This show originates from a need to separate the human spirit from the material world. It is a look at society. It is a comment on the fragility of the common people. Any moment these people could become a martyr, a hero, or a victim of him or herself.
I love human beings for their ability to dream, their resourcefulness and incredible abilities. At this time our society is suffocating under the accumulation of irresponsibility and insensitivity.
As veterinarians study the stools of sick animals to find the source of illnesses, we examined garbage dumps to find the source of illness within human spirituality. From those dumps we collected the most common elements. We dismantled and sorted them. We reconstructed and transformed the items into an environment of lighting, set and sound that suits our needs
We referenced the Holy Scriptures as a fabulous tale. We asked theatre performers to rediscover themselves, and dance to confirm the numerous possibilities of human beings. Not only physical, but above all, imaginative.
We used the same principal for both humans and for objects, confirming the belief that objects are created and manipulated by humans, not the other way around.
Simone Sandroni
Production:
DEJA DONNE, Lenka Flory
Production assistance:
Celine Aguillon
Co-production:
Dance Umbrella London
Theater im Pfalzbau Ludwigshafen
Junges Ensemble Stuttgart
Kunstlerhaus Mousonturm
Support:
Tafelhalle Nuerenberg
City of Prague
Region of Umbria
This project has been funded with support from the European Commission Culture 2000 programme
Choreography and direction:
Simone Sandroni & Lenka Flory
Interpretation:
Pietro Micci (Italy)
Andrea Bartola (Italy)
Etienne Borel (Switzerland)
Simone Sandroni (Italy)
Michal Vanis (Czech Republic)
Irene Maccagnani (Italy)
Sound on stage:
Michal Vanis
Light on stage:
Irene Maccagnani (Italy)
Light design:
Britta Mayer (Germany)
Music dramaturgy:
Michal Vanis
Set design:
Lenka Flory in consultation with Rocco Dubbini (Italy)
Costumes:
Lavinia Cascone (Italy)
Lenka Flory
Video:
Barbara Schroeer (Germany)
We are living in times in which we must defend life from the brutality and obscurantism created by the conventions of a society that survives in the fear of losing material security which other societies cannot even dare to think of achieving.
We want to use the knowledge that we have acquired in all these years of impulsive theatre reasearch in order to create shows designed to give dignity to those who are living through emergencies that are more dramatic than formalism.
We would like to work with people that consider the stage to be an opportunity and not a nice profession.
| 7.–31. 3. | 1st part of the creation in Castiglione del Lago/Italy |
| 9. 5.–30. 6. | 2nd part of the creation in Castiglione del Lago/Italy |
| 1.–31. 7. | 3rd part of the creation in Tafelhalle Nuernberg/Germany |
| 21. 8.–3. 9. | 4st part of the creation + open rehearsals in Castiglione del Lago/Italy |
Simone Sandroni and Lenka Flory: see CV ARTISTIC DIRECTORS
Etienne Borel After an artistic diploma in Geneva in 1990, he enters the Professional Circus School in Brussels in 1991. In 1994 he co-funds the circus company les Argonautes‚ with which he creates five shows, and performs intensively throughout the world. Gets piano classes from 1980 to 2001, plays as well clarinet and harmonic flute. In the meanwhile, gets masterclasses with many choreographers (Jozef Nadj, Lisa Nelson…), intensive courses of taiji chuan, shaolin chuan and shiatsu and performs casually for various dance/theater companies (Isnel da Silveira, “Rising Soul”, Jozef Fruçek, “UNA”…). Gives worshops and classes in many circus schools. His circus specialities are contact-juggling and spanish web. He joins DEJA DONNE in 2006.
Pietro Micci Attends the Film Directing Course at Laboratorio Cinema ’87 in Rome. In 1998 he begins his international activity that leads him first in Paris with “Phèdre” directed by Francois-Michel Pesenti, then in Switzerland working with Stefan Müller and finally in Holland where creates three shows with the company Dogtroep. Back to Italy he joins Teatro Stabile delle Marche Company. He meets the English director Giles Smith with whom begins a project on Pinter’s theatre that culminates in the performance “A kind of Alaska”.
At the Biennale Venezia presents, directed by Monica Conti, Eschilo’s “Coefore”. In October 2004 he joins DEJA DONNE.
Andrea Bartola He starts his actor studies at the International School of Comical Theatre in Reggio Emilia. In 1997 he founds and directs his own comedia dell’arte and comical theatre company «Narrentreppe teatro» until 2000. At the same time he studies clown technic with Eric De Bont, Johnni Melville and Leo Bassi. After his return to Italy in 2000 he works with the Teatro Stabile delle Marche company. He participates at social project in psychiatric hospital in Albania with the ONG U.N.O.P.S where he creates short plays. In 2005 he founds and since then he directs a comical theatre school in Ancona (Italy). In 2006 he joins DEJA DONNE for the project My Name is King.
Britta Mayer She starts working as a lighting technician in 1990. After reaching the master degree in 1995, she studies lighting design at the Theatre Academy in Munich in 1997/1998. Since than she works with various theatre and dance companies. Since 2002, she is the technical director of Meg Stuart Damages Goods company.
Michal Vanis He starts to work as a technician, musician and actor in the Puppet Theatre ALFA in 1990. Since, he works and tours with many companies from Czech Republic as a technician but as well as a composer and actor: Alfa Theatre Pilsen, Cakes And Puppets Continuo Theatre, Circus Sacra, Facka Theatre, Forman Brothers Theatre, Little Theatre, Naive Theatre, SONO RECORDS, T.E.J.P. Theatre. He mets DEJA DONNE in 2003 and tours with them for the performances In Bella Copia, There Where We Were and Aria Spinta.
Photo: Simone Sandroni
This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
