A curious story of Piotr – a producer from a non-existing land of TUT – lost in the illusionary world of the theater reality. A combination of real life and delusion – unusual and filled with fantasy and dream. A true collage of phantasmagoria and down-to-Earth reality – ambivalent and tragically hilarious. The choreographers' duo conducts a truly clever journey in the area of fantasy, dramaturgy, theatrical mechanisms and everyday life.
The play is set on the thin and delicate verge of dream and imaginary visions – translucent and fading. Regardless – or maybe because of the fact – it is deeply routed into the real world that we all know so well – the politics and the social life.
…“The new work attacks not only the artists themselves, but also, brilliantly, the funding and political conditions that help to shape how a work becomes realized in today’s cultural climate. The show depicts a collaboration between choreographer extraordinaire Piotr Splendowsky, a native of the fictional state Tut, and his technician Hugo Vats in the making of an ambitious work for 40 Tutians singers and dancers that celebrates and promotes their nation’s endangered folk arts.
Splendowsky’s fictional biography is full of vacuities common to performing artists’ resumes, with vague, and grandiose references to his extensive experience and celebrated collaborators. It also reveals how Splendowsky’s early studies in Tut’s local folk dances were perspicaciously followed by studies in the economics and communication and cultural exchange, which he has put to use bringing his company on a tour. His largescale production promoting Tut’s traditional folk songs and dances is funded by various fictional media and educational organizations, including the ghastly sounding Tut Ministry of Tradition and Local Culture, neatly highlighting the commercial conditions under which arts events must function.
As Tut shamelessly bottles itself for the tourist market in the name of cultural preservation, it also plays a shrewd contemporary political game.
When DEJA DONNE is on stage, however we can be sure of only one thing – that the production will undermine and deconstruct itself with superb irony and likely turn into a delightful disaster.”
Lizzy Le Quesne,, The Prague Post
Production:
DEJA DONNE
Support:
DEJA DONNE
AMAT Marche
Czech Ministry of Culture
Created on request of Fondazione Umbria
Spettacolo and Associazione Marchigiana
Arti Teatrali for small and medium stages
of Umbria and Marche regions, Italy.
Choreography and direction:
Simone Sandroni (Italy)
Lenka Flory (Italy)
Creation and interpretation:
Simone Sandroni
Pietro Micci
Amina Amici
Texts:
Simone Sandroni in collaboration with Pietro Micci
Music editing:
Gaetan van den Berg (Belgium)
Costumes:
Lenka Flory
Simone Sandroni and Lenka Flory: see CV ARTISTIC DIRECTORS
Pietro MicciAttends the Film Directing Course at Laboratorio Cinema ’87 in Rome. In 1996 he obtains the degree in Acting at the Accademia dei Filodrammatici in Milan. He participates in Guido de Monticelli’s workshop on “Farce on Molière’s theatre” and attends courses with Judith Malina and Hanon Reznikov; Marinella Anaclerio, Gabriele Vacis, Anna Curino, Renata Palminiello, Marco Martinelli, Francesca Lattuada; Francois-Michel Pesenti; Mladen Materic; Thierry Salmon; Mohamed Driss; Marcel.lì Antunez Roca, Wim Vandekeybus, Valerio Binasco, Peter Clough, Giles Smith, Giampiero Solari. 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; directed by Giampiero Solari he plays the role of Sganarello in Molière’s “Don Giovanni” and interprets most of the repertoire produced by the Teatro Stabile; he also works with Andreè Ruth Shammah and the Teatro Franco Parenti in Milan.
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 meets Simone Sandroni e Lenka Flory and joins the company DEJA DONNE with “In Bella Copia” e “Aria Spinta”.
Amina AmiciTraines at Dance Gallery in Perugia, under the direction V. Romito, R. Petrone and C. Siciliotti. She continues her studies through masters and workshops with Ivan Wolfe, Raffaella Giordano, Giorgio Rossi and Simona Bucci in Italy, with Bruno Collinet, A. Dreyfus, J. Y. Ginoux, N. Abad in Paris and with T. Stoffer and Cherry Nichols in London.
In 2004 she meets Simone Sandroni e Lenka Flory and starts her collaboration with DEJA DONNE,
replacing in performances In Bella Copia and Aria Spinta and creating performance Piotr and the Stars of Tut.
