Festival TransAmérique Montréal

Festival TransAmérique: Go Down Moses de Romeo Castellucci, un parabole énigmatique de la civilisation humaine.

Reviewed by Alvina Ruprecht

castelucci_godown_moses-e1416074491172

Photo: courtesy of the Festival TransAmérique

Go Down Moses, écrit, conçu et mis en scène par Roméo Castellucci. Une production de la Sociètas Raffaello Sanzio.

Toujours attiré par les textes fondateurs de la civilisation judéo-chrétienne, Castellucci a choisi le prophète Moïse, figure centrale de l’Ancien Testament, pour donner l’impulsion créatrice à sa réflexion sur les diverses manières d’appréhender les rapports entre les êtres humains.

Associée à la libération des opprimés, qu’ils soient des esclaves juifs en Égypte à l’époque biblique ou des esclaves africains dans le nouveau monde (la source, célèbre negro-spiritual etats-unien, est mise en évidence dans le titre), la figure de Moïse ouvre toutes les possibilités culturelles, historiques, religieuses, philosophiques et iconographiques pour structurer un événement dans un espace libéré de la matérialité contraignante de la scène. Ainsi, on dirait qu’il souhaite rassembler un bilan des activités culturelles en s’ouvrant à toutes les époques et toutes les formes de création: la culture populaire, des récits télévisuels, des enquêtes policières, des aventures spaciales, une intermédialité cinéma-théâtre, et même des origines de la tragédie grecque (Eschyle) dont l’Orestea, una commedia organica, présenté par Castellucci au FTA en 1997, était déjà l’exemple le plus troublant.

(more…)

Festival TransAmérique – the Italian shows: Reality and Ce ne andiamo per non darvi altre preoccupazioni

News from Capital Critics Circle

1_Reality_cr_Silvia-Gelli-1

Photo: Reality by Silvia Gelli.  Guest reviewer Martin Morrow (Globe and Mail, CBC )

Produced by A.D.Written, directed and performed by Daria Deflorian and Antonio Tagliarini.  Presented by Festival TransAmériques

The morning after seeing Reality and Ce ne andiamo per non darvi altre preoccupazioni, two works by Italy’s Daria Deflorian and Antonio Tagliarini at this year’s Festival TransAmériques in Montreal, I bumped into the festival’s artistic director, Martin Faucher, at the popular Pikolo espresso bar near Place des Arts.

As we waited for our coffees, we shared our similar thoughts on the two shows – how they were full of warmth and intimacy, and enticing in their apparent lack of artifice and their direct engagement with the audience. I called them post-theatre. Faucher, perhaps more accurately, referred to them as post-Pirandellian. After all, Deflorian and Tagliarini go beyond their great Italian forerunner, Luigi Pirandello, in turning the creative process into the play itself.

Reality begins with Deflorian and Tagliarini taking turns trying to act out the death by heart attack of an elderly woman on the street – each absurd attempt showing just how difficult it is to pin down that elusive quality, “realism.” And the woman whose demise they are trying to imagine is Janina Turek, a prolific diarist from Krakow, Poland, who had a magnificent obsession with the real.

(more…)

Festival TransAmérique: Une île flottante /Das Weisse vom Ei (Floating Island/Egg White), a “bizarre riff” of an uproarously funny French farce.

News from Capital Critics Circle

Theater Basel / Das Weisse vom Ei / Charlotte Clamens,  Marc Bodnar, Nikola Weisse, Ueli Jäggi

Guest reviewer Martin Morrow. (Globe and Mail, CBC)

Photo: Simon Halström.  Une île flottante, produced by Theater Basel and Théâtre Vidy-Lausanne. Directed by Christoph Marthaler. Adapted from La Poudre aux yeux by Eugène Labiche

  Montreal’s Festival TransAmériques, that showcase of the daring and the avant garde, opened its 10th edition last week with a classic French farce.

But wait for it: this was a French farce as deconstructed by Christoph Marthaler, the celebrated Swiss director who turned the Broadway musical on its ear a few years ago with his Meine Faire Dame, ein Sprachlabor – a bizarre riff on Lerner and Loewe’s My Fair Lady, set in a language lab. So his new touring production, Une île flottante/Das Weisse vom Ei (Floating Island/Egg White), which kicked off the FTA at Place des Arts, is no traditional slice of boulevard theatre – although, like the best farces, it’s uproariously funny.

(more…)

Variations pour une déchéance annoncée, d’après La Cerisaie d’Anton Tchekhov: une recherche qui n’est pas encore aboutie.

Reviewed by Alvina Ruprecht

768450Cette réécriture  de la célèbre et dernière pièce d’Anton Tchekhov , réalisée par Angela Konrad, se perd dans les subtilités de niveaux de lecture : La Cerisaie est ici replacée dans le cadre d’un spectacle télévisuel, mené par un animateur-vedette qui reçoit les personnages  du  drame joués par une troupe de comédiens. 
Chacun des niveaux de mise en abyme caractérisent cette adaptation qui nous éloigne de  la pièce. Les acteurs de la troupe  en évoquent  la problématique, lors d’un entretien devant la caméra: un monde s’écroule, la cerisaie va être vendue, et la ruine les menace tous.  
On est touché par la présence onirique du petit garçon de  Lioubov Andréevna qui pleure la mort de son fils qui erre dans un espace de rêve. La belle Dominique Quesnel, en manteau de fourrure, incarnation d’une vedette mythique de cinéma, se précipite sur le plateau, nous parle du sort de la cerisaie, et évoque  la disparition tragique de son fils qui la hante.

(more…)

Updating Tartuffe at the FTA

Reviewed by Jane Baldwin

Tartuffe

Photo: Katrin Ribbe.   Lars Eidinger as Tartuffe

Tartuffe was one of the most anticipated productions of the 2015 Festival TransAmériques in Montréal. Produced by Berlin’s cutting-edge Schaubüne Theatre under the direction of Michael Thalheimer, known for his revisions of classical works, it is safe to say that (in most respects) this is a Tartuffe unlike any other. Knowledge of Molière’s play is needed to follow this often confusing adaptation. The confusion stems more from the director’s realization of his concept than the translated script whose few changes are congruous with the ideas presented.

Although Olaf Altmann’s high and box-like set is a modernist version of the picture frame stage, the production is not ruled by time. A contemporary black leather armchair, center stage, is the only furniture used; the walls are of mottled gold (filthy lucre?). A small black crucifix is centered on the back wall.

The actors’ costumes represent various eras. Reviving an old tradition, Michael Thalheimer has Madame Pernelle played in drag. A balding Felix Römer wears a long black dress with a tight-fitting bodice and seventeenth-century ruff.

(more…)

Festival TransAmérique: coming soon to Montreal

News from Capital Critics Circle

BIENTÔT LE FTA… DANS UN MOIS!


TODO EL CIELO SOBRE LA TIERRA
ANGÉLICA LIDDELL
MADRID + SÉOUL + SHANGHAI
27, 28 MAI / MONUMENT-NATIONAL

Une plongée au cœur de la souillure du monde, entre rage, inconsolation et quête d’amour éperdue. Une œuvre sismique de l’incandescente et radicale Angélica Liddell, enfin à Montréal.

(more…)

Trieste: An evocative atmosphere still in search of a story

Reviewed by Maja Stefanovska

TRIESTE

 

Photo:  Minelly Kamemura.

Trieste, Marie Brassard’s haunting performance, which premiered at Montreal’s Festival TransAmériques on February 25th and is inspired by the Italian city of the same name, is a performance that happens around a script. There are many beautiful aspects to the play: Brassard is a born story-teller – her voice is smooth and deep and she uses sound and images expertly to transport the audience to a city which seems more out of this world than of it. She sits on a chair under dim lighting and presents her travelogue of Trieste, the Italian city on the Adriatic Sea known for attracting artists such as James Joyce, Sigmund Freud, and Dante. Although not much to look at (by European standards, at least), the city is saturated with their spirits and leaves a lasting impression on those that visit. Brassard is an expert at creating a dream-like atmosphere and her skills truly shine in Trieste. It’s easy to get caught up in the seductive pull of her piece and forget that, while technically well done, the story is tstill a work in progress.

(more…)

An Enemy of the People: Creative chaos is a necessity in this refreshingly contemporary reading of Ibsen at the Festival TransAmérique.

Reviewed by Alvina Ruprecht

ibsen

Photo: Festival TransAmérique

What makes this production of Ibsen’s Enemy of the People so refreshing is the relaxed, hyper realistic presence of these excellent young actors, whose characters have been reconfigured in a contemporary urban space. Jan Pappelbaum’s modern loft-like set, where Dr. Thomas Stockmann lives with his wife and baby, and receives his friends, seemed to be constantly shifting like a flashing video creation. Thoma Ostermeier’s reading of the play is fresh, bright, contemporary and ear-splitting; the characters are also part of a rock band that roars over the sound system as soon as one of the members puts on the earphones.

(more…)

Nella Tempesta:Theatre that explores political expression at the TransAmérique in Montréal.

Reviewed by Rajka Stefanovska

nella_tempesta_cr_andrea_gallo_img_1988_filtre

Photo: Festival TransAmérique

The Motus theatre was founded in 1991 by Enrico Casagrande and Daniela Nicolò Francesconi in the Italian town of Rimini. It took them only five years to achieve international recognition and to earn the name of the Romagna felix of experimental theatre for their innovative approach to theatre. Consisting of big projects encompassing a few shows each, Enrico Casagrande describes it as a form of theatre that aims to be an instrument of investigation, knowledge and action.

(more…)

Interview with Enrico Casagrande and Deniela Nicolo

News from Capital Critics Circle

 

Transcribed  by Paul Lefebvre
Translated by Andrée McNamara Tait

In your recent texts and interviews, you do not talk about catharsis. We know
that Brecht wanted to neutralize it, in order to keep intact the spectator’s desire
to change reality. However, your practice seems to indicate an interest in
cathartic energy; are you actually using it to get away from fiction in order to
move towards action?
Daniela Nicolò – With Too late! (antigone) contest #2, which we presented at the
FTA last year, we did indeed use Brecht’s Antigone. In terms of your specific
question regarding catharsis, I can say that we are working on two levels of
theatre. There is the intellectual level, which comes from a rational vision of the
text and other materials; then there is the physical level. Catharsis is connected to
the actors’ physical work, to the energy they develop on stage. We work on these
two levels at the same time in order to attain another dimension, where catharsis
propels us into politics, propels us into doing.

(more…)

Categories

Past Reviews