, hanno creduto di doverlo cambiare. Ma oggi è un giorno nuovo: quello in cui un bambino-bambina diventerà il papà-mamma dei suoi genitori, e insegnerà loro a non avere paura.

Giuliano Scarpinato was born in Palermo in 1983. After majoring in Modern Literature at the University of Palermo in 2006, he specialised as an actor at Scuola del Teatro Stabile di Torino, founded by Luca Ronconi and directed by Mauro Avogadro. In 2014 he made his debut as a director and playwright with Fa’afafine, the story of a gender-creative child, Alex White, receiving the Scenario Infanzia Award (2014), the Infogiovani Award (2015), the Eolo Award (2016). In 2015 he wrote and staged an adaptation of Elektra by Hugo von Hofmannsthal, winning the Attilio Corsini Award (2016). In 2017 he wrote and staged Alan e il mare (Alan and the sea) inspired by the true story of little syrian refugee Alan Kurdi, and Se non sporca il mio pavimento – un mèlo ( If it does not dirty my floor – a mèlo), based on a recent italian crime story, the murder of Gloria Rosboch. These two plays were written in collaboration with italian playwright Gioia Salvatori. His latest works are ‘A Supirchiarìa (The Abuse, 2018), dedicated to the figure and work of sicilian writer Leonardo Sciascia, and Ovid Hotel (2018), inspired by Yorgos Lanthimos’ film The Lobster. After reaching in 2018 its third year of tournèe, with almost 100 performances all over Italy, Fa’afafine will make its debut in Paris in may 2019 (Theatre de Montreuil / Theatre de la Ville).

Fa’afafine

There’s a word in the samoan language for those people who do not identify as the male nor female gender: they are called fa’afafine, and recognized as a third sex deserving respect and consideration. Alex does not live in Samoa, but he would still love to be a fa’afafine: he’s a gender-creative child, or just a girl-boy, as he prefers to say. Today is a special day for him: he wants to tell his classmate Elliot that he loves him, in a very special way. So what should he wear for the occasion? Princess dress or soccer shoes? Aviator glasses or flower necklace? Alex has always been sure about what he wants to be: a boy in the odd days and a girl in the even ones, he says. But not today, he’s in love for the first time, and feels like nothing can be enough. Outside Alex’s room are his parents, Susan and Robert: the child doesn’t want them to come in. He’s afraid they won’t understand or will punish him since no one has taught Susan and Robert what to do with such a special kid. They have been thinking he was a problem for their lives and have tried to change him. But today is a brand new day: everything is going to change.

Tatjana Motta nasce a Venezia nel 1988. Studia a Venezia, dove si laurea in Arti Visive e dello Spettacolo all’Università IUAV e inizia la sua attività teatrale collaborando con la compagnia Malmadur. Si diploma in drammaturgia alla Civica Scuola di Teatro Paolo Grassi di Milano. A settembre 2017 il suo testo Nessuno ti darà del ladro è finalista alla 54° edizione del Premio Riccione Tondelli per il Teatro. A ottobre 2017 fa parte del progetto Metropolis Promised Lands di Fondazione Milano con il microdramma I palazzi esplodono. Edgar compra la dinamite. Da aprile 2018 fa parte del progetto Playstorm, condotto da Fausto Paravidino per il Teatro Stabile di Torino. Vive a Milano.

Stories

Un uomo e una donna viaggiano in auto lungo una strada provinciale. È notte e sono stati al casinò, ma non hanno vinto quasi niente. La macchina sterza violentemente per evitare qualcosa in mezzo alla strada: un uomo con una maglietta bianca. L’uomo al volante perde la vita. L’incidente trasforma subito i tre personaggi in Vittima, Testimone e Sopravvissuto. È il punto di rottura: niente potrà mai essere come prima. Testimone e Sopravvissuto iniziano una storia d’amore ma il Sopravvissuto non ricorda più nulla: chi è? Da dove viene? Perché era lì quella notte? La sua amnesia divora tutti i ricordi e tutto il presente. I personaggi sono persi in un paesaggio da incubo e il passato, nelle sembianze della Vittima, continua a tornare; loro ne hanno bisogno, come di un ghostwriter che possa spingere il Testimone a parlare e il Sopravvissuto a ricordare.

Tatjana Motta was born in Venice in 1988. She graduated in Visual Arts and Theatre at IUAV University in Venice and collaborated with the theatre company Malmadur. She studied Playwriting at Civica Scuola di Teatro Paolo Grassi, in Milan. On September 2017 her play Nessuno ti darà del ladro was selected as a finalist in the 54° edition of the prize Riccione Tondelli per il Teatro. On October 2017 she took part of the project Metropolis Promised Lands by Fondazione Milano, with her microdrama Buildings explode. Edgar buys dynamite.  Since April 2018 she is taking part of the project Playstorm, directed by Fausto Paravidino for the Teatro Stabile di Torino. She lives in Milan.

Stories

A man and a woman are travelling on a secondary road on their way back from a night at the casino, where they didn’t win much. All of a sudden a man in a white top appears in the middle of the road and a sharp turn is needed, the driver loses his life in the accident. We are left with a Victim a Witness and a Survivor at a turning point: life will never be the same. Witness and Survivor fall in love but the survivor has lost his memory completely and has no idea who he is, where he is from and what brought him to that road on the night of the accident. This amnesia throws everyone in a downward spiral where past and present blend and the Victim keeps coming back to force the Witness to speak and the Survivor to remember.

Nata a Roma nel 1985, Margherita Mauro è autrice, drammaturga e traduttrice teatrale. Dopo aver conseguito la laurea magistrale in Scienze e Tecniche del Teatro allo IUAV di Venezia, Margherita si è trasferita a Londra per completare i suoi studi con un master in drammaturgia presso la Kingston University. Dal 2009 ha scritto: Marcel Duchamp, A Word Play; Lost Belongings; Regeneration, they call it, Prometheus; Ma cosa mi balena in mente?; Almeno si togliessero le scarpe. Nel corso degli anni ha inoltre anche pubblicato articoli su Prospero European Review, intervistato Edward Bond per RaiRadio 3 e curato il volume “Le signorine di Wilko o come rendere visibile la poesia, diario di una messa in scena”. Tra il 2010 e il 2015 Margherita ha fatto parte della direzione artistica di Schiume Performing Arts Festival, e nel 2014 è stata selezionata per partecipare al Forum of Young European Playwrights al festival Neue Stücke Aus Europa Theaterbiennale di Wiesbaden. Da qualche anno collabora con la compagnia lacasadargilla e con il teatro Ferrara OFF, insieme a cui ha recentemente vinto il bando SIAE S’Illumina per la produzione di una nuova opera.

Almeno si togliessero le scarpe

Almeno si togliessero le scarpe racconta di una donna sospesa nella monotonia di un presente da cui pare non esserci scampo. Il testo si configura come ‘monologo per donna anziana sola, con l’accompagnamento di quattro giovani e un canarino’ perché all’immobilità della protagonista, e al suo essere “tutta voce”, vede contrapporsi in scena il movimento di quattro figure mute e dai contorni sfumati. In silenzio i ragazzi accudiscono la donna, mettono in ordine la casa e si occupano della sua eredità, incarnando a seconda del momento il ruolo di figli, nipoti, badanti o infermieri. Talvolta lei rivolge loro la parola, ma per lo più li ignora, quasi come non li riconoscesse o, addirittura, non li vedesse. Quasi come fosse rimasta sola. Sola con Corrado, il suo interlocutore surrogato, un canarino – probabilmente impagliato. Sola con il suo parlare a vuoto, i suoi lapsus e la sua perdita progressiva di lucidità. Sola e in attesa. E, così, mentre attorno a lei sembrano tutti indaffarati, la donna comincia a scivolare via, come una nave alla deriva, nel silenzio.

Born in Rome in 1985, Margherita Mauro is an author, a playwright and a translator. After having studied Theatre Sciences and Techniques at IUAV in Venice, she moved to London, to complete her studies with a Master of Arts in playwriting at Kingston University. Since 2009, Margherita has written: Marcel Duchamp, A Word Play; Lost Belongings; Regeneration, they call it; Prometheus; Ma cosa mi balena in mente?; Almeno si togliessero le scarpe. Over the years, she has also published articles on Prospero European Review, interviewed Edward Bond for RaiRadio 3, and curated the book “Le signorine di Wilko or how to make poetry visible, the diary of a production”. From 2010 to 2015 Margherita has been part of the artistic direction of Schiume Performing Arts Festival, and in 2014 she was selected to participate in the Forum of Young European Playwrights at the Neue Stücke Aus Europa Theaterbiennale in Wiesbaden. Currently, Margherita collaborates with the theatre company lacasadargilla, and with the theatre Ferrara OFF, with which she recently received funding from SIAE for the production of a new play.

They Could at Least Take their Shoes Off

They Could at Least Take their Shoes Off is a play about a woman who is suspended in a monotonous present from which there seems to be no escape. The play is structured as a ‘monologue for an elderly woman, with the accompaniment of four younger actors and a canary bird’, so that the immobility of the protagonist, and her being “all voice”, is counterbalanced onstage by the movement of four voiceless actors. These younger figures move around the woman, silently looking after her, tidying up the house and taking care of her inheritance, and they do this while embodying different roles, such as the woman’s children or grandchildren, her caregivers or nurses. From time to time, the woman speaks to them, however she mostly ignores them, almost as if she doesn’t recognize them, or see them at all. Almost as if she was left alone. Alone with Corrado, her only friend, a canary bird – most probably a stuffed one. Alone with her empty talk, her verbal slip-ups and her gradual loss of lucidity. Alone, and on hold. And so, while everyone around her seems busy, she begins to slip away in silence, like a boat drifting away from the horizon.

Romano, classe 1989, frequenta l’Officina di Scrittura Teatrale a cura di Rodolfo di Giammarco e Laura Novelli, primo vero affondo nella drammaturgia e nel panorama teatrale contemporaneo. A Milano frequenta il triennio 2011-2015 in drammaturgia presso la Civica Scuola d’Arte Drammatica Paolo Grassi, allievo di alcune menti illuminate come Renato Gabrielli e Renata Molinari. Alle spalle, qualche prima esperienza di scrittura, di regie, di recitazione. Poi il ritorno a Roma, dove fonda con Livia Antonelli la Compagnia Habitas cui si aggiunge, un anno dopo, Chiara Aquaro. La Compagnia lavora principalmente su drammaturgia contemporanea. Alla produzione di spettacoli, Niccolò Matcovich affianca l’organizzazione, come direzione artistica, di Castellinaria – Festival di Teatro Pop, la cui prima edizione si è svolta presso il castello di Alvito (FR) dal 21 al 27 luglio 2018.

Trittico delle bestie

Un affresco in tre quadri che si compone di testi apparentemente autonomi ma intrinsecamente collegati l’uno all’altro, il cui filo rosso è segnato dalla presenza di tre differenti animali. RADICI: nella stanza di una casa di montagna, un uomo e una donna si ritrovano. Un rapporto che si rivela lentamente, coadiuvato dall’intervento costante di una capra, elemento “magico”, che s’intromette, si intreccia, confonde gli animi e guida l’azione. Fino allo svelamento finale: lei e lui sono madre e figlio, la capra è simbolo di un ritorno alle origini, al seno materno, nel buio e la neve. L’AFFARE MELGHERA: due uomini si ritrovano nella cascina abbandonata ai confini di una città. Con il pretesto del desiderio di acquistare la cascina da parte di uno dei due, il testo indaga le dinamiche del rapporto fraterno, coadiuvate stavolta dalla presenza/assenza di un cane, bestia nascosta nell’ombra ma fortemente incisiva. Assumendo i contorni del thriller, l’opera sbroglia la relazione di due uomini che hanno sepolto l’amore per far emergere l’odio e l’interesse personale, lasciando riaffiorare soltanto alla fine il sentimento primigenio. RESILIENZA: un uomo e suo figlio, una malattia incurabile, gli ultimi momenti di vita condivisa. Un quadro tenero, delicato, i toni dell’acquerello. In un luogo asettico e indefinibile, l’amore di un padre e un figlio esplode con prepotenza e annulla qualsiasi altra forma che possa bussare alla porta. All’insegna del gioco e delle pillole di verità, il ragazzo completa il puzzle della vita e soprattutto della “essenza” di suo padre, fino a compiere l’atto di accompagnarlo alla morte; un atto d’amore e di fede, nel ricordo di un uomo, nelle tracce di un orso.

Born in 1989, he grew up in Rome. At the end of high school, he studied for one year with Rodolfo di Giammarco and Laura Novelli at the “Officina di Scrittura Teatrale”. From 2011 to 2015. he attended the three-year course in dramaturgy at Civica Scuola d’Arte Drammatica Paolo Grassi and graduated as a playwright, studying with some great teachers as Renato Gabrielli and Renata Molinari. In 2015 he came back to Rome and met Livia Antonelli, with which he founded Compagnia Habitas. One year later, also Chiara Aquaro joined the team. Habitas Besides producing shows, the Company organizes “Castellinaria – Festival di Teatro Pop” at Castello Cantelmo, in Alvito (FR). The first edition of the festival was in 2018.

Tryptich of the beasts

The play is a fresco in three pictures that at a first glance are not connected to each other, but whose fil rouge is represented by the presence of a different animal for each one: the goat, the dog, the bear. ROOTS: in a room of a mountain house, a man meets a woman. They now have to (re)build their relationship, thanks to the presence of a goat, a kind of magical element (we never see it) that leads the action and brings the audience to the final revelation: they are a mother and her son. The goat represents their origins, the maternal breast to whom the son is invited to go back. L’AFFAIRE MELGHERA: two men meet in an abandoned farmhouse in the suburbs of a city. There again, their relationship has changed because of their long separation. The pretext for their meeting is the will to buy that property, but the play actually investigates the relationship between two brothers, led by the presence/absence of a dog hidden in the shadow. With the sharp of a thriller, the play talks about two brothers who had buried their feelings in the name of hate and resentment and who now reckon with the past to finally rediscover their original and pure feeling. RESILIENCE: a man and his son, a terminal cancer, the last days together. A soft picture. In an aseptic place, the love between the two blows up with power. The guy completes the puzzle of his father’s life playing and talking with him, who is plunged into his bed, up to the final action of accompanying him to death and let him become a bear.

Matteo Luoni, drammaturgo, si laurea in Comunicazione all’Università San Raffaele di Milano e si diploma alla Civica Scuola di Teatro Paolo Grassi. Esordisce nel 2015 come autore e regista de L’anatomia degli affetti, con la supervisione artistica di Lucia Calamaro. Nel 2016 prende parte a Santa Estasi – Atridi: otto ritratti di famiglia, diretto da Antonio Latella. Santa Estasi vince il Premio della Critica e il Premio UBU come spettacolo dell’anno. Nel 2017 assiste Antonio Latella per Pinocchio, in scena al Piccolo Teatro di Milano, riscrive Aiace, da Sofocle, assieme a Linda Dalisi, produzione stabilemobile compagnia Antonio Latella, e collabora alla scrittura di Adios, di Simon Waldvogel. Nel Settembre 2017 fa parte dello Studio Européen al CNES-Chartreuse. Per l’occasione, inizia a comporre un testo Le ossa danzanti, che una volta finito, parteciperà, diretto da Pablo Solari, al Bando Registi Under 30 alla Biennale di Teatro di Venezia, classificandosi tra i finalisti. Il monologo Deliquio, diretto da Domenico Ingenito, debutta a Napoli nell’Ottobre 2018. Oltre al teatro, scrive per la comunicazione e la pubblicità a Milano, dove vive.

Le ossa danzanti

Una madre muore e la figlia adulta accudisce il padre, che, in lutto, va a cacciare nel bosco. Il padre spara e ferisce un airone, una poiana e un angelo. La figlia, che di professione fa la fisioterapista, viene visitata da queste figure alate e ferite, che a loro volta cercano di aiutarla. Quando anche il padre muore, raggiunge la moglie nel Cretaceo-Paleocene. I due anziani dinosauri guardano il cielo annerito dopo la caduta del meteorite che li porterà ad estinguersi. Per salvarsi non hanno che una sola opzione: evolversi e farsi crescere le ali, per volare sopra la cortina di cenere.

Le ossa danzanti è la rappresentazione drammatica e giocosa di una famiglia, del loro rapporto con la morte, l’eternità e la natura, in un mondo permeato di uccelli, dinosauri e angeli un po’ zoppicanti, bisognosi di una seduta di fisioterapia.

Matteo Luoni graduates in Communication Studies at the Università San Raffaele, in Milan, and earns the Academic Diploma as a playwright at the Civica Scuola di Teatro Paolo Grassi. He collaborates with the Teatro dallarmadio theatre company (Fabio Marceddu and Antonello Murgia), based in Cagliari.  “L’anatomia degli affetti” (“Anatomy of Affections”), supervised by renowned Italian playwright/director Lucia Calamaro, marks his debut in 2015. In 2016, he takes part of “Santa Estasi” (“Holy Exctasy”), a special project turned into a 20-hour show, directed by Antonio Latella. While following the whole process, he writes “Elettra” (“Elektra”) and works as assistant in the 2018 Piccolo Teatro di Milano reprise. “Santa Estasi” wins The Critiques’ Award and two UBU Awards. In 2017, he assists Antonio Latella during “Pinocchio” (produced by Piccolo Teatro di Milano) and adapts “Aiace” (“Ajax”), by Sophocles, with Linda Dalisi, also director of the play. He also co-writes “Adios”, by Simon Waldvogel. In September 2017, he is selected as one of the European playwrights at the CNES-Chartreuse’s Studio Européen, in Villeneuve Les Avignon, France. The outcome is the play “Le ossa danzanti” (“Dancing bones”). Directed by Pablo Solari, it ranks in the final six projects at the Under 30 Directors competition at the Venice Biennale Teatro in 2018. A monologue, “Deliquio” (“Swoon”), is to debut in Naples, October 2018, directed by Domenico Ingenito. Aside from Theatre, Matteo Luoni works as a copywriter for advertising in Milan, where he lives.

Dancing bones

After her mother dies, a woman takes care of her father. He mourns his wife by hunting alone in the woods. He shoots and hurts a heron, a buzzard and an angel. The daughter, who works as a physiotherapist, is visited by the three winged and wounded figures. They seek rescue, but also try to help her deal with her mother’s death. When the father dies, he reaches his wife in the Cretaceous-Tertiary era. The two old dinosaurs stare at the sky, blackened after the fall of the asteroid, which will cause the mass extinction. To save themselves, they only have one option: to evolve and grow wings, to fly over the dusty clouds.

Dancing bones is the dramatic and joyous story of a family dealing with death, eternity, Nature, in a world populated by speaking birds, dazed dinosaurs and limping angels.

Valentina Gamna è nata nel 1987 a Milano, dove vive insieme a suo marito e a suo figlio. Dopo la laurea in Scienze dei beni culturali e dopo aver studiato Drammaturgia presso la “Civica Scuola di Teatro Paolo Grassi” ha lavorato come drammaturga (Coleotteri; Mai Home/Ho.me; Tana) e assistente alla regia (Ultima Notte Mia, di Aldo Nove, con Erika Urban e la regia di Michele De Vita Conti, prodotto da Teatro i). Il suo testo Mai Home, che ha ricevuto la segnalazione speciale “Fabulamundi – Beyond Borders?” in collaborazione con il “Premio Hystrio Scritture di scena”, è stato messo in scena a Milano (FE- Fabbrica dell’Esperienza), Salerno (Mutaverso festival) e Heidelberg (KulturFestival Italia) dalla compagnia “Vernicefresca”. Valentina ha lavorato anche come sceneggiatrice (Due volte, diretto da Domenico Onorato, premio Miglior Corto e premio Giuria popolare al Premio Carpine D’Argento Short Film Festival Visciano 2018) e collabora dal 2014 come docente di Scrittura cinematografica con la “Civica Scuola di teatro Paolo Grassi”. Dal 2013 al 2017 Valentina ha collaborato con Radio Lombardia come giornalista e autrice.

Mai home

Una città affacciata sul mare, una collina da cui si avvistano balene, mucchi di scarpe senza più padrone e una vicina che se ne va in giro con un fucile carico. Questa è la vita delle due sorelle di Mai home. Una vita fatta di certezze e di divieti mossi da un atavico terrore nei confronti di tutto ciò che è diverso. Un giorno, però, dal mare arriva una straniera. Mai home racconta di come l’uomo, in un mondo sempre più ostile, tenti di proteggersi da una fine che sente imminente. I personaggi di Mai home inventano stratagemmi per sentirsi più sicuri e, così facendo, diventano ogni giorno più soli. Trattengono le redini con forza quando invece basterebbe solo lasciarsi andare, lasciar andare.

Valentina Gamna was born in Milan in 1987, where she actually lives with her husband and her little son. She studied cultural heritage conservation at the University of Milan and playwriting at the “Paolo Grassi Theatre School”. She worked as playwright (Coleotteri; Mai Home/Ho.Me; Tana) and director assistant (Ultima notte Mia, by Aldo Nove, with Erika Urban, directed by Michele De Vita Conti, in collaboration with Teatro i). Mai Home has been awarded by the special reporting “Fabulamundi-Beyond Borders?” during “Premio Hystrio Scritture di Scena” and has been staged by “Vernicefresca Theatre” in Milan (FE- Fabbrica dell’Esperienza), Salerno (Mutaverso theatre festival) and Heidelberg (KulturFestival Italia). Valentina worked also as screenwriter (Due volte, a short movie directed by Domenico Onorato, that has been awarded by Best Short and Popular Jury Award at Premio Carpine D’Argento Short Film Festival Visciano 2018) and she has been collaborating, since 2014, with “Paolo Grassi Theatre School” as screenwriter teacher. Valentina collaborated from 2013 till 2017 as journalist with Radio Lombardia, mainly focused in the talk show “Pane al Pane”.

Mai home

A village beyond the sea, a hill to sight whales, shoes and shoes with no owner, neighbours walking around with loaded guns. This is called life for the two siblings of Mai home. A life based on belief, bans and fear for strangers. However, one day somebody comes by the sea. Mai home is about the sense of insecurity and how mankind, trying to preserve order, become day by day lonely and lonely. Mankind often try to control world and life, when they should just let it go.

Nato a Treviso nel 1994, frequenta il corso di drammaturgia alla Civica Scuola di Teatro Paolo Grassi di Milano. Negli anni studia, tra gli altri, con Renata M. Molinari, Renato Gabrielli, Franco Brambilla, Tatiana Olear, Davide Carnevali, Edoardo Erba. Si diploma come autore teatrale nel 2017 con l’allestimento del suo testo Molto Crudele, presso il Teatro Franco Parenti di Milano. Collabora al progetto Metropolis – Terre Promesse (progetto internazionale che vede la partecipazione di 6 enti europei, tra cui la Civica Scuola di Teatro Paolo Grassi, grazie al contributo di Europa Creativa) con il testo Effetti Non Personali, messo in scena durante la rassegna, al termine di tutto il ciclo di spettacoli (16 micro-drammi). Il suo testo Nastro 2 è finalista del Premio Riccione – Pier Vittorio Tondelli 2017. Nel 2017 inizia a lavorare con Giampiero Solari in qualità di dramaturg, collaborando alla realizzazione di diversi spettacoli, tra cui l’adattamento drammaturgico di Cavalieri di Aristofane, andato in scena nell’ambito del 54° Festival Nazionale del Teatro Greco di Siracusa, nel giugno 2018. Con la drammaturgia di Saul, progetto diretto da Giovanni Ortoleva selezionato al Bando Registi Under 30, si aggiudica la menzione speciale alla Biennale Teatro 2018.

Buchi Bianchi

Una tavola imbandita, prima di cena, prima di una cena importante, una serata in cui festeggiare. L’attesa per l’arrivo di un figlio che si rivela non essere per davvero il figlio ma un altro ragazzo. Così come il padre (Vater) e la madre (Mum) nel corso della serata non restano i genitori ma cambiano, assieme al ragazzo (Chico), provando a cercare ricordi, sensazioni, un passato comune, costituendo e disgregando un nucleo familiare che non può esistere se non attraverso relazioni che feriscano l’altro. E al termine della notte, che non è ancora il giorno, la polizia ritrova il corpo di un altro ragazzo nel bagagliaio di un’auto. Tutto quello che segue – una chat erotica online e un drammatico incontro in periferia tra due ragazzi – è la ricostruzione di una sostituzione, di un furto di identità, di un omicidio, di una ferita che continua a non rimarginarsi: un taglio che non si chiude mai, perde sangue, sempre alla stessa ora, sempre la stessa notte, tutto si ripete: una tavola imbandita, prima di una cena importante, una cena a cui arriverà un figlio che non è per davvero il figlio. E l’unica cosa che resta è il fango che invade la sala da pranzo e lo trasforma in qualcosa di diverso, un posto dove non si può più mangiare.

Born in Treviso on the 16th of March 1994. After his classical studies at Liceo Ginnasio Statale “A. Canova” in Treviso, he started his theatrical studies in Civica Scuola di Teatro Paolo Grassi in Milan, where he was selected for the playwriting course. In these years he studied and worked with some masters and professionals like Renata M. Molinari, Renato Gabrielli, Franco Brambilla, Tatiana Olear, Davide Carnevali, Edoardo Erba. He graduated as a playwright in 2017 with the production of his play Molto Crudele at Teatro Franco Parenti in Milan. He took part in Metropolis – Promised Lands, an international project promoted by Civica Scuola di Teatro Paolo Grassi and Creative Europe, with his play Effetti Non Personali (Impersonal Effects), staged during the whole exhibiton at the end of 16 micro dramas. His play Nastro 2 (Tape 2) was selected for the final of Premio Riccione – Pier Vittorio Tondelli 2017. In 2017 he started his collaboraton with the director Giampiero Solari as a playwright, working for some productons including Cavalieri (Knights) by Aristophanes during the 54° Festival Nazionale del Teatro Greco di Siracusa (June 2018). With the play Saul, directed by Giovanni Ortoleva and selected for a contest of young directors, he won the special mention in Biennale Teatro 2018 in Venice.

White holes

A table laden with food, before dinner, before an important dinner, a night to celebrate. Waiting for the son to arrive. The son who then arrives and shows up is not the son but some other guy. Just as the father (Vater) and the mother (Mum) change during the night, being not the parents anymore, just as the boy (Chico) isn’t the boy anymore. They try to gather memories, feelings, a common past, building and tearing down again a family unit which can’t exist but through relations that hurt each other. And at the end of the night, which still hasn’t turned into day, police finds the body of another boy in the back of a car. All that follows – an online sex chat and the dramatic meeting of two boys in the suburbs – is the reconstruction of a substitution, a stolen identity, a killing, a wound that won’t heal; a cut that never coalesces, blood spilling always at the same time, same night, everything repeats. A table laden with food, before an important dinner, where a son who isn’t really a son will arrive. And the only thing that remains is the mud invading the dining room and transforming it into something different, a place where you can eat no more.

Luca Di Capua è nato a Roma ed ha 28 anni. Ha studiato inizialmente alla scuola di teatro chiamata “teatroazione” non trovando un grande riscontro, ma ha iniziato le prime esperienze d’attore nel collettivo The Pills; poi ha preso parte come protagonista ad una sit-com su Rai Due dal titolo “Zio Gianni” ed a vari cortometraggi ed ad un flm indipendente dal titolo “4021”. Ha seguito molti seminari di Filippo Gili che lo hanno illuminato sulla lettura del testo e su un modo concreto di recitare in teatro ed ha lavorato con lui per un “Amleto” che non è poi andato in cartellone nei teatri stabili. Ha preso ultimamente parte ad uno spettacolo teatrale andato in scena alle Carrozzerie N.o.t. dal titolo “Tocofobia”. Da qualche anno si è cimentato nella scrittura, creando un format dal titolo “Semplici”: una serie di sketch grotteschi ambientati vicino Colleferro, avvicinandosi anche alla scrittura teatrale, grazie all’input creatosi in alcuni seminari seguiti con Lucia Calamaro. Da diversi anni, purtroppo o per fortuna, alterna l’attività di attore con l’attività d’insegnamento teatrale per bambini presso la scuola Giuseppe Mazzini di Roma.

La vita di prima

“La vita di prima” è un testo nato da un laboratorio di scrittura con Lucia Calamaro, da lì, quasi per caso, si è sviluppato un tema che mi ha portato a creare una storia, con quattro personaggi: una famiglia. Il nodo è sempre quello, non se ne scappa, ma l’intento era di raccontare le dinamiche e le figure familiari con gli occhi di un ragazzo che va via di casa e vede la famiglia con occhi nuovi, quasi sereni e riappacificati nei confronti dei propri famigliari. Non c’è nulla di sconvolgente in questo lavoro anzi, è proprio la dinamica dei dialoghi, così veri, quindi surreali e grotteschi che crea la misura del tutto. Non c’è altro. Insieme a questa tematica si mescola una storia d’amore passionale ma destinata a finire, senza un motivo, forse per troppo coinvolgimento o forse per un’eccessiva idealizzazione. La famiglia, composta da un padre sereno ma in fondo molto chiuso, una madre stanca ed affannata e due fratelli, molto uniti ma a tratti tremendamente distanti, si siedono al tavolo la domenica e parlano, come sempre. Un filo grottesco, assurdo nella sua naturalezza, ripercorre una situazione di totale distanza che a tratti diventa invece di una vicinanza assoluta e viscerale.

Luca Di Capua was born in Rome and has 28 years old. He studied at the begining at the school called “teatroazione”, but he didn’t have too much reply, and he started the first work experience in a collective called “The Pills”. Then he took part like main character in a sit-com on Rai Due called “zio Gianni” and in some shortmovies and also in an indipendent flm called “4021”. He followed a lot of seminaries with a director, Filippo Gili, and from that point he started to find a new way to work in theater, to understeand the script analisis, for find at the end a concrete mood to stay in theater. He made an “Hamlet” whit the director of Filippo Gili and a little tourneè in Italy. Recently he took part in theater play “Tocofobia” at Carrozzeria N.o.t, in Rome. Since he was two years old, he has been starting to write and he create a format called “semplici”: a sketch series ambiented in a farm. He followed also some drama-lab with Lucia Calamaro and he wrote a play called “The life before”, that it’s gonna play on the next year.

The life before

“The life before” talks about the family from the point of view of a boy that leaves for going to live alone. From that moment he starts to see the family how really is, and he understands that something of very strange connected everybody. They really know each other? Or it was just a mistake?

The search for the identity of the character it’s not a search of a social identity, but something of deeper, a family identity. A love story mixed with the family plot but which it’s destined to finish because nobody and nothing can win in this piece. Everybody feels lost or beaten, and there isn’t enough time anymore to understand but just for live. And the time before only now appears like it really was, and strange. Something of ridiculous and a sense of ineluctability crosses all the text, but also a great sense of humour remains in all the characters of the family, some funny moments in which all the members still love each other, maybe without reason.

Nasce a Napoli nel 1988 e si trasferisce poco dopo a Milano. Dopo la licenza classica frequenta la Facoltà di Lettere e Filosofia dell’Università degli Studi di Milano e parallelamente si diploma come attore presso la Scuola Quelli di Grock di Milano. Entra ventiduenne a far parte di Comteatro, compagnia di produzione e centro di ricerca teatrale attivo dal 1982. Qui lavora come attore, drammaturgo, formatore e ricercatore. Per Comteatro è in scena con Tre sorelle di Anton Čechov, Pompeo (tratto dall’opera di Andrea Pazienza) di cui è protagonista e autore, Rossowilde – Il ritratto di Dorian Gray (monologo) di cui è anche autore, L’albero delle bolle, spettacolo per bambini del repertorio Comteatro. Scrive e dirige anche l’ultima produzione di teatro ragazzi della struttura: Giacomo e il circo. Nel 2017 inizia a lavorare su Il grande male, con tutto il bene, la prima produzione all’interno di Comteatro della quale è autore, regista e, insieme ad una squadra di giovani colleghi, attore. Nel 2015, invece, scrive per la Compagnia PuntoTeatroStudio di Milano lo spettacolo Sotto i girasoli, in cui è anche attore. Il lavoro vince il primo premio al Festival Urgenze 2017 di Roma.

 

Il Grande Male, con tutto il bene

Il Grande Male, con tutto il bene è un’opera in tre atti che indaga una possibilità umana, la trasformazione del dolore in bellezza, illuminando uno dei dolori più ingombranti del nostro presente, forse considerato terrore e dolore primo: il cancro. Un uomo, Martini, vive coscientemente i suoi ultimi due mesi di vita; la sua compagna, Livia, condivide con lui questo pezzo di percorso; un oncologo, assiste e accompagna la coppia nelle fasi finali della malattia. Tre esseri umani di fronte ad una situazione inevitabile e di conseguenza tragica, sono il veicolo fondamentale con cui l’opera apre i suoi temi. Incomprensioni, dubbi e domande, sconforto ed atti d’amore, ricordi, desideri, lo svilupparsi della vita relazione di tre persone permette di fare breccia nella malattia, nella situazione di partenza che sembra schiacciante, ma che invece porta ad un panorama più vasto di riflessione sulla potenza dell’incontro e sul rapporto tra dolore e amore.

Davide Del Grosso was born in Naples in 1988 and shortly thereafter moved to Milan. After the high school, in parallel he attended the university (Faculty of Literature and Philosophy) and the theater school (Quelli di Grock, Milan), in which he graduates in 2012. When he was 22 years old he joined Comteatro, a theater company and a laboratory born in 1982. Here he started working as an actor, playwright and teacher. For Comteatro he is on stage with: Three sisters by Anton Čechov; Pompeo (taken from the work of the Italian cartoonist Andrea Pazienza); Rossowilde, taken from Oscar Wilde’s The Picture of Dorian Gray. In these two works he’s also playwright. In 2017 he starts working to Il grande male, con tutto il bene (The great evil, with all the good) the first production in Comteatro in which he’s playwright, director and actor. In 2015 he writes for Punto Teatro Studio, a theater company in Milan, Sotto i girasoli (Under the Sunflowers), a play in wich he’s also actor. This work wins a special mention at the Young Station Festival of Montemurlo and the first prize at the Urgenze Festival 2017, in Rome. In parallel with the theather activity he continues his research in poetry, through his blog “The catcher in the rye”.

The Great Evil, with all the good

The Great Evil, with all the good is three acts play that investigates a human possibility: to transform pain into beauty. To do this, the work enlighten one of the bulkiest pains of our times, maybe the one which is considered our scarier pain: cancer. A man, Martini, is consciously living his last two months; his mate, Livia, shares with him the final part of the path; a doctor, an oncologist, assists the couple during the final phases of the illness. Three people who are facing a situation that is inevitable and consequently tragic, are the vehicle by which the play develops its themes. Misunderstandings, doubts and questions, dejections and love, memories, desires. All the relational reality of these three people starts to hack the illness and dip into a starting situation that seemed shattering. After this, the play opens to a more complex vision about the potentiality of the encounter and the relation between love and pain.

Classe 1995, nel 2017 si laurea in Filosofia presso l’Università degli Studi “La Sapienza” di Roma. A Milano frequenta il laboratorio su “Medea ovvero Della felicità coniugale” di Roxana Marian presso il Teatro i e l’Università degli studi di Milano, nell’ambito del progetto Fabulamundi Playwriting Europe. Collabora con la testata giornalistica romana Binrome e con Frammenti Rivista di Milano.

STORIA DI UNA SOLITUDINE, ovvero un’antica tragedia familiare

Il gioco teatrale tra Immaginazione e Vita dà forma all’eterna rinascita della Parola, come immagine, ovvero visione della realtà- anche quand’essa diviene vuoto, silenzio necessita della parola per poter esser tale. La resurrezione della parola è garantita dalla linfa vitale proveniente dalle radici: è un ritorno all’etimo. L’etimologia diviene tentativo di sopravvivenza estrema per esprimere l’irrisolto, il tragico, ciò che destinato a non dissolversi se non dissolvendo la Vita stessa. La storia è dunque testimonianza diretta di una condizione avulsa, fuori dalla realtà o meglio sopra di essa, uno sguardo dall’alto di chi è sprofondato sino alle radici del proprio dolore. Il monologo diviene dialogo, si parla attraverso i propri frammenti, frantumi di Vita passata, passiva cercando un’unione, una connessione. La parola diviene vincolo logico, circolo che abbraccia i brandelli del tragico, per tentare la resurrezione.

Born in 1995, in 2017 Anastasia Ciocca graduated in Philosophy at the University „La Sapienza“ of Rome. In Milan she attended Roxana Marian’s workshop on „Medea or Marital happiness“ at the Teatro i and the University of Milan, as part of the Fabulamundi Playwriting Europe project. She collaborates with the Roman newspaper Binrome and with Frammenti Rivista di Milano.

A LONELINESS STORY, or an ancient family tragedy

The dramatic play between Imagination and Life shapes the eternal rebirth of Word, as an image, or a vision of reality, even when it becomes void, silence, it needs words to be expressed. Word’s resurrection is guaranteed by the lifeblood from its roots: going back to roots is etymology (in Ancient Greek etimology means finding reasons, reasoning about words origins). Etymology becomes the extreme attempt to survive, the only way to express something unsolved, tragic, so something bound not to be melt away unless it melts away Life itself. The story bears witness to a condition far removed fom reality, beyond it, as a look from above, by someone sunk to origins of its pain. The monologue becomes dialogue, passing through past life pieces, trying to recollect them, giving a reason. The word becomes a circle which hugs tragic pieces: the only way to hope resurrection.

Chiara Boscaro, classe 1985, si laurea in Scienze Umanistiche per la Comunicazione all’Università degli Studi di Milano e si diploma in drammaturgia alla Civica Scuola Paolo Grassi. Con Marco Di Stefano firma 07.09.2012, selezionato da PIIGS Festival de Dramatúrgia sobre la crisi di Barcellona, Bedda Maki, vincitore di “Una commedia in cerca d’autori 2016” e “La Città che Sale”, vincitore del Mario Fratti Award 2018 e selezionato da Eurodram 2018. Lavora con Roberto Rustioni (Atti unici da Anton Čechov). Gli utimi suoi testi messi in scena sono i monologhi del Progetto Internazionale PENTATEUCO (prod. La Confraternita del Chianti/Ass. K.).

GENESI pentateuco #1

Lei è sola. Lei è straniera. Lei è nuova a Babele. Presto sarà mamma. Mamma è solo una nome, ma è il primo nome per tutti. Ora deve dare un nome a ogni cosa, nel suo nuovo mondo. Deve imparare la lingua, deve superare l’esame. Il suo uovo non può nascere in un altro luogo, lei ha scelto questa terra senza odori, questa terra darà un nome al suo uovo. Quando dai un nome alle cose, le cose esistono.

GENESI pentateuco #1 è un testo (e una performance) che coinvolge corpo e parola, musica e drammaturgia. Utilizzando italiano ed Esperanto, si cerca di riscoprire la parte più profonda del linguaggio, cercando di ritrovare un modo più profondo di comunicare. Anche senza parole.

GENESI pentateuco #1 è il primo capitolo del progetto internazionale PENTATEUCO, una serie di cinque monologhi che partono dai temi della migrazione, prodotti dalla compagnia “La Confraternita del Chianti” in collaborazione con 5 partner stranieri da tutta Europa (Romania, Svezia, Croazia, Spagna e Regno Unito).

Chiara Boscaro – 1985. Degrees in Human Science for Communication at the University of Milan and Dramaturgy at the Civica Scuola di Teatro Paolo Grassi. With Marco Di Stefano wrote 07.09.2012, selected by PIIGS Festival de Dramatúrgia sobre la crisi in Barcelona, Bedda Maki, winner of the prize Una commedia in cerca d’autori 2016 and The City Rises, winner of Mario Fratti Award 2018 and selected by Eurodram 2018. She works with Roberto Rustioni (One act plays by Anton Chekhov). Her latest texts on stage are the monologues of the PENTATEUCO International Project (produced by La Confraternita del Chianti / Ass. K.).

GENESI pentateuco #1

She is alone. She is foreigner. She is new in Babel. Soon she will be a mamma. Mamma is just a name, but it is the first name for everyone. Now she has to name every single thing in her new world. She has to learn the language, she has to pass the exam. Her egg will not be born in another place, she chose this country without smells, this country will give a name to her egg. When it will have a name, it will exist. GENESIS pentateuch #1 is a play (and a performance) involving the body and the speech, the music and the writing. Using Italian and Esperanto we try to discover the deepest part of our own language in order to learn another and deeper way to communicate. Maybe without words. GENESIS pentateuch #1 is the first part of the Pentateuch International Project, a series of five monologues concerning the Immigration involving italian company “La Confraternita del Chianti” and 5 foreign partners all across Europe (Romania, Sweden, Croatia, Spain and United Kingdom).

Valeria Belardelli è nata a Roma nel 1990. Come attrice fa parte del Collettivo SCHLAB, in cui recita in uno dei capitoli della trilogia dedicata a Werner Schwab, che ha debuttato al Romaeuropa Festival nel 2017. Ha studiato, tra gli altri, con Elvira Frosini e Daniele Timpano. È stata tra gli attori di Timeless, diretto da Muta Imago, che ha debuttato al Teatro India a maggio del 2018. È stata una dei protagonisti del film Happy Days Motel di Francesca Staasch e ha partecipato al film Mary of Magdalene di Garth Davis con Rooney Mara e Joaquin Phoenix. È stata protagonista di alcuni videoclip, spot pubblicitari e cortometraggi. L’ultimo, Adavede, è stato presentato alla Settimana delle Critica alla 74 mostra del cinema di Venezia e le ha fatto vincere il premio come migliore attrice al Lamezia Film Fest. Ha studiato sceneggiatura e drammaturgia alla Royal Central School of Speech and Drama, a Londra. Ha partecipato alla Biennale College Teatro nel 2017, seguendo un workshop di drammaturgia con Letizia Russo. Nel 2017 ha iniziato a collaborare a U.G.O., un format teatrale di comicità femminile, in cui è autrice e attrice.

Pioggia

Pioggia parla di un mondo in cui il giorno e la notte non sono più definiti dalla luce e dal buio. È un mondo in cui il buio prevale sulla luce, e in cui i tramonti sono una cosa rara, che capita all’improvviso. Ancora più rara del sole, in questo mondo, è la pioggia. Con la pioggia non si può stare in casa, si fanno feste in terrazza, si esce e ci si bagna, non la si può ignorare. Lui e Lei, invece, quando piove non escono mai. Lavorano nell’ufficio di raccolta della pioggia, dove si occupano di monitorare il percorso dell’acqua che viene incanalata in tubi sotterranei, in modo tale da perderne il meno possibile.  Lei odia la pioggia, Lui per qualche motivo sembra dover passare in quell’ufficio le sue giornate. Lei e Lui a volte sono ancora legati al passato, a quando il buio voleva dire notte e la luce voleva dire giorno, ma allo stesso tempo cercano di trovare un modo di vivere che si adegui alla loro realtà, una realtà in cui la piscina è un posto per ricchi e il mare è un paesaggio mitico, di cui si è solo sentito parlare. Pioggia parla dei cambiamenti climatici, di come conoscere una persona nuova sia sempre un’esperienza eccitante e spaventosa insieme, in qualsiasi luogo e con qualsiasi luce, dei cieli dipinti da Magritte e delle macchinette del latte.

Valeria Belardelli was born in Rome in 1990. As an actress, she is part of the theatre collective Collettivo Schlab. With Collettivo Schlab she acted in one of the chapters of the trilogy dedicated to Austrian playwright Werner Schwab, that premiered at Romaeuropa Festival in 2017. She studied, among others, with Elvira Frosini and Daniele Timpano. She was one of the actors of Timeless, directed by Muta Imago, that premiered at India theatre, in Rome, in May 2018.  She was one of the protagonists of the film Happy Days Motel, directed by Francesca Staasch. She had a small role in Garth Davis’ Mary of Magdalene, starring Joaquin Phoenix and Rooney Mara. She acted in some music videos, commercials and short films. The last one, Adavede, was screened at Venice Film Festival 74, in the section called Settimana della Critica. It also earned her the prize for best actress at Lamezia Film Fest. She studied playwriting and screenwriting at Royal Central School of Speech and Drama, in London. She participated in Biennale College Theatre 2017, attending a playwriting workshop conducted by Letizia Russo. In 2017 she began collaborating with U.G.O., a comedy theatre group in which she is both writer and actress.

Rain

Rain is about a world where day and night are not defined by light and darkness anymore. It’s a world where darkness prevails over light, a world where sunsets are rare and unexpected. Even rarer than light is the rain. You can’t stay at home when it’s raining. People have parties on the terrace, they go out and get wet. Rain it’s too precious to be ignored. He and She, on the other hand, never go out when it’s raining. They work in the office for the collection of rain, where they monitor the water as it flows along underground tubes, in order not to waste any of it. She hates the rain and this is the perfect job for her, while at first it is unclear why He has to spend his days at the office. Sometimes they’re both still attached to a reality that doesn’t exist anymore, when darkness meant night and light meant day. But at the same time they try to find a way of living in this new world, a world where swimming pools are for rich people and the sea is a mythical landscape you have only heard of. Rain is a play about environmental changes, about the excitement and terror of meeting someone for the first time, everywhere and under any light, about the skies painted by Magritte and about automatic milk machines.

Martina Badiluzzi nasce in Friuli nel 1988, vive e lavora a Roma. Nel 2015 è interprete e co-autrice di Fäk Fek Fik – le tre giovani di Werner Schwab, spettacolo presentato al Roma Europa Festival di Roma 2017 con la guida di Dante Antonelli e del Collettivo Schlab. Continua i suoi studi incontrando Lucia Calamaro, il duo artistico Deflorian/Tagliarini, Joris Lacoste e Jeanne Revel e la regista brasiliana Christiane Jatahy. Nel 2017 fonda con Giorgia Buttarazzi il progetto artistico Rosvita Pauper. Nello stesso anno debutta IL VIVAIO – e se ci amassimo quanto ci odiamo lo sai che bello, drammaturgia originale che consolida la collaborazione di Badiluzzi con Samuele Cestola, performer e musicista poli-strumentista autore live del progetto sonoro per lo spettacolo, e con Ambra Onofri curatrice dei costumi e dell’ambiente scenico. Nel 2018 inaugura PEZZI – Der Stücke, serie di workshop attorno agli scritti di Elfriede Jelinek. È risultata tra i selezionati dalla direzione di Antonio Latella al premio Registi Under30 — Biennale di Venezia 2018 con un progetto di regia su Ein sportstuck sempre della Jelinek.

IL VIVAIO – e se ci amassimo quanto ci odiamo lo sai che bello

Tre fratelli, a causa della morte del padre, si trovano riuniti nella casa della loro infanzia per deciderne le sorti. Ciò che li unisce, dopo tanto tempo, sono le questioni burocratiche legate al terreno e all’attività di famiglia: uno storico e florido vivaio ormai abbandonato. L’unica persona che sembra avere memoria dei tre fratelli è il figlio del custode del vivaio, loro amico e confidente del padre anziano; in paese nessun altro li riconosce. Fratelli di sangue e non, rappresentano una generazione che non ha un nemico con cui prendersela; nemmeno i padri o le madri bastano più per scrivere un dramma veramente contemporaneo. Restano solo: una casa di famiglia, la morte e un’attività dimenticata di cui non si è tramandato il mestiere. Ciascuno dei fratelli sarà tentato dall’idea di tornare alla vita rurale di campagna abbandonando la città ma scopriranno presto, che il loro destino è già programmato. Ogni cosa è già stata venduta, ciò che i fratelli pensavano d’ereditare dal padre è già trasformato in denaro e azioni e il loro passato sta per essere raso al suolo in favore di un nuovo centro commerciale.

Martina Badiluzzi is an Italian artist from Friuli, born in 1988, living and working in Rome. In 2015, with the guidance of Dante Antonelli and Collettivo Schlab, she is a co-author and performer of Fäk Fek Fikle tre giovani by Werner Schwab, a multi award-winning play premiered at the Romaeuropa Festival 2017 in Rome. She continues her studies, enriching her experience by meeting Lucia Calamaro, the artistic duo Deflorian/Tagliarini, Joris Lacoste and Jeanne Revel, and the Brazilian director Christiane Jatahy at the Venice Biennale. In 2017, together with Giorgia Buttarazzi, she founds the artistic project Rosvita Pauper. In the same year, the original play IL VIVAIO – e se ci amassimo quanto ci odiamo lo sai che bello is premiered, strengthening her collaboration with the play’s sound designer and live musician Samuele Cestola, performer and multi-instrumentalist, and between her and Ambra Onofri, costume and stage designer. 2018 starts with PEZZI – Der Stücke, the first ever workshop on the writings of the Austrian author Elfriede Jelinek. Badiluzzi was one of the directors under 30 selected by Antonio Latella for the College Teatro – Venice Biennale 2018.

THE NURSERY – how beautiful it would be if we loved each other as much as we hate each other

Three siblings gather after the death of their father to decide what to do about the house where they spent their childhood. What binds them together is the need to deal with the bureaucratic issues concerning the land and the family business: a now abandoned garden nursery, which was once historical and flourishing. The only person in the village who seems to remember them is the son of the nursery’s guardian, who was a friend of them and a confidant of their old father. Siblings or just friends, they represent a generation which has no enemy to be angry with; not even mothers and fathers are enough anymore to write a truly contemporary drama. A family house, death and a neglected business requiring a craft which has not been handed down: that’s all that remains. Each one of the siblings will be tempted by the idea of returning to rural life in the countryside, leaving the city behind, but they will soon find out that their fate has already been planned. Everything has already been sold: what they thought they would have inherited from their father has already been transformed into money and shares and their past will soon be razed to the ground to make space for a new shopping centre.

Attore, regista e drammaturgo classe 1989, frequenta il corso triennale presso la Link Academy, accademia bilingue d’arte drammatica della capitale dove studia in italiano e inglese. A 23 anni debutta come regista e drammaturgo di Io, mai niente con nessuno avevo fatto, spettacolo d’esordio della compagnia Vuccirìa Teatro fondata insieme ad Enrico Sortino. Per Vuccirìa Teatro firma la regia e la drammaturgia, oltre ad essere interprete di Io, mai niente con nessuno avevo fatto, Battuage – secondo lavoro della compagnia – Yesus Christo Vogue –Tragedia impossibile in atto unico e di Immacolata Concezione. Nel 2016 ha scritto Quando il sale non era l’unico fiore, riscrittura del testo “Lillenskogen” di Jon Jesper Halle, debuttando al Piccolo Teatro Grassi all’interno del festival Tramedautore, Outis con la regia di Benedetto Sicca. È assistente di Gian Maria Cervo per il laboratorio del Centro Sperimentale di Cinematografia “Scrivere per Cinema, Teatro e Web nel XXI secolo”.

Immacolata Concezione

Sicilia, 1940. Concetta, ragazza silenziosa e innocente, viene barattata dal padre caduto in disgrazia con una capra gravida e affidata a Donna Anna, tenutaria del bordello del paese. Lei, estranea ai piaceri della carne e a qualunque „adulta“ concezione della vita, non oppone nessuna resistenza. Ben presto la fama della nuova arrivata raggiunge tutto il paese: ma nessuno sa di preciso quali piaceri regali agli uomini per farli impazzire così tanto. Immacolata Concezione è la storia di un microcosmo siciliano fatto di omertà, violenza e presunzione, ma anche di quell’autenticità tipica della carnalità isolana. I ruoli sociali si liquefanno tra le quattro pareti di una stanza, per poi solidificarsi ancora una volta, appena fuori da lì.

Joele Anastasi was born in 1989. He attended a three-year course at the European Academy of Dramatic Arts – Link Academy, a bilingual academy of Dramatic Art in Rome where he studied both in Italian and English. In 2013 he started working very young as writer and director. He took part in the creation of Io, mai niente con nessuno avevo fatto (Nothing with Nobody), winner of several international and national awards. This play marked the debut of Vuccirìa Teatro company of which he is one of the founders. In 2014, Vuccirìa Teatro debuts in Rome with its second show entitled BATTUAGE, where Joele Anastasi is once again also the writer and director. In 2016, he wrote Quando il sale non era l’unico fiore, a cultural translation of the text “The Littlewoods” by the norwegian author Jan Jesper Halle presented for the first time at Piccolo Teatro of Milan (Tramedautore Festival). In March 2016 debuted with Yesus Christo Vogue – An impossible tragedy in one act coproduced with Teatro dell’Orologio of Rome. In summer 2016 is one of the two Italian artists selected for the International Theatre Seminar at the 70th edition of Festival D’Avignon.

IMMACOLATA CONCEZIONE

Sicily, 1940. Concetta, silent and innocent girl, is bartered by her disgraced father with a pregnant goat and entrusted to Donna Anna, the Madam of the country’s brothel. She, alien to any sensual pleasures and any „adult“ conception of life, does not oppose any resistance. Soon the fame of the newcomer reaches the whole village, but nobody knows exactly what kind of pleasures they give to men to make them go crazy so much. IMMACOLATA CONCEZIONE is the story of a Sicilian microcosm of silence, violence and presumption, but also of that authenticity of the island’s carnality. Social roles leach between the four walls of a room, then solidify again, just out of there.

ThomasKoeck-©MaxZerrahn

Thomas Köck geboren 1986 in Oberösterreich, arbeitet als Autor und Theatermacher. Studierte Philosophie in Wien und an der FU Berlin sowie Szenisches Schreiben und Film an der UdK Berlin. War Regieassistent bei Claudia Bosse und Lektor im diaphanes Verlag. Mit einem Dokumentarfilmprojekt über den libanesischen Bürgerkrieg eingeladen zu Berlinale TALENTS sowie nominiert für den Filmförderpreis der Bosch Stiftung. Konzipierte Lese- und Veranstaltungsreihen in Wien, Berlin und Mannheim. Seine Stücke erscheinen im Suhrkamp Verlag und wurden ua im Akademietheater Wien, im Thalia Theater Hamburg, bei den Ruhrfestspielen Recklinghausen, im Schauspielhaus Wien, oder im Staatstheater Karlsruhe gespielt. Ab 2017 auch erste eigene Regiearbeiten. Er war Hausautor am Nationaltheater Mannheim und erhielt u.a. den Else-Lasker-Schüler-Preis, den Dramatikpreis der österreichischen Theaterallianz, das Thomas Bernhard Stipendium oder zuletzt den Kleist-Förderpreis. Zusammen mit anderen AutorInnen gründete er außerdem den Blog „nazisundgoldmund.net“ der sich mit dem Rechtsruck in Europa beschäftigt.

paradies fluten – verirrte sinfonie
(teil eins der klimatrilogie)
Wassermassen gleich dringen die Worte und Bilder auf uns ein, die Thomas Köck im ersten Teil seiner ›Klimatrilogie‹ entwirft. Sind es Fluten aus dem Paradies, die hier anrollen als Fluch, Rache oder Segen für die Erde? Oder wird gar das irdische Paradies selbst geflutet, unbewohnbar gemacht? Sprachgewaltig und von melancholischer Komik durchsetzt schlägt der Autor virtuos einen Bogen von der Frühphase der Globalisierung bis ins Heute: vom Kautschukboom des späten 19. Jahrhunderts, dem ganze Landstriche und Völker zum Opfer fallen, über den wahnwitzigen Export bürgerlich-europäischer Kultur durch den Bau des Opernhauses Teatro Amazonas, bis hin zur Geschichte einer Tänzerin, die die nackte Gewalt der heutigen Arbeitswelt – voll flexibilisiert, auf Projektbasis und im Selbstmarketing – zu spüren bekommt. Werden die Fluten das letzte bisschen Menschlichkeit dieser Erde wegspülen wie ein Gesicht im Sand am Meeresufer?
Ein Stück für u. a. ein ertrinkendes Tanzensemble, ein erschöpftes Symphonieorchester, zwei Überlebende in Klimakapseln und eine durchschnittliche weiße mitteleuropäische Familie.
Preise / Auszeichnungen:
Kleistförderpreis 2016
nominiert für den Heidelberger Stückemarkt 2016
Eröffnungsproduktion der Autorentheatertage DT Berlin 2016 (Inszenierung: Theater Rampe)
Besetzung: variabel
Übersetzung ins Französische, Polnische und Spanische liegen vor.
Aufführungsrechte: Suhrkamp Theater Verlag
UA: Ruhrfestspiele Recklinghausen, Koproduktion Staatstheater Mainz, Ruhrfestspiele Recklinghausen, Kleist Forum Frankfurt/O.
02.06.2016
Regie: Sara Ostertag

jenseits von fukuyama
Im Institut für Glücks- und Zukunftsforschung ist das Team um Dr. Phekta auf der Suche nach dem Sinn menschlicher Existenz. In Wirklichkeit wird hier die Summe der Gewohnheiten, Onlineprofile etc. der Menschen gesammelt, gespeichert, analysiert, organisiert und an Entscheidungsträger weiterverkauft. Ziel ist die reibungslose Kontrolle der Gesellschaft. Natürlich dürfen die Daten nicht in die Öffentlichkeit gelangen – wo sie selbstverständlich landen. Während im »Draußen« der »Chor der enttäuschten Erwartungen« schon den Widerstand probt und gegen die Ausmessungen und Auswertungen seiner Biografien protestiert, tobt zwischen den Mitarbeitern des Instituts ein tödlicher Konkurrenzkampf.
Schlagfertig, die Absurditäten der Jetztzeit konsequent weiterdenkend, sprachlich verspielt und ungemein komisch, fragt Thomas Köck in seinem Suhrkamp-Debüt nach den Utopien, die das Leben nach dem »Ende der Geschichte« noch für uns bereit hält.
Besetzung: 3 D, 2 H
Übersetzungen ins Französische, Spanische und Türkische liegen vor.
Aufführungsrechte: Suhrkamp Theater Verlag
Preise: Osnabrücker Dramatikerpreis 2014
UA: Theater Osnabrück
17.05.2014
Regie: Gustav Rueb

august 2019

4aug1:00 am- 1:00 amSadness & Melancholy by German author Bonn Park at Castellinaria

U moje prve dvije drame „Pošto je pašteta?“(Atelje 212, Beograd, 2012, režija:Snežana Trišić) i ,,Grebanje ili Kako se ubila moja baka“(Bosansko narodno pozorište, Zenica, 2012, režija:Selma Spahić), bavila sam se temom granica u doslovnom smislu – u samom sadržaju drame. U prvoj, jedan mesar, gradi budistički hram usred bosanskog rata i sela, svojoj voljenoj i odbegloj ljubavnici na jedan dan –  internacionalno poznatoj manekenki koja sada živi u Japanu i Velikoj Britaniji. U drugoj drami, devojčica Maja organizuje sama sebi specijalnu oproštajnu žurku, dan prije nego što se sa ocem iz Bosne odseli u Njemačku. Fenomen emigracije (i prelaska granica) u ovim tekstovima bio je motor koji je pokretao cjelokupnu radnju.
Kasnije u mom radu, pitanje granica postalo je pitanje forme – kako da pomjerim sopstvene autorske granice, kao i granice svojstvene pozorištu i pozorišnom tekstu kao medijima i aparatima?  Tako sam, u mom trećem i četvrtom tekstu ,,Mi smo oni na koje su nas roditelji upozoravali“ (Bosansko narodno pozorište, Zenica, 2016, režija:Mirjana Karanović) i ,,Ali grad me je štitio” (Narodno pozorište Užice, 2018, režija:Bojan Đorđev),  eksperimentisala sa likovima, dramskim vremenom i prostorom, u pokušaju da ih destabilizujem.
Konačno, u moja posljednja dva teksta ,,Kao i sve slobodne djevojke”(Deutsches Theater, Berlin 2018, režija: Salmome Dastmalchi) i ,,Režim ljubavi”(Atelje 212, Beograd, 2018, režija: Bojan Đorđev) pokušala sam da kombinujem dva navedena pristupa – da ispitam granice sopstveih dramskih tekstova kako u smislu njihove forme tako i u smislu njihove teme/sadržaja.
Osjećam da moja spsateljska/umjetnička praksa može da se u potpunosti ostvari samo kroz konstantno kretanje i pokret, kroz konstantno mijenjanje razumijevanja samog pojma granica, ili kako je to  formulisao Pascal Gielen: ,,Umjetnik/-ca je međunardni/-a ili ne postoji“.  Isto vrijedi i za umjetnost – ako ne prelazi granice ne postoji.

Tanja Šljivar je dramska spisateljica rođena 1988. godine u Banjaluci, SFRJ. Diplomirala je i masterirala dramaturgiju na Fakultetu dramskih umetnosti u Beogradu, a završila je i master studije iz primijenjenih pozorišnih studija u Gisenu, Njemačka. Autorka je šest cjelovečernjih drama, koje su objavljene u pozorišnim časopisima, različitim antologijama, i izvedene i javno čitane u profesionalnim pozorištima u Bosni i Hercegovini(BNP Zenica), Srbiji(Atelje 212, Narodno pozorište Užice), Hrvatskoj, Poljskoj, Austriji, Španiji, Albaniji i Njemačkoj(Deutsches Theater Berlin, Schauspielhaus Stuttgart, Theater Dortmund). Takođe piše i objavljuje kratke priče, radio drame, filmske scenarije, i teatrološke tekstove. Za dramsko pisanje osvojila je nekoliko nagrada među kojima su posljednje Sterijina nagrada u Srbiji, nagrada MESS market award u Bosni i Hercegovini, te nominacija za Retzhofer Dramapreis u Austriji. Drame su joj prevedene na desetak jezika, i bila je gošća književnih rezidencijalnih programa u Gracu, Beču i Prištini, a na proljeće 2019. godine pozvana je i na rezidencijalni književni program u Splitu.

Grebanje ili Kako se ubila moja baka

Grebanje ili Kako se ubila moja baka je cjelovečernja drama o odrastanju, u kojoj petoro desetogodišnjaka priprema školsku priredbu 2000. godine u Banjaluci, u Bosni i Hercegovini. Njihove igre, zadirkivanja i nasilje postepeno razotkrivaju kolektivne, porodične i lične traume, gubitke, neuspjehe, oštećenja i nesigurnosti i prikazuju nam djecu zaglavljenu u razrovanom školskom sistemu postratnog bosanskog društva. U Bosni, Maja koristi pripremu priredbe, koja treba da se održi povodom otvaranja specijalne staze za olakšan ulazak u školu drugara iz odjeljenja sa posebnim potrebama, i pretvara je u sopstvenu nasilnu oprštajnu žurku. Maja sutra odlazi u Frankfurt i želi da ostavi drugima jasnu, pa i fizičku uspomenu na sebe. U Njemačkoj, Maja prodaje sopstvene uspomene dokumentovane na mini DV traci novoj drugarici iz odjeljenja, koja je takođe bosanska emigrantkinja, i koja ju sada uči nove, njemačke običaje i riječi.

In my first two plays „How much is pate?“(Atelje 212, Belgrade, 2012, dir:Snežana Trišić) and ,,Scratching or How my Grandmother Killed Herslef“(Bosnian National Theater, Zenica, 2012, dir: Selma Spahić), I tackled the topic of the borders very literary – in terms of content of the plays. In the first one, a butcher, builds a Buddhist temple in the middle of Bosnian war and village, for his beloved and gone one-time lover – internationally acclaimed top model, now living in Japan and UK. In the second one, a girl Maja throws a special farewell party to herself one day before she leaves Bosnia to go to Germany with her dad. So immigration (and thus crossing the borders) as a phenomena was a vehicle that started and moved the whole plot of the two texts.
Later on, in my work, the question of the borders turned into a formal one – how to push my own borders as an author as well as some of the intrinsic borders of the media, of the apparatus of the theater and the theater text? So, in my third and fourth texts ,,We are the Ones Our Parents Warned Us About “ (Bosnian National Theater, Zenica, 2016, dir: Mirjana Karanović) and ,,But the city has protected me” (National Theater Užice, 2018, dir: Bojan Đorđev), I was experimenting with characters, theater time and space, in attempt to destabilize them.
Finally, in my last two texts, ,,All adventurous women do”(Deutsches Theater, Berlin 2018, dir: Salmome Dastmalchi) and ,,Regime of Love”(Atelje 212, Belgrade, 2018, dir: Bojan Đorđev) I have tried to combine both approaches – and to question the borders of both medium/text itself and its content.
I feel that my artistic practice could only be fully substantiated by constant moving, by constant changing of the very understanding of the notion of border, or as Pascal Gielen stated: ,,The artist is international, or non-existing“.  The same goes for the art – if it doesn’t insist on crossing the borders it doesn’t exist.

Tanja Šljivar was born in Banjaluka, SFR Yugoslavia in 1988. She holds both BA and MA degree in dramaturgy at Faculty of drama arts in Belgrade. She wrote full length plays How much is Pate?, Scratching or How my grandmother killed herself, We are the ones our parents warned us about, But the city has protected me, All adventurous women do and short play Stillborn, which were published, publicly read and produced in professional theaters in Bosnia and Herzegovina, Croatia, Serbia, Albania, Spain, Poland, Austria, Germany. She also writes short stories, radio plays, screenplays for short films and theater-theory texts. She won several awards for her playwriting, most recently the prestigious Sterija award for the best contemporary play in Serbia, MESS market co-production award for All adveturous women do in Bosnia, as well as the nomination for the Retzhoferdramapreis 2017 for the same play, in Austria. Her plays have been translated into some 10 languages. She has been a guest of writing residencies IHAG in Graz, Austria, Museums Quartier 21 in Vienna, Austria, and Prishtina has no river in Prishtina, Kosovo. She is currently attending MA course in Applied theater science in Giessen, Germany.

Scratching or How my grandmother killed herself

Scratching or How my grandmother killed herself is coming of (early) age full length play in which five 10-year old kids prepare for the school performance in the year 2000 in Banjaluka, Bosnia and Herzegovina. Games, teasing and violence are gradually discovering collective, family and personal traumas, losses, failures, damages and insecurities of children stuck in the school system of the post-war Bosnian society. In Bosnia, Maja uses the occasion of the preparation for the school performance, which is to be held due to the opening of a special entrance into the school for a disabled classmate, and turns it into her own violent farewell party. Maja is leaving tomorrow to Frankfurt and wants to leave a memory of herself to the others. In Germany, she sells her memories documented on a mini DV tape to a new schoolmate, also an immigrant girl from Bosnia, who teaches her new, German customs and words.

Ako iz svoga književnog opusa za ovu prigodu, izdvojim drame, i s teatrološke distance analiziram konstante dramske poetike, mogu konstatirati da se ona formulira, per se, u određeni sustav. Dakle, sustav nije a priori ekspliciran. Moguće je svrstati dramski opus u nekoliko različitih poglavlja: Drame za djecu i mlade, s osobitim ispitivanjem dramaturgije lutkarstva; Drame koje ispituju etnološku građu, mitovi, magijsko i ritualne staroslavenske igre, u kojima se poantira uloga Žene i običaja vezanih za njezino djelovanje u mikro i makro prostorima života; Obiteljske drame (uvjetno rečeno) koje ispituju i bilježe u dramsku formu nadigravanje zbilje i apsurda, metamorfoze i rastakanja ustaljenih modela i etičkih normi. Ono što bi bilo zajedničko je: ne pristajanje na žanrovska ograničenja, fleksibilnost dramske structure na intervencije, dopisivanja, dramaturške i redateljske interpretacije kod prevođenje na scenski jezik. Prilagodba glumačkoj interpretaciji lika.  Uz dramsko pisanje, ja sam i dramaturg mnogih predstava u suvremenom teatru. Također, napravila sam dosta dramatizacija i adaptacija. Predavala Praktičnu dramaturgiju na ASU preko 20 godina. Radila sam veći broj radio-drama, dramatizacija i adaptacija i za radijski medij. Uz teatar, radio mi je bio vrlo koristan u dramskom pisanju.
Zašto sam sve to i toliko radila? Koliko je sve to koristilo novim generacijama? Publici? Pisac uglavnom ne može dati tačan, precizno formuliran odgovor. A i teatrologu izmiče cjelovita, teorijski utemeljena analiza, ili biva relativna u odnosu na kontekst i tokove dramske književnosti Moguće bi najtačnije bilo: moja fascinacija dramom i teatrom. Koja je vremenom postala i ostala ljubav za cijeli život.

Ljubica Ostojić rođena  je 20. ožujka 1945. godine u Beogradu (Republika Srbija), a od konca iste godine  živi u Sarajevu (B i H), gdje je završila  obrazovanje i stekla univerzitetske diplome.  Diplomirala je na Pedagoškoj akademiji (Likovni odsjek) i Filozofskom fakultetu (Komparativna književnost – teatrologija), u Sarajevu. Nastavlja da živi i radi u Sarajevu do današnjeg dana.
Radila je kao dramaturg Dramske scene Pozorišta mladih i profesionalni  pisac sa statusom slobodnog umjetnika, kao dugogodišnji kazališni kritičar u revijama «Odjek» i «Književna revija» i listovima «Oslobođenje» i «Večernje novine“, urednik dokumentarne, eksperimentalne i poetske drame na Radio-Sarajevu, dramaturg-suradnik u Mostarskom Teatru Mladih /MTM/.  Od 1994-. 2016.godine djeluje kao predavač Praktične dramaturgije na Akademiji scenskih umjetnosti /ASU/ Sarajevo, u zvanju redovni profesor.
Piše također radio-drame, TV-drame i scenarije, kritiku i esejistiku iz oblasti kazališne umjetnosti, književnosti i likovnih umjetnosti. Dramaturg je, dramatizator i adaptator brojnih predstava u suvremenom kazalištu. Napisala je i objavila 15 knjiga poezije i proze, 7 dramskih tekstova, 10 knjiga poezije i proze za djecu.
Njena poezija, kritika i radio drame prevođene su na engleski, albanski, njemački, mađarski, makedonski, turski, slovenski, poljski, česki, slovački, grčki, francuski…
Član je Društva pisaca BiH od 1974. i P.E.N. Centra BiH . Dobitnik je brnihoj književnih i teatroloških  nagrada i priznanja.

Sve se nekako preživi, osim smrti

Sve je krenulo od vijesti o Međunarodnom danu tuče pernatim jastucima koji se bez incidenata obilježio u više od 130 gradova. I kako bi se to dojmilo stanovnika Sarajeva koje je u bliizoj povijesti gotovo četiri godine živjelo i umiralo u opsadi, pod bezbrojnim granatama ispaljivanim danonoćno s okolnjiih brda, djejstvom snajperista, stravom i užasom rata, bez pernatih jastuka?
Implicite, kroz dramska zbivanja i otkucavanja poludjelog starinskog zidnog sata, jedna tipična sarajevska obitelj (familija, porodica)u tranziciji pokazat će što se zbiva poslije rata, i dok ostatak čovječanstva (velikim dijelom) redovito obilježava rečeni Međunarodni dan. Ta Obitelj je glavni lik. Braća Emin knjižničar i pjesnik koji se često sklanja u eskapizam (nestran što znači nastran jer ne pripada ni jednoj stranci), Edin, razočarani bivši borac razorene obitelji (supruga i djeca izbjeglice u Švedsku); Emilija, Eminova supruga energična, poduzetna, realna; njena majka Gospođa Mama, beograđanka udana nekad davno u Sarajevu, ljupka i pomalo dementna starica; Hedija, prijeratna komšinica i ratna udovica, još živući primjerak izumirućeg starog komšiluka; Una i Ena, Eminove i Emilijine kćeri, bliznakinje, Una se sprema za odlazak u London, Ena zaljubljena u Alija i u vezi s njim ostaje, udat će se kad da još jedan ispit I diplomira na anglistici (na majčino inzistiranje); Ali, jednostavan i snažan lik, netipičan za suvremene mlade, spreman da radi i gradi život s ženom koju voli. Brzoprolazeće Vrijeme, Život i Smrt, nadigravaju se u raspadu Obitelji koja ulazi u neke nove oblike.
Ovo je također i jedna od slika suvremenog Sarajeva.Tužna, s okusom gorčine i osječanjem nemoći, za one koji ga vole.

If I were to single out drama pieces out from my literary opus, and if I were to analyze the constantpoetics of dramafrom a standpoint of theater studies, I can state that it is being formulated into a specific system,per se. So, the system is not explicita priori. It is possible to classify the opus of drama into several different chapters: Drama for children and youth, with a specific examination of the dramaturgy of puppetry; Drama that examines the ethnological substance, myths, the magical and ritualistic Slavonic ceremonies, wherein the role of the Woman and customs tied to her actions are being made point ofin the micro and macro spaces of life; Family drama (conditionally speaking) that examines and notes the dramatic form of heightening realness and absurdity, metamorphosis and dissolution of established models and ethic norms. The common matter is; not abiding by the limits of genre, flexibility of dramatic structure to interventions, rewriting, dramaturgical and directorial interpretations when translating to the stage language. Adapting to the actor’s interpretation of the character. Along with drama writing, I am also a dramaturge of many performances of contemporary theater. Also, I have done many dramatizations and adaptations. I thought the subject Practical Dramaturgy at the Academy of PerformingArts in Sarajevo for over 20 years. I worked on a large number of radio-dramas, dramatizations and adaptations for the medium of radio. Along with theater, radio has been very useful in drama writing.
Why was I doing so much? How useful was it to new generations? The audience? A writer cannot provide an exact, precisely formulated answer. And even to a theatrologist eludes the entirely, theoretically established analysis, or it happens to be relative to the context and currents of drama literature. Maybe the most exact being: my fascination with drama and theater. Which, over time, became and stayed the love of my life.

Ljubica Ostojić was born in February 20th 1945 in Belgrade (Serbia), and by the end of the same year she was living in Sarajevo (BiH), where she completed her education and acquired university diplomas. She graduated at the Academy of Pedagogy (Department of Fine Arts) and the Faculty of Philosophy (Comparative Literature – Theater Studies), in Sarajevo. She continues life and work in Sarajevo until today.
She worked as a dramaturge of the Drama Stage of the Youth Theater and a professional writer with the status of a free-lance artist, a theater critic of many years standing in showcases “ECHO” and “The Literary Showcase” and newspapers “Oslobođenje” and “Večernje Novine”, the editor of a documentary, experimental and poetic drama at Radio Sarajevo, and a collaborative dramaturge at the Youth Theater in Mostar /MTM/. From 1994 – 2016 she worked as a lecturer of Practical Dramaturgy at the Academy of Performing Arts /ASU/ in Sarajevo, as a full-time professor.
She also writes radio-dramas, TV dramas and scripts, critique and essays from the area of theater arts, literature and fine arts. She is a dramaturge, a dramatist and adaptor of many performances of contemporary theater. She wrote and published 15 books of poetry and prose, 7 drama texts, 10 books of poetry and prose for children.
Her poetry, critique and radio dramas have been translated to English, Albanian, German, Hungarian, Macedonian, Turkish, Slovenian, Polish, Czech, Slovakian, Greek, and French language…
She is a member of the Writers’ Society of BiH from 1974 and the P.E.N. Center of BiH. She won many awards and acknowledgements in literature and theater studies.

Sve se nekako preživi, osim smrti

It all started from the news of the International Pillow Fight Day that has been marked in over 130 cities withno incidents. How should that appeal to a Sarajevan citizen who not too long ago lived and suffered through the siege spanning almost four years, under countless falling grenades, shot each day and night from surrounding hills, sniper fire, and the horror and terror of war, without any fighting pillows?

Implicitly, through the dramatic activity and the ticking of a broken old wall clock, a typical Sarajevan family in transition will show what happens in the aftermath of war, while the rest of humanity (for the most part) regularly marks the aforementioned International Pillow Fight Day. This Family is the main protagonist. Brothers of the broken family – Emin, the librarian and poet who often times relies on escapism (he is incognito meaning he isn’t belonging to any notion), Edin, a disappointed former fighter (wife and children sought refuge in Sweden); Emilia, the wife to Emin, she is energetic, enterprising, realistic; her mother Ms. Mama, from Belgrade and married sometime in the past in Sarajevo, a dear and somewhat demented old lady; Hedija, the pre-war neighbor and war widow, a living example of a perishing former neighborhood; Una and Ena, daughters to Emin and Emilia, twins. Una is getting preparing to leave to London, Ena in love with Alija staying in the relationship, will get married when she graduates from the studies of English language (upon her mother’s insistence); But, to a simple and strong character, not typical to the contemporary youth, ready to work and build a life with a wife he is in love with. Time, Life and Death quickly running out, interplay in the breakdown of the Family which is entering some new kind of form.

This is also one image of contemporary Sarajevo. Sad, bitter and powerless, for those with a taste for it.

Nemam iluzija da sam dovoljno kompetentan da govorim o svom ili tuđem pisanju. Nisam profesionalni pisac. Ja sam glumac po profesiji i upoznat sam sa mehanizmima potrebnim da bi se stvorio dramski komad. Moja prva (i dosad jedina objavljena) drama nastala je iz potrebe da se progovori o problemima koji dominiraju društvom u mojoj zemlji. Nažalost, neki od tih problema su zamagljeni našom kompleksnom historijom i etničkim i religijskim podjelama. Kao glumac dolazio sam u doticaj sa vječnim temama (prijateljstvo, ljubav, suparništvo, smrt, Bog itd.) na sceni skoro svaki dan. Kao pisac fasciniran sam socijalnim okvirima koji terete svakodnevne živote nevidljivom težinom i utiču na emocije, odnose i ideje na nesvjesnom nivou, uspavljujući ih ili ih neprirodno pojačavajući. U prvom komadu pokušao sam se baviti tim.
To me dovodi do teme “Beyond Borders”. U kontekstu Jugoslavije granica znači nešto više od puke podjele ili geografske odrednice. Za neke to je simbol uništenja, gubitka, nacionalističkog divljanja, rata i obične gluposti. Za njih granice su morbidni spomenik propalom snu. Za druge granica je simbol slobode, uspjeha, ponosa, pobjede I heroizma. Za njih granica ostaje simbol srušenog totalitarizma.
Za ljude svih generacija (od 16 do 60) koji uče njemački po kursevima u cijeloj zemlji, granica je samo prepreka. U stvarnosti, izvan ideja o pobjedi I porazu, ljudi pokušavaju preći te krivudave crvene linije I pobjeći u bolju budućnost. Svi sanjaju o budućnosti izvan granica. Jugoslovenski narodi zamijenili su jednu propalu utopiju drugom: Evropskom Unijom. I kao toliki ljudi iz Azije i Afrike pokušavaju se probiti u tvrđavu Evropu, motor svijeta. Evropske granice su, međutim, tvrde i nepopustljive ali nam se smiješe. Ohrabruju nas da ostvarimo svoje snove.
Ponekad mi se čini da granice nisu tu da bi bile otvorene. Zato se crtaju u neprekinutim linijama,zatvarajući krug sa svih strana.  Ponekad mi se čini da su žive, nevidljive ali prisutne, polako se stežu i mi, zatvoreni u svojim otocima, gubimo dah dok se ne ugušimo.

 

Benjamin Bajramović rođen je 9. januara 1989. godine u Zenici. Diplomirao je Glumu na Akademiji scenskih umjetnosti u Sarajevu, u klasi prof. Ermina Brave, 2011. godine. Njegov diplomski rad “1984”, rađen prema romanu Georgea Orwella, uvršten je u repertoar Sarajevskog ratnog teatra SARTR-a, gdje je igrao do 2014. U produkciji Sarajevskog ratnog teatra, gdje je bio pripravnik i stalni saradnik četiri sezone, igrao je u predstavama “Bio je lijep i sunčan dan”, rediteljice Tanje Miletić Oručević, “Tajna džema od malina”, rediteljice Selme Spahić, “Životinjska farma”, reditelja Dine Mustafića, te “Djeca s unca”, rediteljice Selme Spahić. U produkciji Internacionalnog teatarskog festivala – Scene MESS igrao je u predstavi “What is Europe?”, reditelja Andrasa Urbana. U Bosanskom narodnom pozorištu Zenica igrao u predstavama “Moja Fabrika” i “Romeo i Julija”, u režiji Selme Spahić. Učestvovao je u međunarodnim koprodukcijama: “Muški – ženske, Ženske – muške” u autorstvu i režiji Bacača sjenki (Hrvatska), zatim “Bolero”, reditelja Michaela Pinchbecka (UK), te “Battlefield Memory” reditelja Hans- Werner Kroesingera i rediteljice Regine Dura (Njemačka). Dobitnik je nagrade za najboljeg mladog glumca u predstavi “Bio je lijep i sunčan dan”, na Festivalu bh. drame u Zenici, te nekoliko kolektivnih glumačkih nagrada. “Itake” je njegov prvi dramski tekst. Živi i radi u Sarajevu.

Itake

Glavni likovi drame su četvero prijatelja (u kasnim dvadesetim): Jakov, Maša, Nećko i Delboj. Sastaju se u neuglednoj kafani čiji je vlasnik Delboj. Oni su jedini gosti te kafane i uspostavili su svoju rutinu koja biva uništena kada Jakov objavi da odlazi u Njemačku. Taj događaj stvara tenziju u njihovim odnosima. Ostatak grupe pokušava emotivno procesuirati Jakovljevu odluku . S druge strane pokušavaju izbjeći suočenje sa vlastitom budućnošću. Peti član grupe je starac po imenu Miki (70 godina). On je glumac u penziji i tumara gradom recitujući poeziju slučajnim prolaznicima. Ostatak grupe smatra Mikija nekom vrstom proroka i strpljivo sluša njegove poetske performanse. U stvarnosti, Miki je anti prorok, prorokuje samo prošlost. Tenzija stvorena Jakovljevom odlukom rješava se na proslavi Nećkovog rođendana gdje, zagrijani alkoholom, svi oni shvate u čemu je njihova budućnost.

I don’t consider myself very competent to speak academically about my or anyone else’s writing. I never went to school to become a writer for theatre. I’m an actor by profession, so I’m not unfamiliar with mechanisms needed to create a theatre play. My first (and to this day only published) play was created out of need to speak out about certain issues which dominate the society in my country, but which are somewhat obscured, mostly by our complex past, ethnic and religious divisions. As an actor I came across and dealt with eternal human issues (friendship, love, enmity, death, God etc.) on stage almost every day. As a writer I’m fascinated with social frames which burden everyday lives with invisible weight and, as such, influence emotions, relations and notions, euthanizing them or blowing them out of proportion on subconscious level. I tried to deal with this frames in my first piece, and will continue this analysis in the future.
That brings me to the topic “Beyond borders”. In Yugoslav context the idea of a border means something special. It’s not a mere symbol of division or state’s frontier. It means a lot more. For some it is a symbol of destruction, loss, national madness, warfare and plain stupidity. For them, those lines are a morbid monument of a broken dream. For others, border symbolizes freedom, success, pride, victory and heroism. For them, borders are a symbol of downed totalitarianism.
For people of all generations (literally from 16 to 60), who learn German in language courses across the country, border is just an obstacle. In reality, people are trying to cross those zig zagging red lines for a better future. Everybody dreams about a future beyond them. Yugoslav peoples substituted one utopia which is defunct now, with a new one: European Union.  And, as so many people across Asia and Africa, are trying to penetrate fortress Europe, the powerhouse of the world. Europe’s borders are thick and impenetrable, but smiling on alll of us. Encouraging us to pursue our dreams.
Sometimes I feel borders are never really meant to be open. That’s why they are always drawn in unbroken lines, closed at every end. Sometimes I even feel they are alive, invisible but present, slowly squeezing us in our circled islands, until we all suffocate.

Benjamin Bajramović was born in 1989 in Zenica. He graduated in 2011 from the Acting Department of the Performing Arts Academy in Sarajevo in the class of Ermin Bravo. His graduate performance 1984 based on the novel by George Orwell was included in the repertoire of Sarajevo War Theatre where it performed until 2014. He worked as a permanent associate of Sarajevo War Theatre for four seasons during which he acted in “It Was a Nice and Sunny Day”, directed by Tanja Miletić Oručević, “The Secret of Raspberry Jam”, directed by Selma Spahić, and “Animal Farm”, directed by Dino Mustafić. In the production of the International Theater Festival – MESS Scene he performed in “What is Europe?” directed by András Urbán, and in Bosnian National Theatre Zenica, he performed in “My Factory” and “Romeo and Juliet”, both directed by Selma Spahić. He took part in the following international co-productions: “Male – Female, Female – Male” authored by Shadow Casters (Croatia), ”Bolero”, directed by Michael Pinchbeck (UK), and “Battlefield Memory” directed by Hans-Werner Kroesinger and Regina Dura (Germany). He is the winner of the best young actor award at the BiH Drama Festival in Zenica for “It Was a Nice and Sunny Day” and co-winner of a number of collective actors’ awards. Ithakas is his first play.

Itake

Main characters of this piece are four friends (in their late twenties): Jacob, Masha, Nechko and Del boy. They meet in a decrepit pub owned by one of them (Del boy). They are only guests there and have their usual routine which is disrupted when Jacob announces that he is leaving for Germany. This creates rapture in their relationship. The rest of the gang deals with Jacob’s decision differently (getting angry or sad or supportive) while they try to escape the thoughts about their own future in their home town. The fifth member of the gang is an old man called Miki (aged 70). He is a retired actor and wanders around the town reciting poetry to unsuspecting people. He comes and goes as he wants. The rest of the gang considers him some kind of prophet and patiently listens to his poetic rants. He actually serves as an anti-prophet, having insight only in things past . The emotional tension created by Jacob’s decision resolves in Nechko’s birtday party where, fueled with alcohol, everybody reaches some kind of notion about their future.

Imao je dvanaest godina kada su mu u „Politikinom zabavniku“, u rubrici „Pisma čitalaca“, objavili nekoliko rečenica. Nije sačuvao primjerak časopisa, niti pamti o čemu je pisao, ali zna da je zaraženost čitanjem, baš u to vrijeme, postala neizlječiva. Od dječije bolesti pretvorila se u utješnu dijagnozu, postala neizbježni dio organizma, poput hemoglobina ili šećera u krvi. Razina prisutnosti se povremeno mijenjala, nekad bi prekoračila granice prihvatljivog, ali je on bivao najsretniji kada je ne drži pod kontrolom. „Pisma čitalaca“ su, danas je siguran, savršena književna forma koja spaja te dvije teške i drage uloge – čitaoca i pisca. Nerazdvojan par, kao Sherlock Holmes i Dr. Watson; čitalac koji otkriva, istražuje, zaključuje i pomoćnik/pisac koji dopušta da bude pronađen i zatvoren. Almir Imširević ima 47 godina i nekolicinu pisaca koje drži na – doživotnoj robiji.

Almir Imširević, rođen 10.03.1971. u Bihaću.

Osnovnu i srednju školu  završio u Sarajevu, potom upisao Akademiju scenskih umjetnosti i 1998. diplomirao na Odsjeku za dramaturgiju. Kao dramaturg radio na brojnim predstavama rađenim u BiH teatrima i pisao pozorišne kritike i prikaze u sarajevskim časopisima i magazinima. Autor je drama: „Kad bi ovo bila predstava…“, „Balkanski đavo Sram“, „Circus Inferno“, „Po istinitoj priči“, „Mousefuckers“, „Kad bi ovo bio film“, „Fistik“…Takođe, napisao je i mikrodrame „Playback Sevdalinka“ i „Deset razlika“. Dramama uvršten u Antologiju BH drame XX vijeke, kao i u Francusku antologiju savremene evropske drame. Djela su mu izvođena u pozorištima BiH, Srbije, Francuske, Turske, Poljske, Kosova, Italije, Češke… Pored drama objavio je i knjigu kratkih priča „Strana 212“. Radi kao vanredni profesor na Odsjeku za dramaturgiju i član je redakcije portala „Nomad“ na kojem redovno objavljuje prozu.

He was twelve when they published some of his sentences in the column “Reader’s Notes” of the “Political Inquirer”. He didn’t hold on to the magazine copy, nor does he remember what he had written about, but he does know that the infectious reading habit, at that time exactly, became incurable. From a children’s disease it transformed into a consolable diagnosis, became an inevitable part of the organism, like hemoglobin or blood sugar. Detected levels changed with time, sometimes going over the acceptable limitation, but he remains happiest when it’s left uncontrolled. Today he is certain that “Reader’s Notes” are a perfect literary form that connects those two difficult and dear parts – the reader and the writer. An inseparable couple, like Sherlock Holmes and Dr. Watson; a reader who discovers, explores, concludes and an assistant/writer who allows himself to be found and confined. Almir Imširević is 47 years old and a few writers he is keeping as lifelong prisoners.

Almir Imširević, born March 10th 1971 in Bihać.

He graduated from elementary and high school in Sarajevo, after which he enrolled in the Academy of Performing Arts and in 1998 graduated from the Department of Dramaturgy. As a dramaturge he worked on numerous plays realized in BiH theaters and wrote theater critique and reviews in Sarajevo-based magazines. He is the author of drama works: “If This Was a Play…”, “Shame, the Balkan Devil”, “Circus Inferno”, “Based on a True Story”, “Mousefuckers”, “If This Was a Film”, “Fistik”… Also, he wrote micro-drama works “Playback Sevdalinka” and “Ten Differences”. He is classified in the Anthology of BH drama of the 20th century for his dramas, as well as the French anthology of contemporary European drama. His works have been performed in theaters in BiH, Serbia, France, Turkey, Poland, Kosovo, Italy, and Czech… Besides drama, he published a book of short stories “Page 212”. He works as a part-time professor at the Department of Dramaturgy, and he is a member of the editorial staff of the portal “Nomad” where he regularly publishes prose.

Počeo sam pisati jer sam morao objasniti svijet oko sebe i sebi objasniti sebe u tom svijetu. I vjerovatno zato što se sa tim svijetom nisam baš najbolje razumijevao, što je dolazilo do stalnih nesporazuma, pisanje drame se nametnulo kao jedini način da svi ti konflikti nađu svoju formu. I valjda je to bila prva granica koju sam prešao. Izašao sam iz sebe i suočio se sa svim onim što me okruživalo, spreman da razumijem i da se otvorim svim tim različitim pojavama i iskustvima. Da bi zaštitili sebe, postavljamo razne granice, prepisujem od država kako se brani teritorija, ono što smatramo svojim. I braneći se, postavljamo sve veće i snažnije granice, ograničavamo sebe i zatvaramo se. Ubijeđeni smo da se tako štitimo, čuvamo od neprijatelja i razvijamo svoj svijet, unutrašnji. A ustvari jedino što napreduje je praznina i siromaštvo, ono duhovno, koje se teško detektuje, jer nije tako uočljivo kao materijalno. I takav siromašan duh tjera nas da se osamljujemo i podižemo bedeme. Danas živimo u svijetu prepunom granica, vidljivih i onih koje samo osjetimo, a te su često najteže za preći, pošto se stalno pomiču i izmiču nam. Nekada umjetnost radi upravo to, detektuje te nevidljive granice, osvještava ih, jer da bi pojedinac i društvo prešli te granice, moraju ih prvo spoznati, prihvatiti, pa tek onda rušiti i brisati. Do tada, živimo u iluziji da nemamo granice, da smo otvoreni, spremni na razmjenu, izvan njih. Nije strašno vidjeti granicu, strašno ju je ignorisati. Jer tada, poput korova nekontrolisano raste. Misliti i stvarati van granica znači osjetiti koliku snagu i moć te granice imaju, jer unutar njih vlada strah, paranoja, iz čega vrlo lako niču konzervativni, pa i fašistički pogledi na sve ono izvan njih. Zato je važno da drama napusti granice svog jezika, i svoj život dobije u drugom.
A što se tiče državnih, političkih granica, njih umjetnost nikada nije priznavala, niti će ih ikada priznavati. Njih svaki zaljubljenik u umjetnost svakodnevno prelazi bez pasoša, izbjegavajući sve oblike diskriminacije. Duh putuje neopterećen pitanjem granica.

 

Adnan Lugonić je rođen 1988. godine u Sarajevu. Završio je Odsjek za dramaturgiju Akademije scenskih umjetnosti Sarajevo, gdje sada radi kao asistent na predmetima Dramaturgija i Pisanje za teatar. Bio je umjetnički direktor Narodnog pozorišta Mostar. Premijerno su mu izvedene drame „Kad bi naglas govorili” (Kamerni teatara 55 Sarajevo (BiH); National Theatre Marin Sorescu Craiova (Rumunija)) i „Neće biti smak svijeta” (Narodno pozorište Mostar (BiH)). Radio je kao dramaturg na više predstava u Sarajevskom ratnom teatru, Narodnom pozorištu Sarajevo, Kamernom teatru 55, Narodnom pozorištu Mostar.

Kad bi naglas govorili

Prodavač u lokalnom granapu se ubio. Ustvari, pokušao. Možda je u svom naumu i uspio. Niko tačno ne zna. Razmišljanje o njegovom samoubistvu dovodi ih do propitivanja vlasitti odnosa sa najbližim, svijetom oko sebe, te sa samim sobom. Tokom jedne noći Taksista, Prostituka, On, Ona, Prvi, Durgi i Treća, Učitelj, Starac i Starica, Gay i Poduzetnik pokušat će da svoje živote učine boljim, sukobe se sa svojim demonima i konačno progovore „naglas“.

I started writing because I had to explain the world around me, and to explain myself to myself in that world. Also, probably since I didn’t understand the world too well, because oftentimes misunderstandings would occur, writing drama imposed itself as the only way for all those conflicts to find their form. I guess that was the first border I had crossed. I exited myself and confronted with all that had surrounded me, ready to understand and to be open toward all those different occurrences and experiences. In order to protect ourselves, we set-up various borders, copying how states defend their territories, that which we consider our own. And by defending, we are setting up greater and stronger borders, limiting ourselves and closing ourselves in. We are convinced we are protected this way, guarded from enemies, and developing our world, the inner one. And in fact, the only thing in development is emptiness and poverty, ofthe spiritual kind, which is hardly detected, as it’s not as visible as the material sort.And such impoverished spirit makes us isolate and set-up walls. Today, we are living in a world full of borders, those visible and those that are only felt, and oftentimes they are hardest to overpass, as they constantly shift and elude us.Sometimes art does exactly that, it detects those invisible borders, brings them to consciousness, because in order for an individual and society to overcome those borders, they must first recognize them, accept them, and only then tear them down and erase them. Until then, we will live in an illusion that there are no borders, that we are open, ready for exchange, on the outside. It isn’t scary to see the border, it is scary to ignore it. Because then, like weeds, it grows uncontrollably. To think and create outside borders means to feel the strength and power that those borders possess, because fear rules inside, paranoia, from which conservative, even fascist views easilygrow over everything that is beyond them. That is why it’s important that drama leaves the borders of its language, and to gain its life in another.
And about state, political borders – art has never recognized them, nor will it ever begin to. Each day, every art lover passes them without a passport, avoiding any form of discrimination. The spirit travels unburdened by the matter of borders.

Adnan Lugonić was born in 1988 in Sarajevo. He graduated from the Department of Dramaturgy of the Academy of Performing Arts in Sarajevo, where now he works as an assistant on the subjects Dramaturgy and Theater Writing. He used to be the Artistic Director of the National Theater in Mostar. Premiere performances of his plays “If They Could Speak Out Loud” (Chamber Theater 55, Sarajevo, BiH; National Theatre Marin Sorescu Craiova, Romania) and “There Will Be No End of the World” (National Theater Mostar, BiH). He worked as a dramaturge on multiple plays in the Sarajevo War Theater, National Theater Sarajevo, Chamber Theater 55, and National Theater Mostar.

Kad bi naglas govorili

A grocer in a local grocery store killed himself. In fact, tried to. Maybe he had succeeded in his intent. Nobody knows exactly. Thinking about his suicide brings them to question their own relationships with those closest to them, the world around them, and themselves. During one night, a Taxi Driver, a Prostitute, Him, Her, the First, Second and the Third, a Teacher, an Old Man and Woman, a Gay Man and an Entrepreneur will try to make their lives better, confront their demons and finally speak “out loud”.

Halil Babür
(Bitlis, Turkey, 1987)

26 Haziran 1987 yılında doğdu. Lisede Beckett ve İonesco oyunlarıyla birlikte tiyatroya yakınlık duydu. 2014’te Haliç Üniversitesi Konservatuvar Tiyatro bölümünden mezun oldu. Oyunculukla başladığı kariyerine yazarlığı da dahil etti. İlk oyunu ‘’11’e 11’’i 2011’de yazdı ve yönetti. Sonrasında sınırları önceden belirlenmiş bir proje oyunu olan ve kısa süre oynanması planlanan ‘’Kasap’’ oyununu yazdı. Oyun proje takvimi sonrasında da devam etti. Bu dönemde ‘’He-go’’yu  yazdı.  Sinemada ve televizyonda oyuncu olarak kariyerine devam ederken, He-go’da da oyuncu olarak görev aldı. Son olarak ‘’İçimdeki Yangın’’ı yazdı. Kasap ve He-go halen (2018) İstanbul’da sergilenmektedir. Sinema ve televizyonda da yazar olarak çalışmaları sürmektedir.

11’e 11

Bir Ortadoğu berberinde, saçların 11’e 11 diye adlandırılan bir ölçüyle kesildiği, karşıt görüşlerin kamuya açık alanlarda tartışmalarının yasaklandığı ve berber dükkânlarının örgüt evi olarak yaftalandığı bir dönem… Dükkânın sahibi Nadir, mesleğinin değişmiş yüzünü icra etmeye devam etmektedir.  Bir berber olarak hem baskıları göğüslemeye hem de geçmişiyle ve korkularıyla yüzleşmeye mecbur bırakılır.  Dükkân farklı görüşlerin gizli yuvası olmaya can atmaktadır.  Nadir ya uyum sağlayacak ya dönüşecektir.

Halil Babür
(Bitlis, Turkey, 1987)

His affection towards theatre first emerged when he read the plays of Beckett and Ionesco at high school. He studied acting at Halic University Conservatory and graduated in 2014. His acting career was accompanied by playwriting when he wrote and directed his first play, 11’e 11 (11 to 11), in 2011. He then went on to write his second play, Kasap (The Butcher), which was originally planned to be staged as a short-term project but is still being performed due to great reviews and a strong demand from the public. Afterwards, he wrote his third play, He-go, in which he is also starring. These two last plays are still being performed in Istanbul. He has also written a forth play, İcimdeki Yangin (The Fire Within). He is also working as a screenwriter.

11 to 11

In a barber shop somewhere in the middle-east where haircuts are currently being done according to a precise measurement called 11 to 11, in an era when it is forbidden to hold opposing arguments in public places and when barber shops are labeled as base camps of resistance, the owner of a barber shop, Nadir, continues to render his services under new regulations. He will not only be forced to bear the pressure of the system but also to face his past and fears. As the barber shop is yearning to be the nest of different opinions, Nadir will have to make a crucial choice: either he shall yield or change.

Cast: 6 men
Play available in English and Turkish.

Ceren Ercan

Ceren Ercan

İstanbul Üniversitesi Dramaturji ve Tiyatro Eleştirmenliği bölümünden mezun olduktan sonra Marmara Üniversitesi’nde Sinema alanında yüksek lisans eğitimi aldı. 2003 yılından beri Bakırköy Belediye Tiyatroları’nda dramaturg olarak çalışmaktadır. Galata Perform bünyesinde yürütülen Yeni Metin Yeni Tiyatro projesi dahilinde uzun yıllar oyun yazarlığı eğitimi verdi ve oyun yazım süreçlerinde danışmanlık yaptı. Kurucularından biri olduğu Oyun Deposu topluluğunun ‘Çirkin İnsan Yavrusu isimli oyununun yaratıcı ekibinde yer almıştır. Yazarları arasında yer aldığı oyunun metni Almanya’da yayınlanan Theater Heute isimli dergi tarafından basılmıştır. 19. İstanbul Tiyatro Festivali’nde prömiyer yapan ‘İstenmeyen’ isimli oyunu yönetmiştir; aynı zamanda oyunun yazarlarından da biridir. Almanya’da Offenewelt Festivali ve Paris’te Theatre de la Ville’in organize ettiği Chantier d’Europe tarafından davet almıştır. Oyun aynı zamanda New York’ta Phoenix Theatre Ensemble tarafından sahnelenmiştir.Ercan 2010 yılında Barcelona’da Sala Beckett’te katıldığı oyun yazarlığı atölyesine kapsamda yazdığı oyunu Katalanca’ya çevrilerek, Grec Festivali’nde okuma tiyatrosu olarak seyirci ile buluştu. Madame Bovary’den serbest bir esinlenme olan „Köpeklerin İsyan Günü“ ise 2016 yılında  yazarın kurucularından olduğu Platform Tiyatro topluluğu, Lizbon Sao Luiz Şehir Tiyatroları ve İstanbul Tiyatro Festivali ortaklığında İstanbul ve Lizbon’da oynanmıştır. Yazarın Türkiye üçlemesi adı verilen oyunlarından „Seni Seviyorum Türkiye“ İstanbul Tiyatro Festivali’nde seyirci karşısına çıktıktan sonra Bakırköy Belediye Tiyatroları’nda oynamaya devam etmektedir. Üçlemenin ikinci oyunu „Berlin Zamanı“ ise hem İstanbul’da hem de Almanya’nın Bonn şehrinde yerleşik sahnesi bulunan  „Fringe Ensemble“ adlı topluluk tarafından sahnelenmiştir. Yazar aynı zamanda Bahçeşehir Üniversitesi Sinema-Televizyon Bölümü’nde Film dramaturjisi dersleri vermeye devam etmektedir.

Köpeklerin İsyan Günü

‘Köpeklerin İsyan Günü’; Flaubert’in Madam Bovary isimli romanının günümüzde, Nişantaşı’nda geçen serbest bir uyarlamasıdır.
O sabah Nişantaşı’nda, köpek gezdiricisi olarak çalışan genç, bir kehanet fısıldar. Küçük lüksleri için hiç durmadan çalışıp, yıpranan evliliğiyle boğuşan Suzan için o gün her şey sıradan görünmektedir. Annesi, bakıcı kadın ve köpek gezdiricisi gencin ekseninde güvenlikli orta sınıf evi tedirgin edici bir hâl almaya başlar. Köpekler semti saran kehanetin izini sürerken, geçmişin seçkinleriyle bugünün kazananları arasındaki çatışmaya ve her devrin kaybedenlerinin hikâyelerine uzanırız.

Ceren Ercan

Ceren Ercan
(Istanbul, Turkey, 1981)

Upon graduating from the Department of Theatre Criticism and Dramaturgy in Istanbul University, she pursued graduate education at the Department of Cinema at Marmara University. Since 2003, she has been working as a dramaturge in Bakirkoy Municipal Theatre. She is one of the founders of the ‘New Text New Theatre’ project by Galata Perform, where she offered playwriting training and consultancy.

She co-founded Oyun Deposu in 2007 and worked in the creative team for their play The Ugly Human-Ling, translated into three languages and performed in numerous festivals in Europe. Furthermore, this play was published in Germany’s Theater Heute Magazine. In 2010, she attended the playwriting workshop by Simon Stephens from the Royal Court Theatre.

She’s the director and co-author of the play Istenmeyen, which premiered at the 19th Istanbul International Theatre Festival in 2014. Istenmeyen has also been staged in Paris at the Chantier d’Europe, organized by Theatre de la Ville, and in New York, at the Phoenix Theatre Ensemble.

The Rebellion Day of Dogs, inspired by Madame Bovary, was first staged in the partnership between Lisbon’s Sao Luiz Teatro Municipal and Platform in 2016.

Afterwards Ercan started to work on the Turkey trilogy consisting of I Love You Turkey, Berlin Time and Tehran Dream. I Love You Turkey continues to be staged at a municipal theater in Istanbul. Berlin Dream continues to meet the audience in Istanbul with the partnership of Fringe Ensemble and Platform and it has also been staged in German in Bonn.

Ceren Ercan is currently working on Tehran Dream. She also works as a script and playwriting consultant and teaches Cinema and Dramaturgy at Bahcesehir University.

The Rebellion Day of Dogs

One morning, a man working as a dog walker in Nişantaşı whispers a prophecy. This prophecy is about what cannot be seen among luxury stores and shop displays washed with lights. The same morning a woman living in the same neighbourhood in an old apartment building is found dead by her caretaker. Meanwhile, Suzan, who ceaselessly works for her petty luxurious indulgence and who struggles with her marriage hanging by a thread, has no idea about her mother’s death.
Under the shadow of a dead woman, the lives of people from different classes, which are far apart but also uncannily close, become entwined.

Cast: 2 men and 2 women
Play available in English and Turkish.

Berkay Ateş

1987 yılında İstanbul’da doğdu. İlk,orta ve lise eğitimini İstanbul’da tamamladı. 2005 yılında girdiği İstatistik bölümünü, 2008 yılında Mimar Sinan Güzel Sanatlar Üniveristesi Devlet Konservatuvarı Tiyatro Bölümü’nü kazanınca bıraktı. Konservatuvar okuduğu yıllarda ve öncesinde bir çok özel tiyatroda oyunculuk ve asistanlık yaptı (Semaver Kumpanya, Dot, Krek . Tiyatro eğitimi sırasında ‘Meydan’ ve ‘Avlu’ isimli oyunları yazıp yönetti. Mezun olduktan sonra 2013 yılında iki arkadaşı ile birlikte Tiyatro D22’yi kurdu. Birçok oyunda oyuncu olarak görev almasının yanı sıra, Tiyatro D22 bünyesinde sahnelenen ‘Yirmi Beş’,’Karabatak’ ve ‘Kuş Öpücüğü’ oyunlarını yazdı. ‘Yimi Beş’ 2014 yılı Savaş Dinçel Ödüllerinde En İyi Yazar öldülüne layık görüldü. Aynı yıl Altıdan Sonra Tiyatro ve Theatre An Der Ruhr ortak projesi ‘Hak’ oyununu yazdı ve yönetti. ‘Hak’ oyunu 2016/2017 tiyatro sezonu içinde Kocaeli Şehir Tiyatroları repertuarında prömiyer yaptı. ‘Hak’, şuan 2018/2019 tiyatro sezonunda New York’ta sahnelenmek üzere, The Herbert Berghof Studio bünyesinde çalışılmaktadır.
25. Cevdet Kudret Edebiyat Ödülüne layık görülen Hakikat, Elbet Bir Gün!, Berkay Ateş’in yazdığı son oyundur.
Kendisi Oyunculuk ve yazarlık alanında üretimler vermeye devam etmektedir.

Kuş Öpücüğü

Yıllar sonra oğluna kavuşan bir anne (Hatice) ve hayatını sokaklarda akordeon çalarak kazanan hasta bir oğulun (Mehmet) hikayesi. Oyun, torbacıları hırsızları ve artık normalleşmiş polis müdahaleleriyle hayatın hızlı aktığı bu mahallede tek göz bir evin içinde, Mehmet ile Hatice’nin geçmişle ve birbirleriyle hesaplaşmalarıyla başlar. Mehmet’in kronik kalp rahatsızlığının gün gün ciddileşmesi Hatice’yi bir çözüm arayışına sürükler. Umudu ışıltılı ve bir o kadar da acımasız televizyon dünyasında aramalarıyla yaşamları bir anda değişir.

Berkay Ateş

(Istanbul, Turkey, 1987)

In 2008 he gets into State Conservatory of Mimar Sinan University, Department of Theatre. During this period he makes assistantships and plays many roles in private theatres. After his graduation, in 2013, Berkay and two friends create their own private theatre: Theatre D22. Besides playing in many plays, he has written three plays staged in D22: Yirmibeş (Twenty Five), Karabatak (Black Cormorant) and Kuş Öpücüğü (Bird Kiss). Yirmibeş won the prize for Best Writer during the Savaş Dinçel Awards 2014. That same year he wrote and directed Hak (Justice) for the joint project between Altıdan Sonra Theatre and Theatre An Der Ruhr. Hak premiered in Kocaeli City Theatre in the 2016/2017 season. It will be performed at the Herbert Berghof Studio in New York in the 2018/2019 season. The Truth, Certainly One Day is Berkay Ateş’s latest play. It won the Best Play Prize at the 25th Cevdet Kudret Literature Awards.

Bird Kiss

Bird kiss is the story of a mother, Hatice, who converged his boy after several years, and a sick boy, Mehmet, who makes his living by playing an accordion in the streets.

The play starts with the confrontation of Mehmet and Hatice with their past and with each other in a neighborhood that is famous for its drug dealers, thieves and casual police interventions. Mehmet’s chronical heart disease starts getting serious day by day, and this situation drags Hatice to find a solution. Their life starts changing when they pin their faith upon to TV world, which is as glittery as cruel.

Cast: 2 men and 2 women
Play available in English and Turkish

Ayse Bayramoglu

1980, İstanbul doğumlu. Dramatik Yazarlık alanında yüksek lisans derecesini tamamladıktan sonra tiyatro, sinema ve tiyatro alanlarında çalışmaya başladı. Yazdığı oyunlar arasından Beyaz Yalanlar, Hakiki Gala, Beraber ve Solo Şarkılar, Düğün, Pencere, Transit Geçiş ve Tık Tıkıdı Tıkılap sahneye taşındı. 2010 yılında Hakiki Gala ile Tiyatro Tiyatro Dergisi’nin ‘Yılın Oyun Yazarı’ ödülüne layık görüldü. 2014 yılında Avustralya’nın Melbourne şehrine taşındı. Oyunlarından Pencere ve Transit Geçiş Melbourne’de İngilizce olarak sahnelendi. Son 3 yıldır La Mama Tiyatrosu’yla prodüksiyon asistanı, yazar ve performansçı olarak çalışmaya devam ediyor.

Pencere

Pencere, herkesin birbirini tanıdığı küçük bir kasabada yaşayan Esme (13) ve Hüso’nun (13) gün geçtikçe kararan hayatlarında nefes almak için nasıl birbirlerine sığındıklarını anlatan karanlık bir hikayedir.

Ayse Bayramoglu

(Istanbul, Turkey, 1980)

Ayse Bayramoglu has a Master’s Degree in Dramatic Writing. She works as a writer for TV and the movie industry as well as theatres. She is the author of several plays, such as Hakiki Gala (2009), Beraber ve Solo Sarkilar (2010), Dugun (2010), Pencere (2012), Tik…Tikidi…Tikilap… (2013), Transit Passing (2015) and Windows (La Mama Theatre, 2017-2018). She was the winner of the Theatre Magazine Award for The Play of The Year 2010 with her first play, Hakiki Gala. In 2014 she moved to Melbourne and has been working with La Mama Theatre as a director’s assistant, performer and playwright since then.

Windows

Windows is a dark story about the denied and betrayed innocence of two teenagers, Esme and Huso, who live in a very small village where everyone knows each other. They take shelter in each other and begin telling fairy tales with the inspiration of their own lives.
Cast: 1 boy and 1 girl
Play available in English and Turkish.

Ahmet Sami Özbudak

(Hatay, Turkey, 1980)

Ahmet Sami Özbudak, 1980 yılında Hatay’da doğdu. Çocukluğu ve gençliği Alanya’da geçti. Üniversite eğitimi için İstanbul Üniversitesi Edebiyat Fakültesi Arşivcilik Bölümü’ne girdi. 2013 yılında ‘İz’ isimli oyunu seyirciyle buluştu. Özbudak, bu oyunla Avrupa’nın en prestijli ödüllerinden birisi olarak gösterilen Heidelberger Stückemarkt Avrupa Genç Yazar Ödülü’nü aldı. Kendisine aynı oyunla 2013 yılında ‘Tiyatro.. Tiyatro Dergisi’ yılın oyun yazarı ödülü geldi. Son olarak 2014 Afife Ödülleri kapsamında Cevat Fehmi Başkut Özel Ödülü’nü aldı. 2014 yazında ‘Masturi Kabare’ isimli romanı Artemis Yayınları’ndan çıktı! Özbudak’ın Afife Jale ve Bedia Muvahhit’in hayatını anlattığı „Hayal-i Temsil“ isimli oyunu İstanbul Büyükşehir Belediyesi Şehir Tiyatroları repertuarında yer aldı ve seyirciyle buluştu. 2015-2016 sezonunda  ikinckat’ta „Kar Küresinde Bir Tavşan“ isimli oyunu sahnelendi. 2016-2017 sezonu için ise Nilüfer Belediyesi ‘Tiyatro’ için ‘Romeo ve Juliet’ uyarlaması yaptı. „İz“ oyunu roman ve tiyatro metni formatında Artemis Yayınları tarafından basıldı ve okuyucuyla buluştu. 2017-2018 sezonu için Bakırköy Belediye Tiyatroları için yazdığı “Sherlock-Hamid” oyunu sahnelendi. Yine bu sezon TwoTwo Production adına “Mutluyduk Belki Bugüne Kadar” isimli oyunu yönetti. Ahmet Sami Özbudak, İstanbul’da yaşıyor ve yazılarını da burada yazıyor.

İz

Türkiye’nin yakın tarihindeki üç farklı dönem, Tarlabaşı’ndaki yüzyıllık bir binada aynı anda yaşanırsa nasıl ‘İz’ler bırakır?
1950’lerde yaşayan ve 6-7 Eylül olaylarında evlerini terk etmek zorunda kalan Rum kızkardeşler Markiz ve Eleni; 1980’lerde 12 Eylül olaylarından sonra kaçmak için Tarlabaşı’nda yine aynı evi kiralayan Ahmet ve onun Karadenizli ev sahibi Turgut Usta; 2000’lerde bölgede yaşayan ve çalışan Sevengül adlı travesti karakteri ve onun sevgilisi Rizgar… Tüm bu dönemler ve karakterler evde bıraktıkları „İz“ lerle hem bir önceki dönemin hikayelerini taşırlar hem de kendi hikayelerini yaratırlar. Hikayedeki 7 karakter kendi yaşadıkları dönemden çıkmadan bir masanın etrafında buluşurlar ve var oldukları dönemin siyasi atmosferine ve İstanbul’una ışık olurlar.

Ahmet Sami Özbudak

(Hatay, Turkey, 1980)

He studied Literature in Istanbul University and graduated in 2003. Since then, he has been working as a journalist in many newspapers and magazines. He is also writing plays since 1998 and taking backstage roles in theatres since 2002. He started attending the New Text New Theater Project in 2010 where he developed Stain, with which he won the 2011 Heidelberger Stückemarkts ‘Europäischen Autorenpreises‘ award. Stain was produced by GalataPerform in 2013 and since then it is still running in its repertoire. Ozbudak also got the Best Playwright Award at the Theater Awards in Istanbul in 2013 and the Afife Jale Award in 2014. He is also the author of Hayal-i Temsil, which has been on stage for 3 seasons in City Theatre. He was also one of the four playwrights involved in the “Testimonials” project based on Gezievents of Istanbul, coordinated by Yesim Ozsoy. In 2016 he directed a site-specific project called The Monologue Museum of Balat, in which 7 different monologues were exhibited in 7 different chambers in the same building of the old, historical town of Balat, Istanbul. Sherlock Hamid written by Ahmet Sami is on stage since 2017 at the Bakirkoy City Theather. Finally, Anton Chekov’s The Seagull, adapted by Ahmet Sami Ozbudak, is now on stage within Theather Festival at the Zorlu Performance Hall.

Trace

Stories, three different times, a house and 7 characters who have been guests of this house come together in this play written by Ahmet Sami Özbudak.
Markiz and Eleni, two Greek/Turkish sisters residing in Istanbul, who had to leave their house during the riots of September 6-7th in 1955; a revolutionist communist, Ahmet, who had to take refuge and hide in the same house as the tenant of a migrant from the Blacksea region of Turkey in 1980, and a transvestite, Sevengül, and his lover, who live in the same house in the 2000s. All of these characters coexist in the same house all together. They all tell their stories and also talk about the stories that preside them.
The house is a place of memory and identity where the traces of each era can be seen and experienced.
Cast: 5 men and 2 women
Play available in English, German and Turkish.

Escrevo teatro para pôr as palavras no presente, no mundo, a mexerem-se. Palavras que querem coisas e se espatifam ao comprido. Escrevo teatro porque é o território onde as ideias e as imagens se confundem com mais graça. E escrevo teatro também porque gosto de atores. Eles ensinam-me a escrever — sempre à procura desse lugar onde que tudo é normalmente misterioso e espantosamente claro.

 

Jacinto Lucas Pires nasceu no Porto em 1974. Vive em Lisboa.
Publicou vários livros: Para averiguar do seu grau de pureza (contos, 1996), Do sol (romance, 2004), Perfeitos milagres (romance, 2007), Assobiar em público (contos, 2008), O verdadeiro ator (romance, 2011), Grosso modo (contos, 2016). Acaba de lançar um novo romance, A gargalhada de Augusto Reis.
É autor de dois livros de não-ficção: Livro usado (viagem ao Japão, 2001), e VAMOS, em parceria com o fotógrafo Tiago da Cunha Ferreira (2011). É também autor dos livros infantis do pinguim Quem, em parceria com a ilustradora Sara Amado (2015).
Escreve peças de teatro para diferentes grupos e encenadores: Universos e frigoríficos (1998, APA/CCB, enc. Manuel Wiborg), Arranha-céus (1999, TNSJ/ Teatro Bruto, enc. Ricardo Pais), Escrever, falar (2001, Lilástico, enc. Marcos Barbosa), No fundo no fundo (2002, CAPA/ Lilástico, enc. Marcos Barbosa), Coração transparente (2002, Maus Hábitos, enc. Nicolau Pais), Os dias de hoje (2003, TNSJ/ Lilástico, enc. Marcos Barbosa), Coimbra b (2003, Coimbra Capital da Cultura/ Lilástico, enc. Marcos Barbosa), Figurantes (2004, TNSJ, enc. Ricardo Pais), Os vivos (2007, O Bando, enc. João Brites), Silenciador (2008, Teatro Oficina, enc. Marcos Barbosa), Sagrada família (2010, Culturgest/Viriato, enc. Catarina Requeijo), Tu És O Deus Que Me Vê (2010, Teatro Nova Europa, enc. Luís Mestre), Exactamente Antunes (2011, TNSJ, enc. Cristina Carvalhal e Nuno Carinhas), Cidade Domingo (2012, Teatro Oficina, enc. João Henriques), Adalberto Silva Silva (2012, para Ivo Alexandre), Interpretação (2014, Culturgest/Mundo Perfeito, para Tiago Rodrigues), Libretto (2014, TMMM/CCVF/Ninguém, espetáculo em co-criação com Alma Palacios), Email (2015, Ninguém, enc. Ivo Alexandre), Grande cena (2016, Teatro Oficina, enc. Marcos Barbosa), Henrique IV parte 3 (2016, Ninguém/TNSJ, enc. Jacinto Lucas Pires), Catarina (2016, ACTA, enc. Luís Vicente), Agora (2018, Ninguém, enc. Ivo Alexandre), Aqui somos todos Lázaros (2018, Carpintarias de São Lázaro, para Marcos Barbosa). Escreveu ainda as peças curtas: Luto (2007, O Bando, enc. João Brites), O sutiã de Jane Russell (2007, Artistas Unidos/ Gulbenkian, leitura enc. Jorge Silva Melo), Ténis invisível (2010, Qatrel, enc. Teresa Sobral), Memória 29 (2010, Mundo Perfeito, enc. Tiago Rodrigues), Água benta (2013, TAGV, leitura enc. Nuno Cardoso), Senhora Doutora Cassandra (2013, Cão Danado, enc. Nuno M Cardoso).
Traduziu as peças Thom Pain e Os Dias Realistas de Will Eno, Ácido DesoxirriboNucleico de Dennis Kelly, A febre de Wallace Shawn e O meu jantar com o André de Wallace Shawn e André Gregory.
Escreveu e realizou três curtas-metragens, Cinemaamor (1999), B.D. (2004) e Levantamento (2014), e uma longa-metragem, Triplo A (2017).
Foi-lhe atribuído em 2008, pela Universidade de Bari/ Instituto Camões, o Prémio Europa – David Mourão-Ferreira.
Faz parte, com Tomás Cunha Ferreira, da banda Os Quais.
O romance O verdadeiro ator ganhou o Grande Prémio de Literatura DST 2013.
Este romance foi editado nos EUA com o título The true actor (edição Dzanc Books, tradução de Jaime Braz e Dean Thomas Ellis).
Todas as semanas, na Rádio Renascença, debate com Henrique Raposo sobre temas da atualidade. Tem uma crónica benfiquista no jornal O Jogo. Escreve na secção de cultura do sítio Ponto SJ e no seu blogue, O que eu gosto de bombas de gasolina.

INTERPRETAÇÃO

Joaquim é intérprete nas instituições europeias. Sentado atrás de um vidro, traduz os discursos dos outros. Um dia comete um erro — um errozinho, um pequeno falhanço, coisa mínima — que se transforma num gigantesco malentendido. O quê, a crise da União Europeia é culpa dele, afinal? Será possível? Como é que é, de repente a crise de identidade que o nosso Joaquim atravessa é a crise da Europa?
Um monólogo com oitenta e tal pessoas em palco, teatro da palavra cheio das melhores estatísticas, uma tragédia que é também uma comédia (nunca dá para explicar a coisa toda, assim a seco, nestes textos de apresentação). Eu-tu-ele, Eu-ro-pa.

I write theater to put words in the now, in the world, moving. Words that want things and fall on their faces. I write plays because theater is the territory where ideas and images mix in a funnier, more delicate way. I write theater also because I love actors. They teach me how to write — always looking for that place where everything is commonly mysterious and amazingly clear.

Jacinto Lucas Pires was born in Porto in 1974 and lives in Lisbon. He is a writer and a playwright.

A Gargalhada de Augusto Reis (The laugh of Augusto Reis), his latest novel, has just come out (published by Porto Editora).

The True Actor (published in the US by Dzanc, translation by Jaime Braz and Dean Thomas Ellis) won the 2013 DST Distinguished Literature Award for the best book published in Portugal in the past two years.

Lucas Pires won the prestigious Prémio Europa/David Mourão-Ferreira (Bari University, Italy/Instituto Camões, Portugal) in 2008.

In the US, his stories have been published in St. Petersburg Review, The Common and the The Mass Review.

Jacinto Lucas Pires has written four novels, two short-story collections and two non-fiction books.

He has written several theater plays, staged by different groups — such as Universos e frigoríficos (Universes and refrigerators, 1998, APA/CCB, directed by Manuel Wiborg), Escrever, falar (Writing, speaking, 2001, Lilástico, directed by Marcos Barbosa), Figurantes (Extras, 2004, TNSJ, directed by Ricardo Pais), Exactamente Antunes (Exactly Antunes, 2011, TNSJ, directed by Cristina Carvalhal and Nuno Carinhas), Interpretação (Interpretation, 2014, Culturgest/Mundo Perfeito, directed by Tiago Rodrigues), Agora (Now, 2018, Ninguém, directed by Ivo Alexandre).

He plays with the band Os Quais, and he keeps the blog O que eu gosto de bombas de gasolina. His soccer column appears in O Jogo. He comments on political issues at Renascença Radio.

INTERPRETAÇÃO

Joaquim works as an interpreter at the European institutions. Behind a glass, he translates other people’s speeches. One day, he makes a mistake — a little one, a slight error, just a tiny thing — and it becomes a monumental misunderstanding. What, now the Euro crisis is all his fault? Is that possible? How can it be that, suddenly, our Joaquim’s identity crisis becomes the European crisis?
A monologue with eighty-something people on stage, theater of the word playing with some of the best statistics, a tragedy that’s also a comedy (one can never explain the whole thing in these abrupt synopses, I’m afraid). Me, you, Europe.

Para mim, escrever teatro é entender a unidade de espaço e de tempo do ponto e vista do momento e do sítio em que estou a escrever. Então a encenação é o confronto entre o tempo da cena e o tempo da escrita. Por isso, aquilo que escrevo acaba por ser quase sempre uma tentativa de ver e entender o outro tal como é, apesar deste problema de simultaneadade.

 

Escreve para a cena e para o papel, traduz e dá aulas de dramaturgia na licenciatura de Teatro na Escola Superior de Artes e Design e aulas de Ficção Breve na pós-graduação em Artes da Escrita na FCSH da Universidade Nova. Tem o título de Especialista em Artes do Espectáculo e é mestrando no programa em Teoria da Literatura na Faculdade de Letras da Universidade de Lisboa. Trabalhou em teatro com Bruno Bravo, Jorge Silva Melo, Gonçalo Waddington, António Simão, Tiago Rodrigues, Gonçalo Amorim, Teresa Sobral, Raquel Castro, Pedro Gil, Lígia Soares, Tonan Quito entre outros. Alguns dos seus textos estão publicados na colecção Livrinhos de Teatro dos Artistas Unidos, na editora Ambar, na Douda Correria, na Mariposa Azual, na Culturgest, na Primeiros Sintomas, e nas revistas Artistas Unidos, Fatal e Blimunda. Traduziu Samuel Beckett, Harold Pinter, Ali Smith, William Maxwell, Joyce Carol Oates, Salman Rushdie, Senel Paz, entre outros.

Ganhou uma Menção Honrosa em 2005 pela actividade de dramaturgo pela Associação de Críticos de Teatro e o prémio SPA 2017 para melhor Texto Português representado com  Se Eu Vivesse Tu Morrias. Foi nomeado no mesmo prémio e no mesmo ano com o espectáculo Terreno Selvagem.

Se eu vivesse tu morrias
Este trabalho tem o carácter de um ensaio – como no contexto académico – uma tentativa, uma investigação; trata-se da exploração de um dos limites do teatro: o texto. O texto está disponível ao mesmo tempo que a sua representação; os espectadores poderão alternar entre a leitura e a visão do espectáculo. Interessa neste projeto esse intervalo particular, entre ver e ler. Embora ler seja simultaneamente ver, a leitura representa uma espécie de cegueira – só se lê se não se virem as letras, as palavras, as frases, o texto; só se acede ao significado se se descartar a forma. Este projeto acontecerá precisamente nesse intervalo: entre ler e ver, entre o livro e o palco, na intermitência da atenção do espectador, entre o levantar e o baixar da cabeça, num movimento de gola. Dir-se-ia então, que este projeto serve para investigar a visibilidade do texto teatral, inclusive as didascálias – esse texto afónico que coreografa tudo o que se vê num palco.

For me, writing for theatre (and for me this is the difference between being a writer and a playwright) is to perceive time and space unity from the point of view in which I’m writing. I am here and now writing this. Therefore staging is to confront the time of staging and the time of writing. So, consequently my issue is almost always an attempt to see and to perceive the others as they really are, in spite of this time and place problem.

Miguel Castro Caldas is a playwright, translates and teaches playwriting in the Theater degree at the School of Arts and Design. Teaches also Short Fiction. He worked in theatre with Bruno Bravo, Jorge Silva Melo, Gonçalo Waddington, Miguel Loureiro, António Simão, Tiago Rodrigues, Teresa Sobral, Raquel Castro, Pedro Gil, Lígia Soares, Gonçalo Amorim, Rute Rocha, among others. Some of his texts are published in the collection Livrinhos de Teatro dos Artistas Unidos, the publishers Ambar, Douda Correria, Mariposa Azual, Culturgest, Primeiros Sintomas, and in the magazines Artistas Unidos, Fatal and Blimunda. He translated Samuel Beckett, Harold Pinter, Ali Smith, William Maxwell, Joyce Carol Oates, Salman Rushdie, Senel Paz, among others. He won SPA Prize for best-staged play with Se eu vivesse tu Morrias.

Were I to live, you would be dead

This piece has the nature of an essay, an experiment, an investigation; its matter is the exploration of one of theatre’s limits: the text. The text is made available alongside its representation on the stage; thus, the spectators can switch back and forth between reading and watching the performance. One key concern of this project is this particular gap betweeen seeing and reading. Even if reading is also, and simultaneously, seeing, to read implies a kind of blindness – one can only read if one loses sight of letters, words, sentences, the text; one only gains access to meaning by freeing oneself from form. This project operates precisely in that gap: between reading and seeing, between the book and the stage, in the folds of the spectators’ flickering attention, between the lifting and dropping of their heads, the swing of their necks. One could claim, then, that it inquires into the visibility of the theatrical text, including the stage directions – that voiceless speech that choreographs all that you see on the stage.

O meu amor pela leitura formou-me como escritora, da mesma forma que a experiência insondável de ver (algum) teatro me fez querer escrever para o palco. Descobri que todos os romances e contos já escritos não me prepararam para a especificidade da escrita teatral e, nesse sentido, de uma forma ou de outra, o meu trabalho tem estado sempre ocupado com as coincidências e divergências das duas formas de escrita. Em ambas, interessa-me a forma como a ficção e o drama podem absorver a realidade e devolvê-la numa outra forma de entendimento, ou inteligência. Em cena, interessa-me sobretudo aquilo que não pode ser escrito, o não verbal, o silêncio, e o jogo teatral entre actores.

Joana Bértholo. Lisboa, 1982. É licenciada em Design de Comunicação na Faculdade de Belas-Artes de Lisboa; e doutorada em Estudos Culturais pela European University Viadrina, na Alemanha. Em paralelo à criação literária, escreve para dança, para teatro, e dá aulas.
Em 2005, com 23 anos, foi finalista do prémio Jovens Criadores. Em 2009, o seu primeiro romance “Diálogos Para o Fim do Mundo” ganha o Prémio Maria Amália Vaz de Carvalho, e é publicado pela Editorial Caminho. Desde então publicou outros romances (“O Lago Avesso” e “Ecologia”), livros de contos (“Inventário do Pó”, e “Havia”), e um livro infanto-juvenil (“O Museu do Pensamento”) todos na Editorial Caminho; bem como outros livros noutras editoras, com destaque para a Dois Dias Edições e as Edições Prado. “O Museu do Pensamento” recebeu o Prémio do Festival Literário de Fátima e foi nomeado pela Sociedade Portuguesa de Autores para o Prémio SPA.
Em teatro, escreveu para duas edições do Festival Teatro das Compras (com direcção de Giacomo Scalisi) e apoiou a dramaturgia de diferentes criações: várias criações da coreógrafa Madalena Victorino, e outras de Raquel Castro (“O Olhar de Milhões”), Cláudia Andrade (“Para Vós”), Filipe Caldeira e Catarina Gonçalves (“Lusco-Fusco”). A sua primeira peça longa („Quarto Minguante“), escrita no Laboratório de Escrita para Teatro do Teatro Nacional D. Maria II, estreou nesse mesmo teatro em Novembro de 2018, com encenação de Álvaro Correia. No mesmo ano foi-lhe atribuída a Bolsa de Criação Literária, em Dramaturgia, pela Direcção Geral dos Livros, Arquivos e Bibliotecas (DGLAB).

Mais projectos e publicações: www.unscratchable.info

Qual é o papel da imaginação na resolução de impasses coletivos?
Sete personagens em situações muito diferentes, mas unidos pelo mesmo impasse: não estão bem, e nem por isso fazem algo por mudar. Temem que o novo seja ainda pior. O mundo em que vivem estreita-se em redor deles, têm cada vez menos espaço para circular, mas tentam a todo o custo manter o quotidiano. Recusam-se a discutir alternativas.

My love of reading naturally drew me to writing, as my love of theatre drove me to write a play. I love the place of the spectator, or reader. Having written many novels, I felt none of that prepared me to write theatre, and I enjoy the challenge. I investigate the communalities and divergences between the two forms of writing, and my work is always concerned with that. In both I’m interested in how the world can contaminate fiction and drama. On stage, I’m interested mostly in what cannot be written, the non-verbal, the silences, and on the theatrical game between the actors.

Joana Bértholo (Lisboa, 1982) is a novelist and a play-writer based in Lisbon, after living abroad for many years, in Europe and South America, with a highlight to the year spent in Buenos Aires, volunteering at Eloisa Cartonera, a very special book publisher that works with the «cartoneros», urban waste scavengers, and their hand-made books.
She holds a degree in Graphic Design (Lisbon’s Fine Arts Faculty) and a PhD in Cultural Studies (Europa-Universität Viadrina, in Germany). Her thesis was selected and published by Routledge Press.
Joana pursues a wide scope of interests through writing, using both the book as the stage as a platform to investigate on ecology, technology, sustainability, narratives, among others. She has published three novels, two books of short-stories and a children’s book with Editorial Caminho, one of the most prestigious Portuguese publishing houses; as well as other texts with other publishers in different collections and anthologies.
For the stage, she began by supporting the dramaturgy for four different creations by the choreographer Madalena Victorino. She then wrote nine short monologues for a Theatre Festival set in the centenary shops of Lisbon. After that she ventured her first long play («Quarto Minguante»), and was responsible for the dramaturgy for another long play and a children’s piece.

More projects and more information at www.unscratchable.info

What role does imagination play in solving collective standstills?
Seven characters in very different situations but united by the same resistance to change: they are not well, but they refuse to change. They fear that the new will be even worse. The world in which they live keeps getting narrower, they have less and less space to circulate, but they try at all costs to keep up with their routines. What is known, what is familiar to them. They refuse to discuss any alternatives.

Katharina Schlender

Nicht alles was man als Dramatiker denkt und ausdrücken möchte lässt sich in zu sprechende Sprache fassen. Zum Glück, denn wäre es anders, bräuchte es kein Theater mehr. Leben lässt sich nicht in Worte fassen. Zwischen den Worten, zwischen Dialogen, passiert das Erleben, das Fühlen.
Dieses Fühlen zwischen den Worten, dieses Erleben von Sprache, macht für mich Theater aus. Dabei versuche ich nicht der Sprache ein Gefühl zu geben, Sprache kommt nicht aus dem Bauch sondern aus dem Mund, welcher näher am Kopf liegt. Ich versuche dem Gefühl eine Sprache zu geben.

Katharina Schlender, geboren 1977 in Neubrandenburg. Seit dem Abschluss 2000 an der Universität der Künste Berlin (UdK) lebt sie als freie Autorin und Projektinitiatorin in Berlin. Sie schreibt Stücke für das Kinder-und Jugendtheater sowie auch für den Abendspielplan.  Hörspiele und Drehbücher gehören ebenso zu ihren Arbeiten.
Sie war Initiatorin und Veranstalterin des interaktiven Autorenprojektes PLUNDERN Alte Dinge – Neue Geschichten. Führte beim Stück steinrot&moosblau von Gerd Knappe Regie. War Gründungsmitglied der BattleAutoren, die die ersten frei und unabhängig vom öffentlichen Theaterbetrieb organisierten DramaTischTage in Berlin durchführten – ein Theaterautorenfestival zur Auseinandersetzung mit zeitgenössischer Dramatik.
Für ihre Arbeiten erhielt sie zahlreiche Preise. Auswahl: Autorenpreis des Heidelberger Stückemarktes für Wermut. Jugendtheaterpreis Baden-Württemberg für Die Renatenente, außerdem auch für das Stück Plumpsack. Kleist-Förderpreis für junge Dramatik für Trutz.
Derzeit arbeitet sie an dem Text MENSCHER. Ein Stück Zirkus:
Das Spiel mit dem Menschenbild ist noch immer möglich. Egal wie sehr der Mensch auch vorgibt, etwas anderes zu sein und egal wie gut oder schlecht diese Selbstinszenierung ist, die Frage war schon vor den Social Media immer da: Wer bin ich und wer will ich sein?

SIE. DU. ICH. ELLEN.
oder DIE ANFÄNGERIN
Besetzung: 1F – 3F, ad libitum

ELLEN:
Sperrangelweit offen steh ich plötzlich in der Welt.
Wenn man die Muttersprache die man zu sprechen gelernt hat, nicht lesen oder schreiben kann, wie versteht man dann die Welt? Und wie kommuniziert die Welt mit so einer, einer Analphabethin?
Wenn man die Muttersprache die man zu sprechen gelernt hat, zwar lesen und schreiben kann, aber an einem Ort ist, wo niemand diese Sprache versteht, wie spricht man dann zu dieser Welt? Und wie kommuniziert die Welt mit so einem, einem Fremdling?
Die Frau hat Sehnsucht. Sie steht in ihrer Küche und putzt und kocht und kümmert sich. Sie verschmilzt mit den Gegenständen, sie wird die Arbeit, sie blickt sich entgegen aus Schüsseln und Töpfen. Sie muss weg. Mit Anfang vierzig. Wo bestellt sich eine solche namen- und schwerelose ein Glück? Ist es eine Reise oder ein Kurs in irgendwas? Sie fährt los. Kaum ein Gedanke, der sie mit der Familie verbindet. Unaufgeregt verschwindet sie in den Straßen Berlins (oder auch einer anderen Großstadt) verläuft sich, trifft auf einen Mann namens Fouzi. Der arbeitet in einem Dönerladen und sie versteht alles falsch. Oder richtig? Sie kennt sich nicht aus. Sie ist eine offene Seite zwischen Himmel und Rinnstein. Die Glückssucherin findet Arbeit, die sie nicht suchte, eine Bleibe, die nicht mehr ist als eine Bleibe. Eine von Tausenden, wird sie langsam und noch langsamer ein ICH und eine SIE. Und die fängt an zu sprechen.
Dieser Text steht noch zur Uraufführung frei.

DER ZUFRIEDENE
Besetzung: 2F, 4M, 1 Clown

Wo ist die Lücke im Hamsterrad? Im Hamsterrad der Glückssucher. Die Leistungsgesellschaft rennt und rennt. Ist es nicht schon viel zu spät? Wenn einer plötzlich nicht mehr rennt, wenn einer plötzlich stehen bleibt und dabei auch noch ganz zufrieden scheint, stolpert man über ihn, muss ausweichen. Wenn man zufrieden ist, gibt es keine Grenzen mehr. Nichts, was man noch bewältigen muss. Man bleibt stehen und löst sich von den Menschen, löst sich unter den Menschen auf. Wohin verschwindet man? Kein Mensch mehr? Noch kein Tier? Ein Dazwischen kann es nicht geben. Ein Zebra hat schwarze und weiße Streifen. Ein Dazwischen gibt es nicht.
Da steht Kurt Gromann. Ein ungetrübter, ja glücklicher Vertreter der neuen Unterschicht. Existenzminimum, Armutsgrenze und keine Aussicht nirgendwo. Kurt Gromann ist davon betroffen und müsste unglücklich saufend irgendwo die Parkbank hüten. Er ist doch weder arbeitsscheu, noch krank, noch phantasielos und steht trotzdem am äußersten Rand des Getriebes. Aber von ihm wird kein Eingeständnis einer Niederlage zu hören sein. Zukunftsängste quälen ihn nicht. Er ist zufrieden. Beharrlich entzieht er sich dem allgemeinen Streben und scheint sich irritierend wohl zu fühlen in seiner armen Haut. Diese Herzensruhe wird für seine Mitmenschen zum Ärgernis. Ehe er sie mit dem Keim der Bedürfnislosigkeit infizieren kann, wird Kurt Gromann Versuchsobjekt in einem Testlabor. Aber auch hier gelingt es nicht, diesen antiheldischen Provokateur zu einem Teil der Leistungsgesellschaft zu machen. Als die Angriffe auf seine Zufriedenheit unerträglich werden, verwandelt er sich vor aller Augen in ein zebraähnliches Geschöpf, schließt sich einer Herde an und verschwindet.

Mob Pro – Mobility training programme

Fabulamundi has designed and will run a structured mobility program in the participating countries (MobPro), addressed to 80 selected playwrights coming from 8 countries and hosted in each of them, plus the UK, from April 2018 to the end of 2019. MoB Pro is one of the added value of this new edition of Fabulamundi, an unique occasion for the 80 playwrights participating the project to live an international mobility and attend professionals training and peer to peer learning activities, together with a selected group of EU playwrights, as well as organizations and stakeholders relevant at national and international level.

The main objectives of the MobPro are to stimulate and raise awareness through open discussions on the role and position of playwrights in contemporary society, with specific reference to the “Beyond Borders?” theme and to provide playwrights with new insights, capabilities and opportunities in terms of international exchanges and self-positioning within the European context.

During the MobPros, pre-selected playwrights will: meet other EU playwrights and other relevant organizations/persons; exchange experiences in a peer-learning approach; meet a selection of relevant stakeholders of the hosting country in order to have an effective networking and a professional opportunity; reflect on the “Beyond Borders” theme with colleagues and experts. Hosting organizations will be responsible for the activity implementation and for the results to be achieved, in close cooperation with ECCOM which will take care of the format definition and of the monitoring, evaluation and reporting of the whole activity.

Sessions – moderated by expert trainers and facilitators Cristina Da Milano and François Matarasso – will be articulated in 3 days according to a format which will be the same during the 9 MobPros.

Day 1 – Workshop on “Beyond Borders?”

A workshop on the theme “Beyond Borders?” will be held in each country on the first day according to a specific declination of it (geographical, cultural, social borders). Key-note speakers will be identified in each country in order to provide participants with a relevant conceptual framework aiming at feeding the following debate among playwrights, experts, professionals from hosting organization.

Day 2- Peer to peer learning activity

The second day will be dedicated to the peer to peer learning activity amongst playwrights, experts and testimonials invited by the resident organizations. Among the issues addressed there will be: best practices for dramaturgy circulation and playwrights mobility; capacity building of playwrights in terms of self-presentation; partnerships among playwrights and different stakeholders.

Day 3 – Stakeholders meetings

The meeting with stakeholders will be the core of the Mobility Activity, since the participating playwrights will have the opportunity to present their work to relevant national stakeholders, appositively invited by the resident organization on the basis of their interests and artistic visions.

1st Mob Pro UK – London, 25-27 April

Click here to download the programme of Mob Pro – UK.

2nd Mob Pro Spain – Barcelona, 18-20 July

Click here to download the programme of Mob Pro – Spain.

3rd Mob Pro Italy – Rome, 12-14 September

Click here to download the programme of Mob Pro – Italy.

4th Mob Pro Czech Republic – Prague, 1-3 December

Click here to download the programme of Mob Pro – Czech Republic.

5th Mob Pro Poland – Warsaw, 5-7 March

Click here to download the programme of Mob Pro – Poland.

Bando di selezione
12 drammaturghi

FABULAMUNDI DRAMA LAB

Roma, 6-16 settembre 2018
Milano, 1-7 ottobre e 21-24 novembre 2018
10 residenze di traduzione all’estero e in Italia

FABULAMUNDI DRAMA LAB è un progetto ideato e realizzato in partenariato da PAV (Roma) e Teatro-i (Milano), un percorso di formazione rivolto a dodici autori teatrali under 35.

L’officina di Fabulamundi Drama Lab si svolgerà tra settembre 2018 e marzo 2019 con un doppio focus di lavoro su Roma e su Milano, e con residenze di traduzione all’estero e in Italia, per innescare nuove dinamiche di relazione e di contaminazione a partire dalla drammaturgia contemporanea.

Le attività a Roma di Fabulamundi Drama Lab, inserite nell’ambito del Festival Short Theatre 2018, andranno a stimolare connessioni e dialoghi con diverse professionalità del settore appositamente selezionate dal network internazionale di Fabulamundi, compresi i suoi partner. Autori, registi, attori, direttori di teatri e di festival, giornalisti, scrittori e interlocutori eterogenei si alterneranno con l’obiettivo di fornire ai partecipanti, grazie a un calendario di incontri e di talk, strumenti concreti e mirati su cosa significhi fare drammaturgia contemporanea oggi, sia in termini produttivi che di internazionalizzazione.

A Milano il cantiere di Fabulamundi Drama Lab sarà coordinato da Teatro-i e andrà a concentrarsi specificamente sulla pratica della scrittura drammaturgica, grazie anche all’apporto dei preziosi “Diari dei migranti” che per l’occasione saranno messi a disposizione dei partecipanti dall’Archivio Nazionale Pieve Santo Stefano. Le attività saranno affiancate da incontri e tavole rotonde.

Milano sarà inoltre la sede di un primo workshop dedicato interamente al tema della traduzione. La conduzione sarà affidata ai traduttori ufficiali di Fabulamundi.

Le residenze di traduzione di Fabulamundi Drama Lab costituiranno un ulteriore importante tassello per favorire la diffusione e la circolazione della drammaturgia italiana in Europa. Le residenze in tutto saranno dieci – cinque all’estero e cinque in Italia, nel periodo tra dicembre 2018 e marzo 2019.

 

Fabulamundi Drama Lab s’inserisce nell’ambito di Fabulamundi Playwriting Europe – Beyond borders?, un progetto europeo di cooperazione che coinvolge teatri, festival e organizzazioni culturali provenienti da 10 Paesi europei (Italia, Francia, Germania, Spagna, Romania, Austria, Belgio, Regno Unito, Polonia e Repubblica Ceca). Obiettivo del network è sostenere e promuovere la drammaturgia contemporanea in Europa, al fine di consolidare e potenziare le attività e le strategie degli artisti che operano nel settore, offrendo ai drammaturghi opportunità di networking e favorendo il dialogo e la crescita professionale. Tutte le informazioni sul progetto sono disponibili su www.fabulamundi.eu.

Cronoprogramma Fabulamundi Drama Lab :

– Roma, dal 6 al 16 settembre 2018 nell’ambito del festival Short Theatre;

– Milano, dal 1 al 7 ottobre 2018; dal 21 al 24 novembre 2018 presso Teatro i;

– residenze di traduzione, tra Italia e l’estero, (periodo da definire) fra dicembre 2018 e marzo 2019.

Per partecipare al Fabulamundi Drama Lab, tutti i candidati dovranno inviare la domanda di partecipazione allegata debitamente compilata, un curriculum, una breve lettera motivazionale e un proprio testo teatrale, entro e non oltre le ore 24.00 del  25 luglio 2018  al seguente indirizzo e-mail: projects@pav-it.eu

PER INFORMAZIONI

PAV snc di Claudia Di Giacomo e Roberta Scaglione
Tel. 06 44702823

e-mail: projects@pav-it.eu

Scarica la call in formato pdf qui.
Scarica l’allegato per la domanda di partecipazione qui.

FABULAMUNDI. PLAYWRITING EUROPE BEYOND BORDERS?

“Fabulamundi Playwriting Europe: Beyond Borders?” es un proyecto de cooperación entre teatros, festivales y organizaciones de 10 países de la UE (Italia, Francia, Alemania, España, Rumania, Austria, Bélgica, el Reino Unido, Polonia y la República Checa). El objetivo de la red es apoyar y promover la dramaturgia contemporánea en toda Europa para reforzar y aumentar las actividades y estrategias de los profesionales y artistas del sector y ofrecer a los dramaturgos y profesionales oportunidades de trabajo en red, encuentro multicultural y desarrollo profesional.

Financiado en dos ocasiones por la Comisión Europea antes de la edición actual, “Fabulamundi Playwriting Europe” ganó la Convocatoria Creative Europe como proyecto de colaboración 2017-2020 y ahora pretender ampliar tanto su alcance como su impacto en el sector teatral. Mediante sus experiencias de los últimos cuatro años, Fabulamundi ha confirmado un interés creciente por la dramaturgia europea contemporánea y la necesidad constante de ofrecer al sector herramientas adecuadas para poder ayudarle a superar sus puntos débiles. Por lo tanto, la necesidad de mejorar las relaciones y los intercambios multilaterales se ha convertido también en una cuestión urgente.

El tema de esta edición de Fabulamundi es “¿Más allá de las fronteras?”, una amplia reflexión sobre una urgencia pertinente, estimulante y dramática para Europa y sus ciudadanos. En estos tiempos caracterizados por la emergencia migratoria y por la construcción de nuevos muros, „Fabulamundi – Beyond borders?“ quiere centrarse en el tema de la superación de fronteras para proporcionar una visión y una comprensión profundas de las cuestiones contemporáneas.

Se trata de un gran reto al que se enfrenta Fabulamundi junto con su red para desarrollar su objetivo cultural. Fabulamundi desea ser una plataforma sólida de apoyo y promoción a la dramaturgia contemporánea en toda Europa.

Los principales objetivos de Fabulamundi son:

  1. Promover la circulación, traducción, publicación y montaje de obras de nueva creación en toda Europa a través de un proceso de intercambio continuado con el apoyo de las organizaciones participantes.
  2. Promover el conocimiento y la circulación de dramaturgos de gran valor en Europa a través de un programa continuado de movilidad e intercambio.
  3. Dar apoyo al desarrollo profesional de los dramaturgos a través de un programa amplio y continuado de actividades de aprendizaje entre iguales („peer-to-peer“), trabajo en red y encuentro con otros dramaturgos, profesionales y grupos de interés.
  4. Implicar a organizaciones relacionadas con el hecho teatral (teatros, festivales, asociaciones de dramaturgos, editores, escuelas de teatro…) en el desarrollo de competencias específicas (Desarrollo de Públicos, coproducción, formación…).
  5. Fomentar un „ecosistema“ favorable a la circulación y producción de nuevas obras y dramaturgos, promover el diálogo y la cooperación entre diferentes grupos de interés implicados en la cadena de valor.
  6. Crear una red internacional de dramaturgos, artistas, profesionales y grupos de interés (desde instituciones públicas a escuelas de teatro, desde asociaciones culturales a asociaciones de editores) con el objetivo de reforzar el sector teatral, en una perspectiva a largo plazo.
  7. Promover el Desarrollo de Públicos en el sector teatral a nivel de la UE a través de la definición, puesta a prueba y difusión de estrategias específicas.
  8. Crear, poner a prueba y evaluar estrategias y metodologías colaborativas para la promoción de la dramaturgia a nivel de la UE que se puedan reproducir a largo plazo con el objetivo de garantizar la sostenibilidad del proyecto.

Actividades previstas:

  1. Crear un programa artístico “Fabulamundi Playwriting Europe – Beyond Borders?” con los países participantes, fomentando la circulación de nuevas obras y dramaturgos y la selección, traducción y distribución de obras.
    Se ha diseñado, puesto en práctica y evaluado una Estrategia para el Desarrollo de Públicos para organizaciones relacionadas con el hecho teatral para promover el desarrollo de públicos en los países participantes y que se convierta en un modelo de éxito reproducible.
  2. El desarrollo profesional y la internacionalización de dramaturgos y de organizaciones relacionadas con el hecho teatral.
  3. Crear una red europea para el montaje y circulación de obras.
  4. Crear la primera edición del Festival Europeo Fabulamundi en 2020.

Fabulamundi en números:

  • 80 autores preseleccionados de 8 países/dramaturgias (10 autores cada uno)
  • 160 obras preseleccionadas (aprox. 2 por autor)
  • 80 autores y 160 obras incluidos en el catálogo en línea de Fabulamundi
  • 40 autores y 40 obras de 8 „dramaturgias hermanadas” incluidos en el catálogo en línea de Fabulamundi

Por tanto, un total de 120 autores de 16 países y 200 textos en circulación y promoción.

Asociación y red:

La asociación la componen las siguientes organizaciones:

  • PAV s.n.c. di Claudia Di Giacomo e Roberta Scaglione (IT)
  • Short Theatre (IT)
  • Teatro i (IT)
  • ECCOM (IT)
  • Wiener Wortstaetten (AT)
  • Culture Action Europe (BE)
  • DIVADLO Leti (CZ)
  • La Mousson d’été (FR)
  • Théâtre Ouvert (FR)
  • Interkulturelles Theaterzentrum Berlin e.V. (DE)
  • Teatr Dramatyczny m.st. Warszawy (PL)
  • University of Arts of Targu-Mures (RO)
  • Teatrul Odeon (RO)
  • Fundació Sala Beckett – Obrador Internacional de Dramatúrgia (ES)
  • Creative Skillset (UK)

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FABULAMUNDI. PLAYWRITING EUROPE BEYOND BORDERS?

“Fabulamundi Playwriting Europe: Beyond Borders?” és un projecte de cooperació entre teatres, festivals i organitzacions de 10 països de la UE (Itàlia, França, Alemanya, Espanya, Romania, Àustria, Bèlgica, el Regne Unit, Polònia i la República Txeca). L’objectiu de la xarxa és donar suport i promoure la dramatúrgia contemporània arreu d’Europa per tal de reforçar i augmentar les activitats i estratègies dels professionals i artistes del sector i oferir als dramaturgs i als professionals oportunitats de treball en xarxa, trobada multicultural i desenvolupament professional.

Finançat en dues ocasions per la Comissió Europea abans de l’edició actual, “Fabulamundi Playwriting Europe” va guanyar la Convocatòria Creative Europe com a projecte de col·laboració 2017-2020 i ara pretén ampliar tant el seu abast com el seu impacte en el sector teatral. Mitjançant les seves experiències dels darrers quatre anys, Fabulamundi ha confirmat un interès creixent en la dramatúrgia europea contemporània i la necessitat constant d’oferir al sector eines adequades per poder ajudar-lo a superar els seus punts febles. Per tant, la necessitat de millorar les relacions i els intercanvis multilaterals ha esdevingut també una qüestió urgent.

El tema d’aquesta edició de Fabulamundi és “Més enllà de les fronteres?”, una àmplia reflexió sobre una urgència pertinent, estimulant i dramàtica per a Europa i els seus ciutadans. En aquests temps caracteritzats per l’emergència migratòria i per la construcció de nous murs, „Fabulamundi – Beyond borders?“ vol centrar-se en el tema de la superació de fronteres per tal de proporcionar una visió i una comprensió profundes de les qüestiones contemporànies.

Es tracta d’un gran repte a què s’enfronta Fabulamundi junt amb la seva xarxa per desenvolupar el seu objectiu cultural. Fabulamundi desitja ser una plataforma sòlida de suport i promoció de la dramatúrgia contemporània arreu d’Europa.

Els principals objectius de Fabulamundi són:

  1. Promoure la circulació, traducció, publicació i muntatge d’obres de nova creació arreu d’Europa a través d’un procés d’intercanvi continuat amb el suport de les organitzacions que hi participen.
  2. Promoure el coneixement i la circulació de dramaturgs de gran vàlua a Europa a través d’un programa continuat de mobilitat i intercanvi.
  3. Donar suport al desenvolupament professional dels dramaturgs a través d’un programa ampli i continuat d’activitats d’aprenentage entre iguals („peer-to-peer“), treball en xarxa i trobada amb altres dramaturgs i dramaturgues, professionals i grups d’interès.
  4. Implicar organitzacions relacionades amb el fet teatral (teatres, festivals, associacions de dramaturgs, editors, escoles de teatre…) en el desenvolupament de competències específiques (Desenvolupament de Públics, coproducció, formació…).
  5. Fomentar un „ecosistema“ favorable per a la circulació i producció de noves obres i dramaturgs, promoure el diàleg i la cooperació entre diferent grups d’interès implicats en la cadena de valor.
  6. Crear una xarxa internacional de dramaturgs, artistes, professionals i grups d’interès (des d’institucions públiques a escoles de teatre, des d’associacions culturals a associacions d’editors) amb l’objectiu d’enfortir el sector teatral, en una perspectiva a llarg termini.
  7. Promoure el Desenvolupament de Públics en el sector teatral a nivell de la UE a través de la definició, posada a prova, avaluació i difusió d’estratègies específiques.
  8. Crear, posar a prova i avaluar estratègies i metodologies col·laboratives per a la promoció de la dramatúrgia a nivell de la UE que es puguin reproduir a llarg termini amb l’objectiu de garantir la sostenibilitat del projecte.

Activitats previstes:

  1. Crear un programa artístic “Fabulamundi Playwriting Europe – Beyond Borders?” amb el països participants, fomentant la circulació de noves obres i dramaturgs i la selecció, traducció i distribució coordinada d’obres.
    S’ha dissenyat, posat en pràctica i avaluat una Estratègia per al Desenvolupament de Públics per a organitzacions relacionades amb el fet teatral per tal de promoure el desenvolupament de públics als països participants i que es converteixi en un model d’èxit reproduïble.
  2. El desenvolupament professional i la internacionalització de dramaturgs i d’organitzacions relacionades amb el fet teatral.
  3. Crear una xarxa europea per al muntatge i circulació d’obres.
  4. Crear la primera edició del Festival Europeu Fabulamundi Festival l’any 2020.

Fabulamundi en números:

  • 80 autors preseleccionats de 8 països/dramatúrgies (10 autors cadascú)
  • 160 obres preseleccionades (aprox. 2 per autor)
  • 80 autors i 160 obres inclosos en el catàleg en línia de Fabulamundi
  • 40 autors i 40 obres de 8 „dramatúrgies agermanades” inclosos en el catàleg en línia de Fabulamundi

Per tant, un total de 120 autors de 16 països i 200 texts en circulació i promoció.

Associació i xarxa:

L’associació la componen les següents organitzacions:

  • PAV s.n.c. di Claudia Di Giacomo e Roberta Scaglione (IT)
  • Short Theatre (IT)
  • Teatro i (IT)
  • ECCOM (IT)
  • Wiener Wortstaetten (AT)
  • Culture Action Europe (BE)
  • DIVADLO Leti (CZ)
  • La Mousson d’été (FR)
  • Théâtre Ouvert (FR)
  • Interkulturelles Theaterzentrum Berlin e.V. (DE)
  • Teatr Dramatyczny m.st. Warszawy (PL)
  • University of Arts of Targu-Mures (RO)
  • Teatrul Odeon (RO)
  • Fundació Sala Beckett – Obrador Internacional de Dramatúrgia (ES)
  • Creative Skillset (UK)

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FABULAMUNDI. PLAYWRITING EUROPE BEYOND BORDERS?

“Fabulamundi Playwriting Europe: Beyond Borders?” este un proiect de colaborare între teatre, festivaluri și instituții culturale din 10 țări UE (Italia, Franța, Germania, Spania, România, Austria, Belgia, Marea Britanie, Polonia și Cehia). Scopul rețelei este susținerea și promovarea dramaturgiei contemporane în Europa. Proiectul urmărește să dezvolte și să îmbogățească activitățile și strategiile profesioniștilor și artiștilor în domeniu, precum și să ofere dramaturgilor oportunități de dezvoltare profesională, întâlniri multiculturale și posibilitatea creării unei rețele proprii de contacte.

“Fabulamundi Playwriting Europe” a a beneficiat de două ori de finanțare din partea Comisiei Europene, înaintea actualei ediții, și a câștigat concursul de proiecte Europa Creativă ca proiect de colaborare 2017 – 2020. În prezent, proiectul urmărește creșterea impactului și a razei de acțiune în domeniul teatrului. Prin experiențele din ultimii patru ani, Fabulamundi a confirmat un interes în creștere față de dramaturgia contemporană europeană și o nevoie constantă de a oferi acestui domeniu instrumente de lucru adecvate care îi pot ameliora punctele slabe. În consecință, nevoia de a perfecționa relațiile multilaterale și schimburile de dramaturgi a devenit, la rândul său, stringentă.

Tema acestei ediții Fabulamundi este “Dincolo de granițe?”, o reflecție de anvergură asupra unui subiect cu caracter presant, relevant, provocator și dramatic în ceea ce privește Europa și cetățenii europeni. În aceste zile, caracterizate de presiunea imigrației și de ridicarea unor noi ziduri, „Fabulamundi – Beyond borders/Dincolo de granițe?“ are ca scop să se concentreze asupra depășirii granițelor, pentru a oferi o perspectivă de anvergură asupra problemelor contemporane și înțelegerea lor în profunzime.

Aceasta este o mare provocare pe care Fabulamundi, împreună cu rețeaua generată de acest proiect, și-o asumă pentru a-și dezvolta propria misiune culturală. Fabulamundi își propune să reprezinte o platformă puternică și extinsă de susținere și promovare a dramaturgiei contemporane în Europa.

Obiectivele specifice ale Fabulamundi sunt:

  1. Să promoveze circulația, traducerea, publicarea și punerea în scenă a pieselor noi în Uniunea Europeană, printr-un proces de schimb continuu, susținut de organizațiile participante.
  2. Să promoveze schimbul de cunoștințe și circulația dramaturgilor valoroși în Europa printr-un program de mobilitate și schimb de experiență continuă.
  3. Să susțină dezvoltarea profesională a dramaturgilor, printr-un program amplu și continuu de activități de învățare de la egal la egal, crearea unei rețele personale și asigurarea întâlnirilor cu alți dramaturgi, producători și alți profesioniști.
  4. Să capaciteze organizațiile partenere specializate în promovarea dramaturgiei (teatre, festivaluri, asociații de dramaturgi, editori, școli de teatru …) în dezvoltarea unor noi competențe specifice (dezvoltarea audienței, coproducții, formare …)
  5. Să consolideze crearea unui „ecosistem“ favorabil pentru circulația și producția de piese și dramaturgii noi, promovarea dialogului și a cooperării între diferiții actori implicați (producători) în dezvoltarea proiectului.
  6. Să creeze o rețea internațională de dramaturgi, artiști, producători și alți profesioniști (de la instituții publice la școli de teatru, de la asociații culturale la edituri), care vizează consolidarea întregului sector al artelor performative pe termen lung.
  7. Să promoveze dezvoltarea audienței în sectorul dramaturgiei la nivelul UE, prin definirea, testarea, evaluarea și diseminarea strategiilor specifice (cu o deosebită atenție acordată noilor cetățeni și refugiați).
  8. Să creeze, să testeze și să evalueze strategiile și metodologiile de colaborare pentru promovarea dramaturgiei la nivelul UE, cu posibilitatea de a fi reproduse în perspectivă, pe termen lung, în scopul asigurării continuității proiectului.

Activități prevăzute:

  1. Crearea, în țările participante, a unui program artistic “Fabulamundi Playwriting Europe – Beyond borders?”, care să încurajeze circulația noilor piese și a dramaturgilor tineri printr-o selecție continuă și bine organizată, prin traduceri și difuzarea pieselor. A fost dezvoltată și implementată o strategie de dezvoltare a audienței pentru organizațiile din domeniul teatrului, cu scopul de a promova dezvoltarea publicului în țările participante și de a deveni un model de succes care poate fi reprodus.
  2. Dezvoltarea profesională și internaționalizarea dramaturgilor și a organizațiilor din domeniul teatrului;
  3. Crearea unei rețele europene pentru susținerea circulației și a promovării dramaturgilor și a pieselor;
  4. Organizarea primei ediții a Festivalului European Fabulamundi în 2020.

Fabulamundi în cifre:

  • 80 de autori selectați din 8 țări/culturi teatrale (10 autori din fiecare)
  • 160 de piese selectate (aprox 2 per autor)
  • 80 de autori și 160 de piese introduse în catalogul online Fabulamundi
  • 40 de autori și 40 de piese din 8 “culturi teatrale partenere” introduse în catalogul online Fabulamundi

Astfel, sunt implicați în proiect 120 de autori din 16 țări și 200 de texte care circulă și sunt promovate

Parteneri și rețea:

Partenerii Fabulamundi sunt:

  • PAV s.n.c. di Claudia Di Giacomo e Roberta Scaglione (IT)
  • Short Theatre (IT)
  • Teatro i (IT)
  • ECCOM (IT)
  • Wiener Wortstaetten (AT)
  • Culture Action Europe (BE)
  • DIVADLO Leti (CZ)
  • La Mousson d’été (FR)
  • Théâtre Ouvert (FR)
  • Interkulturelles Theaterzentrum Berlin e.V. (DE)
  • Teatr Dramatyczny m.st. Warszawy (PL)
  • University of Arts of Targu-Mures (RO)
  • Teatrul Odeon (RO)
  • Fundaciò Sala Beckett – Obrador Internacional de Dramatúrgia (ES)
  • Creative Skillset (UK)

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FABULAMUNDI. PLAYWRITING EUROPE BEYOND BORDERS?

Fabulamundi Playwriting Europe: Za hranice?” je projekt spolupráce mezi divadly, festivaly a kulturními organizacemi z deseti zemí EU (Itálie, Francie, Německo, Španělsko, Rumunsko, Rakousko, Belgie, Velká Británie, Polsko a Česká republika). Síť má za cíl podporovat a propagovat psaní divadelních her v celé Evropě s cílem posílit a rozvíjet aktivity a strategie profesionálů a umělců působících v této oblasti a poskytnout dramatikům a divadelníkům příležitosti k vzájemné spolupráci, multikulturnímu setkávání a profesionálnímu rozvoji.

Projekt „Fabulamundi Playwriting Europe”, který již dvakrát podpořila Evropská komise, a který získal cenu Creative Europe Call jako nejlepší projekt spolupráce v letech 2017 – 2020, má nyní v úmyslu rozšířit jak svůj dosah, tak i dopad v rámci evropského divadelního sektoru. Prostřednictvím svých zkušeností z posledních čtyř let projekt Fabulamundi potvrdil rostoucí zájem o současnou evropskou dramatiku a neustálou potřebu poskytovat divadelnímu sektoru odpovídající a vhodné nástroje, které mu pomohou překonat jeho slabiny. Zejména je nutné zlepšit vzájemné vztahy mezi divadly a kulturními operátory působícími na poli současné dramatiky a umožnit vzájemné sdílení informací.

Téma aktuálního projektu Fabulamundi je „Za hranice?”. Široká reflexe současných společenských témat. V těchto dnech, charakterizovaných přistěhovaleckou krizí a zvedáním nových zdí, se „Fabulamundi – Za hranice?“ zamýšlí nad otázkou překonávání hranic s cílem poskytnout hlubší vhled do situace a pochopení současného dění.

Fabulamundi má za cíl být silnou a širokou platformou podpory a propagace současné dramatiky v celé Evropě.

Hlavními cíli Fabulamundi jsou:

  1. Podpora šíření, překladu, publikování a inscenace nových divadelních her v celé Evropě prostřednictvím probíhajícího výměnného procesu, který je podporován spolupracujícími organizacemi.
  2. Cirkulace významných dramatiků v Evropě prostřednictvím probíhajícího programu mobility a výměny.
  3. Podpora profesionálního rozvoje dramatiků prostřednictvím širokého a probíhajícího programu vzájemného vzdělávání, spolupráce a setkávání s dalšími dramatiky a profesionály v oblasti divadla.
  4. Zapojení divadelních organizací (divadla, festivaly, sdružení dramatiků, vydavatelů, divadelních škol…) do rozvoje specifických kompetencí (rozvoj publika, koprodukce, školení…).
  5. Zlepšení celkového „ekosystému“ pro nové hry a dramatiky pomocí jejich cirkulace, produkce, podpory dialogu a spolupráce mezi jednotlivými zúčastněnými stranami.
  6. Vytvoření mezinárodní sítě dramatiků, umělců, profesionálů a všech zúčastněných stran (od veřejných institucí až po divadelní školy, od kulturních organizací až po vydavatelství) zaměřené na dlouhodobé posílení divadelního sektoru jako celku.
  7. Podpora rozvoje publika v oblasti divadla na úrovni EU prostřednictvím definování, testování, vyhodnocení a šíření konkrétních strategií.
  8. Vytváření, prověření a vyhodnocení strategie spolupráce a metodiky pro podporu psaní a cirkulace divadelních na úrovni EU z dlouhodobého hlediska s cílem zaručit udržitelnost projektu.

Plánované aktivity:

  1. Umělecký program (inscenace, scénická čtení a autorské residence) „Fabulamundi Playwriting Europe – Za hranice?” v zúčastněných zemích, podpora cirkulace nových her a dramatiků prostřednictvím koordinovaného výběru, překladu a distribuce her. Strategie rozvoje publika pro zúčastněná divadla – bude navržena, prověřena a vyhodnocena s cílem podpořit rozvoj publika v zúčastněných zemích, a to takovým způsobem, aby byla snadno přenositelným modelem i pro další oraganizace a divadla.
  2. Odborný rozvoj a internacionalizace dramatiků a partnerských organizací.
  3. Vytvoření evropské sítě pro cirkulaci dramatiků a jejich her
  4. Vytvoření prvního ročníku evropského festival současných her Fabulamundi v roce 2020.

Fabulamundi v číslech:

  • 80 autorů z 8 zemí / (každá země vybrala deset autorů)
  • 160 her (2 od každého autora)
  • 80 autorů a 160 her v online katalogu Fabulamundi
  • 40 autorů a 40 her z 8 „partnerských zemí“ v online katalogu Fabulamundi

Tedy, celkem 120 autorů ze 16 zemí a 200 cirkulujících textů !

 

Partnerství a síť:

Síť Fabulamundi tvoří následující organizace:

  • PAV s.n.c. di Claudia Di Giacomo e Roberta Scaglione (IT)
  • Short Theatre (IT)
  • Teatro i (IT)
  • ECCOM (IT)
  • Wiener Wortstaetten (AT)
  • Culture Action Europe (BE)
  • DIVADLO Leti (CZ)
  • La Mousson d’été (FR)
  • Théâtre Ouvert (FR)
  • Interkulturelles Theaterzentrum Berlin e.V. (DE)
  • Teatr Dramatyczny m.st. Warszawy (PL)
  • University of Arts of Targu-Mures (RO)
  • Teatrul Odeon (RO)
  • Fundaciò Sala Beckett – Obrador Internacional de Dramatúrgia (ES)
  • Creative Skillset (UK)

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FABULAMUNDI. PLAYWRITING EUROPE BEYOND BORDERS?

«Fabulamundi Dramaturgie Europe : Au-delà des frontières ?» est un projet de coopération entre des théâtres, des festivals et des structures culturelles de 10 pays de l’UE (Italie, France, Allemagne, Espagne, Roumanie, Autriche, Belgique, Royaume-Uni, Pologne et République-Tchèque). Le réseau a pour but de soutenir et de promouvoir la dramaturgie contemporaine dans toute l’Europe, afin de renforcer et de mettre en valeur les activités et les stratégies des professionnels et des artistes du secteur et fournir aux auteurs de théâtre et aux professionnels des opportunités de mise en réseau, de rencontres interculturelles et de développement professionnel.

Financé à deux reprises par la Commission Européenne avant l’actuelle édition, «Fabulamundi Dramaturgie Europe » a remporté le «Creative Europe Call» (Appel de l’Europe créative) en tant que projet de coopération 2017-2020 et a maintenant l’intention d’élargir son champ d’action et son impact au secteur du théâtre. Les expériences menées au cours des quatre dernières années ont permis à Fabulamundi de constater un intérêt croissant pour la dramaturgie européenne contemporaine et un besoin constant de fournir aux professionnels du secteur des outils adéquats et fiables, pour les aider à surmonter leurs faiblesses. Par conséquent, le besoin de développer les relations multilatérales et les échanges s’avère être une priorité.

Le thème de cette édition de Fabulamundi est: «Au-delà des frontières?», une large réflexion menée sur un impératif à la fois dramatique, pertinent et se présentant comme un défi pour l’Europe et les citoyens européens. Dans une époque marquée par l’urgence en matière d’immigration, une époque où l’on érige de nouveaux murs, «Fabulamundi – Au-delà des frontières?» projette de se pencher sur le thème du dépassement des frontières, afin de donner une vue et une compréhension d’ensemble des enjeux contemporains.

C’est un énorme défi qui réunit Fabulamundi et son réseau, pour développer sa propre mission culturelle. Fabulamundi se fixe pour but de devenir une large et puissante plateforme de soutien et de promotion de la dramaturgie contemporaine à travers l’Europe.

Les principaux objectifs de Fabulamundi sont:

  1. Promouvoir la circulation, la traduction, la publication et la mise en scène de nouvelles pièces dans toute l’Europe par un processus d’échange en continu, soutenu par les organisations participantes.
  2. Promouvoir la connaissance et la circulation de dramaturgies reconnues en Europe au moyen d’un programme de mobilité et d’échange en continu.
  3. Soutenir le développement des dramaturges professionnels à l’aide d’un vaste programme continu de «peer-to-peer»: activités d’apprentissage, réseaux, et rencontres avec d’autres dramaturges, professionnels et intervenants.
  4. Impliquer toutes les organisations qui se penchent sur l’art dramatique (théâtres, festivals, associations de dramaturges, éditeurs, écoles d’art dramatique…)
  5. Mettre en place un «écosystème» propice à la circulation des dramaturgies et des dramaturges, promouvoir le dialogue entre les différents intervenants impliqués dans la chaine de valeur.
  6. Créer un réseau international de dramaturges, d’artistes, de professionnels et d’intervenants (des institutions publiques aux écoles dramatiques et des associations culturelles aux associations d’éditeurs) ayant pour but de renforcer le secteur de l’art dramatique tout entier dans une perspective à long-terme.
  7. Promouvoir le développement des publics dans le secteur de l’art dramatique à l’échelle de l’U.E, en définissant, en essayant et en évaluant des stratégies spécifiques.
  8. Créer, tester et évaluer des stratégies et des méthodes collaboratives pour la promotion de l’art dramatique au niveau de l’U.E, réutilisables sur le long terme, dans le but de garantir la viabilité du projet.

Activites de Fabulamundi:

  1. La création d’un programme artistique «Fabulamundi Dramaturgie Europe – Au-delà des frontières?» dans les pays participants, qui encourage la circulation des créations et des dramaturgies au moyen d’une sélection, d’une traduction et d’une distribution de pièces continue et coordonnée.
  2. Une stratégie de développement du public à l’intention des structures impliquées dans la dramaturgie a été conçue, mise en place et évaluée pour promouvoir le développement du public dans les pays participants et ainsi devenir un modèle de réussite pouvant être reproduit.
  1. Le développement et l’internationalisation des structures en lien avec l’art dramatique.
  2. La création d’un réseau européen pour la circulation et la réalisation des pièces et des auteurs dramatiques.
  3. La création de la première édition du festival européen Fabulamundi en 2020.

Fabulamundi en chiffres:

  • 80 auteurs présélectionnés dans 8 pays/dramaturgies (10 auteurs chacun)
  • 160 pièces présélectionnées (en moyenne 2 par auteur).
  • 80 auteurs et 160 pièces intégrés dans le catalogue en ligne de Fabulamundi.
  • 40 auteurs et 40 pièces de 8 « dramaturgies jumelées » intégrés dans le catalogue en ligne de Fabulamundi.

Ainsi, un total de 120 auteurs provenant de 16 pays et 200 textes en circulation et en promotion.

Partenariats et reseau:

 

Le partenariat se compose des organisations suivantes:

  • PAV s.n.c de Claudia di Giacomo et Roberta Scaglione (IT)
  • Short Theatre (IT)
  • Taetro i (IT)
  • ECCOM (IT)
  • Wiener Wortstaetten (AT)
  • Culture Action Europe (BE)
  • DIVADLO Leti (CZ)
  • La Mousson d’été (FR)
  • Théâtre Ouvert (FR)
  • Interkulturelles Theaterzentrum Berlin e.V. (DE)
  • Teatr Dramatyczny m.st. Warszawy (PL)
  • University of Arts of Targu-Mures (RO)
  • Teatrul Odeon (RO)
  • Fundaciò Sala Beckett – Obrador Internacional de Dramatúrgia (ES)
  • Creative Skillset (UK)

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FABULAMUNDI. PLAYWRITING EUROPE BEYOND BORDERS?

“Fabulamundi Playwriting Europe – Beyond borders?” è un progetto di cooperazione che coinvolge teatri, festival e organizzazioni culturali provenienti da 10 Paesi europei (Italia, Francia, Germania, Spagna, Romania, Austria, Belgio, Regno Unito, Polonia e Repubblica Ceca). Obiettivo del network è sostenere e promuovere la drammaturgia contemporanea in Europa, al fine di consolidare e potenziare le attività e le strategie degli artisti che operano nel settore, offrendo ai drammaturghi opportunità di networking e favorendo il dialogo e la crescita professionale.

Dopo aver ricevuto nei bienni 2013-2014 e 2015-2016 i finanziamenti della Commissione Europea, Fabulamundi Playwriting Europe ha vinto la Call di Creative Europe come progetto di cooperazione su larga scala 2017-2020 e intende ora ampliare la sua portata. Grazie all’esperienza maturata nelle precedenti edizioni, il progetto ha constatato la necessità di sviluppare strumenti adeguati che permettano al settore teatrale di superare le proprie debolezze endemiche e di  incrementare sinergicamente le relazioni artistiche e culturali.

“Beyond borders?” è il tema di questa nuova edizione di Fabulamundi. Ciò che si vuole stimolare è una riflessione su un argomento con cui l’Europa e i cittadini europei sono chiamati a confrontarsi ogni giorno. In un’epoca come quella attuale, caratterizzata dall’emergenza immigrazione e dall’innalzamento di nuovi muri, a partire dal concetto di confine, fisico o culturale, “Fabulamundi – Beyond borders?” intende concentrarsi sul tema del superamento delle barriere, come urgenza necessaria della nostra contemporaneità.

Obiettivi principali di Fabulamundi sono:

  1. Promuovere la circuitazione, la traduzione, la pubblicazione e la messa in scena di nuove opere in Europa, attraverso un processo di scambio supportato dai partner.
  2. Promuovere la conoscenza e la circuitazione di drammaturghi in Europa, attraverso un programma di mobilità e scambio.
  3. Sostenere la crescita professionale dei drammaturghi, tramite un ampio programma di attività didattiche peer-to-peer, una rete di contatti e incontri con altri autori, operatori e stakeholder.
  4. Offrire alle organizzazioni che si occupano di teatro (teatri, festival, associazioni, editori, scuole di teatro) la possibilità di sviluppare nuove e specifiche competenze (audience development, co-produzioni, formazione)
  5. Potenziare un “ecosistema” favorevole alla circuitazione e alla produzione di nuove opere, promuovendo il dialogo e la collaborazione tra i differenti stakeholder coinvolti nella filiera produttiva.
  6. Creare un network internazionale costituito da autori, artisti, operatori e stakeholder (dalle istituzioni pubbliche alle scuole di teatro, dalle associazioni culturali alle case editrici) finalizzato al consolidamento a lungo termine dell’intero settore teatrale.
  7. Promuovere l’audience development in ambito teatrale a livello europeo, tramite la definizione, la sperimentazione, la valutazione e la diffusione di strategie specifiche (con rinnovata attenzione ai nuovi cittadini e ai rifugiati).
  8. Creare, testare e valutare strategie e metodologie per la promozione della drammaturgia a livello europeo.

Le attività di Fabulamundi:

  1. Creazione di un programma artistico nei Paesi partner, favorendo la circuitazione di nuove opere e dei drammaturghi tramite una continua e coordinata opera di selezione, traduzione e distribuzione dei testi teatrali nei Paesi partner. Sarà delineata una strategia per l’audience development per teatri e festival, la quale sarà poi attuata per incoraggiare la partecipazione di diverse fasce di pubblico.
  2. Crescita professionale e internazionalizzazione dei drammaturghi e dei partner
  3. Creare un network europeo per i drammaturghi e per la circolazione e fruizione delle opere teatrali
  4. Organizzare la prima edizione del Fabulamundi European Festival nel 2020

I numeri di Fabulamundi:

 

  • 80 autori preselezionati da 8 Paesi/drammaturgie (10 autori ciascuno)
  • 160 opere preselezionate (circa 2 per autore)
  • 80 autori e 160 opere inserite nel catalogo online di Fabulamundi
  • 40 autori e 40 opere dalle 8 drammaturgie gemellate inserite nel catalogo online di Fabulamundi

 

Per un totale di 120 autori da 16 Paesi e 200 testi in distribuzione e promozione.

I partner di Fabulamundi:

 

La partnership è composta dalle seguenti organizzazioni:

  • PAV s.n.c. di Claudia Di Giacomo e Roberta Scaglione (IT)
  • Short Theatre (IT)
  • Teatro i (IT)
  • ECCOM (IT)
  • Wiener Wortstaetten (AT)
  • Culture Action Europe (BE)
  • DIVADLO Leti (CZ)
  • La Mousson d’été (FR)
  • Théâtre Ouvert (FR)
  • Interkulturelles Theaterzentrum Berlin e.V. (DE)
  • Teatr Dramatyczny m.st. Warszawy (PL)
  • University of Arts of Targu-Mures (RO)
  • Teatrul Odeon (RO)
  • Fundaciò Sala Beckett – Obrador Internacional de Dramatúrgia (ES)
  • Creative Skillset (UK)

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In this section, you can find the list with all Fabulamundi plays and related available translations.
If you want to ask a text for reading, please write an e-mail to: info@fabulamundi.eu