Attiki Cultural Society is co-producing
Peter Brook's new work:
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
Magni, and Jared McNeill
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
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).
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!”
“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 !”
« ‘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
“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
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
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
‘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.
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.
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’
“Berkoff’s expressionistic style, and Cockney idiom, operate like a Greek mask, conveying the unbearable with stylised ghastliness”.