Our current co-production


Based on The Mahabharata and the play by Jean-Claude Carrière


Adapted and directed by: Peter Brook and Marie-Hélène Estienne
Music: Toshi Tsuchitori
Light: Philippe Vialatte
Costume: Oria Puppo
With: Carole Karemera, Jared McNeill, Ery Nzaramba, Sean O’Callaghan, Toshi Tsuchitori
Produced by A C.I.C.T. - Théâtre des Bouffes du Nord production
Co-produced by Attiki Cultural Society / Athens,
Young Vic / London, Les Théâtres de la ville de Luxembourg ; PARCO Co. Ltd / Tokyo ; Grotowski Institute /Wrocław; Singapore Repertory Theater / Singapore; Théâtre de Liège.
 

"Destruction never approaches weapon in hand.
It comes slyly, on tiptoe, making you see bad in good and good in bad.
"

Statement of intent
The Mahabharata is not simply a book, nor a great series of books, it is an immense canvas covering all the aspects of human existence. In it we find all the questions of our lives, in a way that is at once contemporary and urgent.

Over many thousands of years the Mahabharata shows us, in an always-unexpected way, how to open our eyes to what reality demands.

The Mahabharata speaks of a great war of extermination, which tears apart the Bharata family. On one side there are 5 brothers, the Pandavas, and on the other side their cousins, the Kauravas, the hundred sons of the blind King Dritarashtra. Both sides use terrible weapons of destruction. At the end the Pandavas win. Millions of dead bodies lie on the ground. And now the eldest of the Pandavas – Yudishtira - is compelled to become King. The victory has the bitter taste of defeat. Both Yudishtira and Dritarashtra, the old King, are in deep distress and remorse, questioning their past actions, trying to unravel their own responsibility for the disaster.

How, having to live with this terrible massacre, having lost their sons, their families, their allies, will the new King and the old one find an inner peace?

The richness of the language of this timeless epic, and its always astonishing stories, allow us to bring to the stage this situation, which, belonging to the past, reflects at the same time the harsh conflicts of today.

Peter Brook
Marie-Helene Estienne

Critics
★★★★
"Peter Brook's return to the Mahabharata is breathtaking -
a dazzling piece of theatre"
The Guardian
★★★★
"An hour of magic realism… it has a gentle power that lingers”
The Times
★★★★
"Luminous and potent"
The Independent
★★★★
"Delivered with remarkable grace and deceptive lightness of touch"
Financial Times
★★★★
"Combines the immediacy of story-telling
with the purity of Greek tragedy"
Sunday Express
★★★★
"Cool perfectionism"
Arts Desk
"Something profound is felt on the pulse here...
Peter Brook achieves rare magic, and with the slenderest art"
The Telegraph
"A production of stunning beauty"
Le Figaro on Battlefield
“If we go on asking basic questions about what
theatre is for, we have Peter Brook to thank for it.”
Michael Billington in The Guardian, 2015
 
   
Media
Athens trailer
 
Currently on tour
2016  
28 sept – 9 oct Harvey Theater / New-York / USA
17 – 20 oct Theatron / Athènes / GREECE
24 – 30 oct Atelier Théâtre Jean Vilar / Louvain-la-Neu…
3 nov Théâtre de l’Arsenal / Val-de-Reuil
8 – 9 nov New Classics of Europe Festival / Łódź / POLAND…
12 – 13 nov The Grotowski Institute / Wrocław
17 – 18 nov Le Parvis scène nationale Tarbes Pyrénee
25 – 26 nov Festival Temporada Alta / Gérone / SPAIN
30 nov – 2 dec Radiant-Bellevue / Caluire-et-Cuire
7 – 9 dec Théâtre municipal de Villefrance-sur-Saône
14 – 16 dec TRAFÓ – House of Contemporary Arts / Budape…
2017  
5 – jan Comédie de Clermont-Ferrand
8 – 9 jan Comédie de Reims
12 – 14 jan Grand Théâtre – Théâtres de la Ville de Lux…
18 – 20 jan Comédie de l’Est / Colmar
25 – 27 jan Les Treize Arches / Brive-la-Gaillarde
30 – 31 jan L’Estive – Scène nationale de Foix et de l’…
3 – 4 feb Odyssud / Blagnac
28 feb – 2 mar Théâtre National de Nice
6 – 9 mar Comédie de Saint-Étienne
22 – 25 mar Place des Arts / Montréal / Canada
24 – 28 mar Wallis Annenberg Center for Performing Arts / Los Angeles / USA
29 mar – 2 apr The Kennedy Center / Washington / USA
5 – 8 apr Museum of Contemporary Arts / Chicago / USA
13 – 23 apr Guthrie Theater / Minneapolis / USA
26 may – 21 jun American Conservatory Theater / San Francisco/ USA
 


Read more...

 

 

Attiki Cultural Society is co-producing
Peter Brook's new work:

The Valley of Astonishment

opened in Paris at Théâtre des Bouffes du Nord on 29th of April 2014

If we go to the theatre, it’ s because we want to be surprised, even amazed. And yet we can only be concerned if we can feel a strong link with ourselves. So, these two opposite elements have to come together the familiar and the extraordinary. In ‘The Man Who’, our first adventure into the labyrinths of the brain, we met neurological cases who in the past had been conveniently written off as ‘mad’. Our first surprise was to encounter beings like ourselves, whose condition made their behaviour totally unpredictable. Painful to watch, though often very comic, they were always touching deeply human.

Today, once again, we are exploring the brain. We will take the spectator into new and unknown territories through people whose secret lives are so intense, so drenched in music, colour, taste, images and memories that they can pass any instant from paradise to hell and back again.

We link this to the great Persian poem ‘The Conference of the Birds’. Thirty birds in their quest for a King have to cross seven valleys of mounting suffering and discovery. An amazing series of anecdotes from the life of the time with poetry and humour brings their story into sharp relief.

So as we explore the mountains and the valleys of the brain we will reach the sixth valley, the valley of astonishment. As we go forward with our feet firmly on the ground, each step takes us further into the unknown.

- Peter Brook, Marie-Hélène Estienne




A theatrical research by Peter Brook and Marie-Hélène Estienne
Lights Philippe Vialatte
With Kathryn Hunter, Marcello Magni, and Jared McNeill
musicians Raphaël Chambouvet and Toshi Tsuchitori


Production C.I.C.T. / Théâtre des Bouffes du Nord
Coproduction Theater for a New Audience, New York ; Les Théâtres de la Ville de Luxembourg
Associated coproducers Théâtre d'Arras / Tandem Arras Douai ; Théâtre du Gymnase, Marseille ; Warwick Arts Center ; Holland Festival, Amsterdam ; Attiki Cultural Society, Athènes ; Musikfest Bremen ; Théâtre Forum Meyrin, Genève ; C.I.R.T. ; Young Vic, Londres


Currently on tour


Tour dates


Season 2014/2015




Season 2013/2014



read more...



On tour

Tao Dance Theater

Choreographer Tao Ye’s dances are rigorous and richly allusive – The dance moved like a force of nature
FINANCIAL TIMES 2014

“When seen side by side, “4” and “5” are gripping explorations of magnetic pull, not only between dancers, but between the viewer and the dance.”
NEW YORK TIMES 2014

Since its founding in 2008, TAO Dance Theater has taken China’ s dance world by storm. The company has collaborated with leading Chinese artists across genres including theatre, experimental music, film, visual arts and installation.

Tao Ye, the 27-year-old choreographer behind Beijing’ s six-member Tao Dance Theater is just getting started and yet he is already a worldwide festival favourite and distinctive to boot, in spite of – or perhaps because of – his deliberately limited means.

He likes to designate his dances by number rather than name. After 1, 2, 3, 4, 5 now comes 6 and 7.

Tao Ye danced with Jin Xing Dance Theater in Shanghai and then Beijing Modern Dance Company until he decided to launch out on his own.
Dancer Wang Hao, a specialist in Mongolian folk dance, joined him to found TAO Dance Theater in 2008.
Duan Ni danced with two modern dance legends – Shen Wei (US) and Akram Khan (UK) – before returning to China to work exclusively with Tao Dance Company.

Dancers now come from across China to train with the company in hopes of learning their unique movement technique and joining their ranks.

TAO Dance Theater is devoted in dance education and has been invited to teach at the China Central University of Nationalities, Beijing Languages University, Shaanxi Normal University, Yan’an University, International School of Beijing, Henny Jurriens Stichtin in Amsterdam, Dance in Olten Festival in Switzerland, among other schools, universities, and festivals. They also offer open classes and workshops at, among other places, the Beijing Dance Academy, Chaoyang District Culture Center, Beijing Contemporary MOMA Art Center, and ULLENS Center for Contemporary Art (UCCA) in Beijing.

TAO has been featured in performances as well as choreography and teaching residencies worldwide, including Sadler’ s Wells (UK), Europalia (BE), M.A.D.E. Festival (SE), Singapore Arts Festival, Fall for Dance (US), American Dance Festival (US), Lincoln Center Festival (US), and Spring Dance Festival at the Sydney OperaHouse (AU).

Read more...

Attiki Cultural Society co-produced:

“A Magic Flute”

Freely adapted by
Peter Brook, Franck Krawczyk and Marie-Hélène Estienne

Directed by Peter Brook

Lighting by Philippe Vialatte

Piano Franck Krawczyk

With (alternately) :
Tamino: Antonio Figueroa, Adrian Strooper

Pamina: Dima Bawab, Aylin Sezer

Reine de la nuit: Leïla Benhamza, Malia Bendi-Merad

Papagena: Betsabée Haas

Papageno: Virgile Frannais, Thomas Dolié

Sarastro: Jan Kucera, Vincent Pavesi

Monostatos: Jean-Christophe Born, Romain Pascal

Actors: William Nadylam, Abdou Ouologuem, Stéphane Soo Mongo

Costumes Hélène Patarot with the help of Oria Puppo

Artistic council, Christophe Capacci / Movement director, Marcello Magni / Singing coach, Véronique Dietschy / Magic effects, Célio Amino

Attiki Cultural Society is co-producing along with C.I.C.T. / Théâtre des Bouffes du Nord ; Festival d’Automne, Paris ; Musikfest, Bremen ; Théâtre de Caen ; MC2, Grenoble ; barbicanbite11, London ; Grand Théâtre de Luxembourg ; Piccolo Teatro di Milano – Teatro d’Europa ; Lincoln Center Festival, New York.

The title is important. This is “A Magic Flute” not “The Magic Flute”; a free adaptation of Mozart and Shikaneder by Peter Brook, the composer Franck Krawczyk and author Marie-Hélène Estienne

His "Flute" is far from what one would expect.
A 'Flute' light and effervescent, where the proximity of the performers allows the audience to enter into the magic of the piece.

“We see Mozart coming towards us with a wicked smile, ready to play tricks on us, to catch us unawares. We hold out our arms to him, with the same impudence that hides a deep love and respect for the essential qualities he reveals.

This will be a Magic Flute far from the expected ways. The vast panoply of scenic effects, the heavy and solemn symbolism are all put aside. In their place, the audiences will find an ever-young Mozart surrounded by an equally young and talented cast of singers and musicians ready, like the composer, to improvise, transpose, to explore new colours, to juggle with forms. We propose a light, effervescent Flute, where an intimacy with the performers will allow the tenderness and the depth of the score to appear.
This “Flute” takes its place in the Bouffes du Nord’s approach to opera, as in “La Tragédie de Carmen” and “Impressions de Pelléas”.

Peter Brook, Franck Krawczyk and Marie-Hélène Estienne

the critics said:

“Brook’s magic dust, lights up a classic!”
Independent, UK

“Le résultat est d’une poésie si intense par moments qu’elle coupe le souffle, d’une drôlerie si exacte qu’elle rend hilare, d’une écriture si juste qu’elle est la quintessence même du théâtre de Mozart. Chapeau bas monsieur Brook. Vivez longtemps, vivez loin !”
Le Monde

« ‘The Mariage of Figaro’, ‘Don Giovanni’ and the ‘Magic Flute’ have one thing in common - they cannot be classified. None of the three operas is just ‘amusing’ nor is it all ‘serious’, nor ‘light’, nor ‘solemn’ »
This what Peter Brook wrote when he was preparing Don Giovanni for Aix-en-Provence in 1998. He saw Mozart operas as real kaleidoscopes of ever-changing emotions much as in Shakespeare or else in Chekhov where there are constantunexpected switches and contrasts ; slipping in a flash from farce to deep feeling and back again. To create ‘A Magic Flute’ for the intimate and magical space of the Bouffes du Nord, he called on the composer Franck Krawczyk who had already collaborated on his adaptation of Shakespeare’ s sonnets ‘Love is My Sin’. Krawczyk is an experienced collaborator in theatre events - with Julie Brochen, in dance with Emilio Greco and P.C Schollen and the plastic arts with Christian Boltanski and Joan Kalman.
Together with Marie-Hélène Estienne, Peter Brook freely adapted Emanuel Schikaneder’s libretto the way he had done for his version of Tragédie de Carmen (1981) and Impressions de Pelléas. In fact, above all he wishes this opera to be a poetic souvenir and a rereading in a visibly reduced form aiming to give the artists - singers-actors – the possibility to release the tiniest light and shade of Mozart’s language vibrations.

Extract from the program of the Festival d’Automne à Paris, David Sanson

Read more : Interview with Peter Brook



Hamlet Prince of Grief
Leev Theater Group

“With dark, expressive eyes and a rich, versatile voice, Mr. Hashemi is a compelling presence, ably suggesting a man haunted by the agonizing tale he must recount”
The New York Times

“Today, Iran’s theater is an art combined with bravery, experience, novelty and freshness. Just as  society is, these days. Theater is one of the elements of breaking the borders, the differences and paradoxes."
Mohammad Aghebati, director

read more...




Riverside Studios and Theatre Lab present
LYSISTRATA
freely adapted from Aristophane’s play

SEX STRIKE TO STOP EURO CRISIS
A hilarious, naughty musical adaptation of Aristophanes' comedy set
against the backdrop of the European crisis.


supported by Arts Council England

read more...




CSC of New York presents:
Chechov’s Cherry Orchard



With John Turturo, Diane Weist
Directed by Andrei Belgrader

“HEARTBREAKINGLY FUNNY...Ms. Wiest gives her finest stage performance in years. Mr. Turturro uses his radioactive intensity to appropriately disruptive effect. Juliet Rylance and Katherine Waterston are especially affecting. This production is positively poetic. More than any version I have seen, it illuminates THE CHERRY ORCHARD. If you are lucky you will see a production like this one.”
The New York Times

read more...


Junk Ensemble
Dance Theatre Group

‘Perfectly executed… adrenalin pumping and unsettling… marvelous’
Irish Theatre Magazine

‘junk ensemble have guts and ingenuity’
The Irish Times

Committed to creating works of brave and imaginative dance theatre and listed as a Sunday Times Highlight in 2011, multi-award winning junk ensemble continue to tour internationally.

read more...




Young Vic presents:
Chechov’s Three Sisters



Young Vic presents a new version by visionary director Benedict Andrews, lauded in Berlin and Sydney for his “Big and Small” with Cate Blanchette, returns to the Young Vic after his triumphant The Return of Ulysses in 2011.
Renowned German designer Johannes Schütz makes his Young Vic debut.

read more...



Steven Berkoff presents his play:
Oedipus



Oedipus was originally produced by Nottingham Playhouse and Liverpool Playhouse and subsequently presented at the Edinburgh Festival 2011.”

In this acclaimed new version of one of the world’s most enduring and greatest plays, writer and director Steven Berkoff has created ‘The bravest, most exciting and moving Greek tragedy in years’
Sunday Times.

“Berkoff’s expressionistic style, and Cockney idiom, operate like a Greek mask, conveying the unbearable with stylised ghastliness”.
The Independent

read more...