la Biennale di Venezia
Main Visual Sezione Teatro EN (new)

Theatre

Biennale College - Theatre

< Back
Director Àlex Rigola
04 | 11 | 2014

30 July > 10 August 2014

The programme of the Biennale College - Theatre, the Biennale's strategic line which involves all disciplines and aims at training young artists, by offering them the opportunity to work alongside masters for the development of "creations", will take place in Venice from 30 July to 10 August. For this project the DirectorÀlex Rigola has invited artists from all over the world - playwrights, directors, actors, stage designers – well-known personalities mostly in their forties, the authors of a theatre where we can perceive the life of our time. With them, Venice and the Biennale become a workshop for creating art, a place for artistic encounter, where artists can get trained in contemporary styles.
Biennale College - Theatre will be divided into two different parts: 9 workshops, conceived as an occasion for masters and young artists to give and receive feedback, and 6 residences, designated for young companies to work on their projects.
 
The English writer Mark Ravenhill, Lithuanian director Oskaras Koršunovas, Belgian author and director Fabrice Murgia, German set designer Jan Pappelbaum, Catalan director Lluis Pasqual, Italian actor and director residing in Berlin, Antonio Latella, German author and director Falk Richter and Flemish director and visual artist Jan Lauwers with some members of his company Needcompany are the masters who will hold the 8 workshops, 6 of which will stage their final results in performances open to the public at Corderie dell'Arsenale.
All the information to participate in the international call will be published on the Biennale website www.labiennale.org from 15 April.
Furthermore, the public will also be allowed to attend the talks with the masters on 6, 7, 8, and 9 August.
 
Gabriela Carrizo with some artists from Peeping Tom (BE), La Zaranda (S), the Blitz Theater Group (GR), Ricci/Forte (I), the Agrupación Señor Serrano (S), the writers and directors Marco Calvani (I), Neil LaBute (USA) and Nathalie Fillion (F) are the artists and companies that will work in residence at Corderie dell'Arsenale on projects for future shows. Some phases of this work will take place in Venice, and at their conclusion a demonstration open to spectators will be offered.
Also resident companies will participate in a meeting with the public on 5th August.
 
One special feature of this edition is the space:  the Corderie dell'Arsenale, which the Theatre will share with the other sectors of la Biennale di Venezia – Dance Music Cinema Architecture. Set up by the Director of the 14th International Architecture Exhibition Rem Koolhaas as a "multidisciplinary work in progress", the Corderie will structure the space with 6 stages, destined for resident companies at Biennale College - Theatre.
The workshops will be held instead at the Laboratorio delle Arti and in the Sala delle Colonne of Ca' Giustinian, at the Teatro Piccolo Arsenale, Teatro alle Tese and Tese dei Soppalchi of the Arsenale.
 
The awarding ceremony of the Golden Lion for Lifetime Achievement to Jan Lauwers and the Silver Lion to Fabrice Murgia will take place on 4th August.
 
 
 
WORKSHOPS - THE MASTERS
 
OSKARAS KORŠUNOVAS (Vilnius, 1969)
He graduated from Vilnius Music with a master degree in theatre directing. Although his earliest performances were created under the aegis of the Lithuanian State Academic Drama Theatre (now called the Lithuanian National Drama Theatre), they were often referred to as a separate body, a theatre within the theatre. Theatre critics entitled their articles "Oskaras Koršunovas' Theatre?", envisaging the inevitable emergence of a new theatre. In 1998 he founded an independent theatre, the Oskaras Koršunovas Theatre, abbreviated OKT. Koršunovas, with the help of guest directors, has created a significant repertoire, which includes both contemporary and classical theatre. According to the Lithuanian director, contemporary theatre should reflect the present, and sometimes even precede the times, predicting the future and acting as a warning.
Hamlet by William Shakespeare (2008) and the work-in-progress method marked the beginning of a new phase in Oskaras Koršunovas' biography. The director discovered a new workspace, the OKT studio, and turned in the direction of laboratory explorations. During Hamlet, the director and actors were more concerned with the creative process itself than the play.
Over the years he has received numerous awards and recognitions. He has participated in international festivals and his projects have been presented in theatres around the world (United States, South Korea, Australia, Argentina). Koršunovas also teaches acting at the Lithuanian Music and Theatre Academy.
 
Note on the workshop for the Biennale College – Theatre
Using the material of Chekhov's The Seagull, the workshop will underline the pursuit of reality to respond to such fundamental questions as: who (what) we are, who (what) the actors and director are, and who (what) the public is. We appeal to the Hamletian principle of performing the play for that most important member of the audience, which is, most likely, ourselves. Only then can it have an effect on others
Oskaras Koršunovas
 
4 > 10 August
8 August meeting
10 August public performance of the results

 
FALK RICHTER (Hamburg, 1969)
He is one of the most important German playwrights and directors of his generation. His works have been translated into more than 25 languages and have been staged around the world. In addition to writing and directing his own plays, Richter has directed texts of Shakespeare, Chekhov, Schiller, Brecht and numerous contemporary playwrights, such as Caryll Churchill, Harold Pinter, Martin Crimp, Sarah Kane, Jon Fosse, Mark Ravenhill, Lars Noren, Roland Schimmelpfennig and operas by Tchaikovsky, Strauss and Weber, as well as Hans Werner Henze, Jörg Widmann and Jörn Arnecke. Richter has been Director in residence at the Schaubühne in Berlin since 2000, and has worked with various theatres including the Burgtheater in Vienna, Schauspielhaus Hamburg, Schauspielhaus Zurich, Salzburger Festspiele, the Vienna States Opera, Ruhrtriennale, Theatre National Brussels, the Royal National Theatre Oslo and the Frankfurt Opera. He began to collaborate with choreographer Anouk van Dijk over ten years ago, creating Nothing Hurts (Kampnagel 1999, Berlin 2000), and renewed their collaboration in Trust (2009) and Protect me (2010).
 
Note on the workshop for the Biennale College – Theatre
Heritage, Gender and Identity: A complex sense of belonging. At the beginning of the 21st century, the world lost its well-defined and stable models of life, relationships, work, and lineages. The traditional modes that until now have regulated our sense of "belonging", i.e., nationality, religion, ideology, language, culture and sexual and gender identities, are dissolving, becoming more fluid and flexible. The utopia of being able to choose the place where you belong is one of the promises of this new world, the struggle to find a place, the sense of belonging to one of its dark sides. At the same time, reductive meanings of the sense of belonging continue to be improperly used for political purposes, to gather groups of people against others, to discriminate, exclude and kill.
Falk Richter
 
4 > 10 August
6 August meeting
10 August public performance of the results
 

LLUIS PASQUAL (Reus, 1951)
He graduated with a degree in Literature and Philosophy and a specialization in Catalan Philology from the Universitat Autònoma de Barcelona and obtained a degree in directing from the Institut del Teatre of Barcelona. He directed his first play, Roots by Arnold Wesker, in 1968. In 1976 he founded the Teatre Lliure in Barcelona, where he directed its first show, Camí de nit. In 1983 he was appointed Director of the Centro Dramático Nacional – Teatro María Guerrero, Madrid. In 1990 he moved to Paris, where for six years he directed l'Odéon - Théâtre de l'Europe. In 1995-96 he was Director of the Theatre Sector of la Biennale di Venezia. From 1997 to 1999, on behalf of the municipality of Barcelona, he was the Commissioner for the project Ciutat del Teatre. From 1998 to 2000 he co-directed the Teatre Lliure. In April 2004 he joined Bilbao's Teatro Arriaga as artistic adviser, where he supported the BAT project, a workshop for training, pedagogical collaboration and the promotion and creation of shows. During his career as a theatre director he has received numerous awards and has produced more than fifty plays and operas; of particular importance is his work directing plays by Lorca, Shakespeare and Goldoni. From 2011 he again became Director of the Teatre LLiure, a position he will hold until 2015.
 
Note on the workshop for the Biennale College – Theatre
Impossible Theatre: workshop on Federico García Lorca
The workshop will explore the theatricality of Federico García Lorca through two of his works from the so-called Impossible Theatre or Anti-Theatre: El publico (The Public) and Comedia sin título (Untitled Comedy). The author, like any performer, is faced with the paradox of renouncing theatre and of having to express himself through theatre. Throughout the 1930s Lorca created a theater that played with surrealism but, above all, offered questions and new forms that would see development many years later. Many of these questions and forms belong to our way of doing theatre today. We will try to discover this through the poetic word.
Lluis Pasqual
 
4 > 10 August
6 August meeting
10 August public performance of the results
 
 
ANTONIO LATELLA (Castellamare di Stabia, 1967)
He studied acting at the Teatro Stabile school in Turin, directed by Franco Passatore, and at La Bottega Teatrale of Florence, directed by Vittorio Gassman. Between 1986 and 2000 he worked as an actor. In 1998 he directed for the first time and in 2004 moved to Berlin. He was the artistic director of the Nuovo Teatro Nuovo in Naples for the 2010/2011 season. In 2011 he founded stabilemobile - compagnia antonio latella. His shows, which have won numerous awards, have been produced and presented in major festivals and in Italian and foreign theaters.
Among his most significant productions: Otello (1999) and Romeo and Juliet (2000) by William Shakespeare (2001 UBU Prize for his project "Shakespeare and beyond"), Stretta sorveglianza (2001), I Negri (2002, winner of the Girulà award for Best Play) and Querelle (2002) by Jean Genet, the trilogy about Pier Paolo Pasolini that includes Pilade (2002), Porcile (winner of the "Vittorio Gassman" special award and the "Teatro il Primo" award) and Bestia da stile (2004), La cena delle ceneri by Giordano Bruno (2005, awarded Best Show of the Year by the National Association of Theatre Critics), Waiting for Godot by Samuel Beckett (2007).
In 2004, he made his debut in opera directing L'Orfeo by Claudio Monteverdi in Lyon, later followed by Gluck's Orpheus and Euridice and Tosca by Giacomo Puccini.
Among his most recent shows: Study on Medea (2007 UBU Prize for show of the year), Francamente me ne infischio (2013 UBU Prize for best direction and best actress), A Streetcar Named Desire (2012 UBU and Hystro Awards as best director), the Russian trilogy Electra – Orestes - Iphigenia in Tauris (winner of three categories in the Russian Paradise Awards: best theatrical project, best actor Georgiy Bolonev and audience choice). In 2013 he embarked on a dramaturgical study of lying that lead to A. H., Die Wohlgesinnten by Jonathan Littell and The Servant of Two Masters by Goldoni.
 
Note on the workshop for the Biennale College – Theatre
We know the mother giving birth, we do not know the child being born. We know that the mother raises her child, we know less about the child who grows and is fed by the mother. Of the mother who dies we mourn what we know, for the son who remains we mourn what will be.
Love, to be eternal, must be torn, and separated;
The only love which organically undergoes this natural violence is that between mother and child. These tensions are in the natural order of things. They are duels, in the daily silent war of being in the world. These are the themes I would like to address through five great scenes of theatrical literature and through the tension of the weapons that give organic form to the word itself, to the word that becomes muscle and a weapon through the work of Maestro Francesco Manetti. Every duel is a dialogue, every dialogue expresses a conflict. The art of the duel is simple, and consists of three factors: size, time, speed. In knowing how to handle these factors lies the difference between living and dying.
Antonio Latella
 
4 > 10 August
7 August meeting
10 August public performance of the results
 
 
FABRICE MURGIA (Verviers, 1983)
He studied at the dramatic Academy of Liège (ESACT - Ecole supérieure d'acteurs of Jacques Delcuvellerie). He is a theatre, film and television actor. Currently engaged as a playwright and director, he directs the Artara company, a group of actors, videomakers, plastic artists, musicians, who all joined together in his productions, eager to speak to the world with the language of their generation.
In 2009, he wrote and directed his first work, Le Chagrin des Ogres (The Sorrow of the Ogres) for the Festival of Liege. Since then, he has become an associate artist of the Théâtre National-Brussels. His two subsequent works have been: Life: Reset/Chronique d'une ville épuisée (Chronicle of an Exhausted Town) and Dieu est un DJ (God is a DJ), adapted from a text by Falk Richter. Both these creations reveal a generational discourse, a singular relation to the world, a standpoint about the actuality of a youth the young director is born from.
Exils, 2012, is a comedy that kicked off the European project "Villes en scène": seven European directors around the question about "living together" and multiculturalism in European cities. Exils is, beyond the political dimension, an attempt to portray that feeling of fleeing, of being exiled from life, of auto-cancellation that lies behind the system. From the same year are: Les enfants de Jéhovah (Children of Jehovah) at the Théâtre Vidy-Lausanne, which tackles the issue of fundamentalist drift, and Ghost Road with composer Dominique Pauwels.
In a trip along Route 66 he became fascinated by the desolate landscapes, ghost towns, emptied-out villages, abandoned houses and the rusting ruins of once thriving communities. Their desolation is silent testimony of the devastating blows inflicted by political and economic decisions that affect the lives of individuals.
Fabrice Murgia currently is working on a new text, Notre peur de n'être, which is to be presented at the next Festival of Avignon.
 
Note on the workshop for the Biennale College – Theatre
Backstage Memories
My intention is to bring human beings to the forefront. Four individuals who have a biographical relationship with a work, created and interpreted in a moment of their lives. The idea is to show in parallel fashion the works and stories of these individuals as if they were separate paths. My way of telling stories and the narrative mechanics I use are strongly related to my belonging, my identity and my origins. I am fascinated by the contrast that can exist between an individual and the path he has chosen. Above all I have tried to immerse some artists in the visual universes that correspond to their story. Last year in the United States I saw two brothers, of about 50 years, do an amazing acrobatic number hand-in-hand. They had already done this thousands of times and I was very much struck by this idea: they had lived a large part of their brotherhood through a work, a way of being onstage, of representing themselves. What have they shared? And at what price?
Fabrice Murgia
 
4 > 10 August
6 August meeting
10 August public performance of the results
 
 
MARK RAVENHILL (Haywards Heath, 1966)
He studied English literature and drama at the University of Bristol. From 1995 to 1997 he was the Literary manager of Paines Plough, a company founded to develop a new style of writing, and in 2002 he was made an Associate Artist at the National Theatre. His first work, a ten-minute monologue titled Fist, grabbed the attention of Max Stafford-Clark, Director of the Out of Joint Theatre Company, who asks him to collaborate. From here Shopping and Fucking was born, which debuted at the Royal Court Theatre Upstairs in 1996 and was then performed all over the world.
His more recent works are Mother Clap's Molly House (National Theatre, 2001); Product (Traverse Theatre, Edinburgh, 2005); The Cut (Donmar Warehouse, London, 2006); Citizenship (National Theatre, 2006); Pool No Water (Lyric Hammersmith, 2006); Shoot/Get Treasure/Repeat (Edinburgh Festival, 2007); Over There (Royal Court/Schaubühne, Berlin, 2009); A Life in Three Acts written and performed with Bette Bourne (Traverse Theatre, Edinburgh/Konninklijke Schouwburg, The Hague/Soho Theatre, London, 2009 and St Ann's Warehouse, New York, 2010); Ten Plagues, a libretto for a new work of Conor Mitchell (Royal Court, 2010 / Traverse Theatre 2011).
In 2012 he became Writer-in-Residence of the Royal Shakespeare Company.
Ravenhill's work focuses on the anxieties and fears of modern life, exploring such topics as the commodification of culture, the implacable consumer impulse and the relentless desire for celebrity. 
 
Note on the workshop for the Biennale College – Theatre
In my workshop I will use the ideas Henri Bergson expresses in his essay Le Rire, applying them to some theatrical scenes. Up to what point can Bergson offer a practical method to analyze a play and do theatre? The main text we will use will be Ibsen's Ghosts.
Mark Ravenhill
 
6 > 10 August
8 August  meeting
 

JAN PAPPELBAUM (Dresden, 1966)
He studied architecture in Weimar, where he was director and coordinator of the student theatre. From 1993 to 1996 he was the Assistant of Dieter Klaß (Manfred Karge's set designer) for Faust Cube at the Festival of Weimar. From 1995 he created sets for directors such as Thomas Ostermeier, Tom Kühnel, Robert Schuster and Andrea Moses. Pappelbaum is not a stage designer obsessed with details nor even a "painter" of finely wrought milieus, and therefore rejects the idea a pictorial stage design. What he asks for are three-dimensionality and concentration. His platforms narrate spaces of reduction, of symbols. He sets the concrete - doors, tables, stairs - within a context of high-grade abstraction; and the resultant suggestions suffice to relate an entire cosmos. On the level of aesthetics and content, his work at the Schaubühne in recent years has depicted middle-class environments. According to Pappelbaum, the public should be able to identify with the world on stage: the theatre lives largely in the imagination, which immerses the spectator in the world depicted.
Influenced by Bauhaus, he conceives his work more as a cog in the theatrical machine than an independent variable: "The construction of a stage is, first of all, a craft. Every evening at the theatre is a total work of art created through the work of diverse artists, presenting, thinking, forming, who collaborate in a definite hierarchy… In addition to the direction and dramaturgy, the stage has above all an ordering and structuring function. If a collaboration is very good, a work of art can arise in which the individual contribution transcends the part and radiates into a whole". Currently Pappelbaum is Resident Scenographer and Chief Designer at the Schaubühne am LehninerPlatz.
 
Note on the workshop for the Biennale College – Theatre
The laboratory focuses on two main points. The first is this concept: an empty space as the foundation for a theatrical performance. I am an architect and primarily interested in the relation between stage and spectator. The shape of the stage and of the audience space depends on the type of text and the historical period of the events on stage. The workshop develops different shapes of these spaces, and different ways of looking at them, deriving from the consequences of the acting and the authenticity of the performance as a whole.
The second point: the search for natural contemporary aesthetics for the stage design. We will go take photos and draw materials, places, figures and situations in the town. Afterwards we want to use the finds in the creation of our stage. The workshop should result in sketches of installations that represent concrete situations.
 
6 > 10 August
9 August  meeting
 

JAN LAUWERS (Antwerp, 1957)
Jan Lauwers's work sits at the junction of different artistic disciplines, including dance, theatre, cinema and the visual arts. This multiplicity of interests characterises the style of his work and has led him to widen his collaborations beyond the boundaries of theatre.
Jan Lauwers studied painting at the Academy of Fine Arts in Gent. At the end of 1979 he founded the Epigonenensemble, then Epigonentheater zlv (1981), characterized by a strongly visual conception of theatre, with which he burst onto the international scene, contributing to the radical change of the Belgian landscape of the 80s. Later he founded Needcompany, together with Grace Ellen Barkey (1986). Its early works, Need to Know (1987) and ça va (1989), are still marked by a strongly visual character, but in later ones, the storyline and the main theme acquire greater importance, although the composition remains fragmentary. After Julius Caesar (1990), Antonius und Kleopatra (1992), Needcompany's Macbeth (1996), Needcompany's King Lear (2000), in 1994 he started working on a project called The Snakesong Trilogy, which affirmed him as a successful author. In 1997 he was invited to attend the theatre section of Documenta X (Kassel), for whom he produced Caligula after Camus. In May 2000, at the invitation of William Forsythe, Lauwers created, in co-production with Ballett Frankfurt, the piece entitled DeaDDogsDon'tDance/DjamesDjoyceDeaD (2000). In 2004 and in 2006 he presented at the Festival d'Avignon with Isabella's Room, The Lobster Shop and All is Vanity.
The Salzburg Festival commissioned him to produce a new work, The Deer House, for summer 2008, which, together with Isabella's Room and The Lobster Shop, is a trilogy on human nature: Sad Face/Happy Face. Needcompany has been in residence at the Burgtheater in Vienna since 2009. Jan Lauwers is currently writing a new play titled The Art of Entertainment (2011) and will have his company work with some actors of the Burgtheater.
An author of installations and performances hosted in galleries and museums, Jan Lauwers has also produced several short films. His first feature film, Goldfish Game (2002), was presented in the New Territories section of the 59th Venice International Film Festival.
 
3 > 9 August
9 August public exhibit of the results
 

ANDREA PORCHEDDU / ANNA PÉREZ PAGÈS
Note on the workshop for the Biennale College – Theatre

The workshop, led by Andrea Porcheddu and Anna Pérez Pagès with the collaboration of Roberta Ferraresi for editing and Futura Tittaferrante for photos and videos, is aimed at the realization of a Theatre Community. The Biennale Theatre daily blog will explore the use of social media (Facebook, Twitter, Instagram, Vine, Wordpress, etc.). In particular, the work is aimed at the creation of a virtual and real community between the participants in the Biennale Theatre 2014.
The editorial staff wil be entrusted the task of being witness of what happens during the activities and share it with the community of artists that once again will be in Venice for the Biennale College – Theatre workshops.
The materials developed will be used for the Biennale’s website and social media, as well as on social networks and other publications related to the Biennale Theatre.
The articles may also be published in the participant’s websites, blogs, and newspapers.

4 > 10 August



 
RESIDENCES – COMPANIES

BLITZ THEATRE GROUP - Greece
The Blitz Theatre Group is a theatre collective founded in 2004 by three artists: Giorgos Valaïs, Angeliki Papoulia and Christos Passalis. Blitz has given itself some basic principles: to conceive the theatre as a space of encounter and to exchange ideas, to investigate what theatre can mean in contemporary life and to give each member of the group equal responsibility in crafting the work, from dramaturgy to the mis-en-scène. In all their shows, they ask the same question: how does one represent a constantly changing world where man is prey to confusion? In 2012, in a country in crisis, with the people manifesting their anger as never before, the Blitz Theatre Group staged two shows: Late Night and Don Quixote. Blitz uses theatre to say goodbye to a world inevitably about to disappear. Though far from claiming a "political theatre", the Blitz Theatre Group does offer politically committed theatrical forms that refer to the performance. In 2014-2015 the collective will be conceiving a new show: 6 am. How to disappear completely.
The spectacles of the Blitz Theatre Group: Galaxy (2010, 2012, 2013), Don Quixote (2012), Late Night (2012), Guns! Guns! Guns! (2010)
 
Project for the Biennale College - Theatre
6 am. How to disappear completely.
This new Blitz Theatre Group performance, loosely inspired by Dante's Divine Comedy, is a spectacle in 3 parts.
3 spaces, 3 texts, 3 stories.
1. The last act of Uncle Vanya by Anton Chekhov
2. The songs of Maldoror by Comte de Lautréamont
3. The poetry of Friedrich Höelderlin
An adventure at the beginning of the New Day.
No more reality
I'm here and I'm armed
6 am. How to disappear completely is an attempt to escape from this world and welcome the new one.
Blitz Theatre Group
 
Artistic Team:
Angeliki Papoulia Director/actress               
Christos Passalis Director/actor                                    
Giorgos Valais Director/actor                            
Vassia Attarian Assistant Director          
Giorgos Konstantinidis musician/sound designer     
 
30 July > 5 August
5 August public performance of the results
5 August meeting
 

LA ZARANDA – Spain
Thirty-six years have passed since La Zaranda began its theatrical career, achieving prestige at an international level. Its path has as constants: the existential commitment and the idea to start from its roots to uncover a universal symbolism, hence the symbolic use of objects, without however losing sight of the everyday, desiring to create characters that are alive. The work involves a rigorous process of collective creation. La Zaranda, like a sieve that retains the essential and discards the useless, develops a theatrical poetry that is far from stereotyped or ephemeral formulas, consolidating a language of its own that tries to provoke empathy and invite reflection. The company has been invited to numerous festivals in more than thirty countries on three continents. They have been critically acclaimed in Madrid, Buenos Aires and New York. They have received the National Theatre Prize in Spain.
Among the company's most recent shows we recall: El régimen del pienso (2012), Nadie lo quiere creer. La patria de los espectros (2010), Futuros difuntos (2008), Los que ríen los últimos (2006), Homenaje a los malditos (2004).
 
Project for the Biennale College - Theatre
El grito en el cielo (The Cry in the Sky)
Prisoners of the heritage of genetics, of medical records and of the statistical consumption that dictates their hours, some elderly persons have been deposited in a warehouse of organs damaged beyond recovery. A comfortable and aseptic anteroom of death. However, nothing has been able to erase from these lives, reduced to pure their biological mechanism, the counter-indicative faculty of dreaming. Some decide to escape from the last act of their fate, seeking a way out of clinically certified death. They are escaping from a life connected to cables and probes, from the tangle of hospital life, from the jaws of the crematorium furnace, groping in the darkness following a plan to find the legendary fountain of eternal youth. A journey back to life that will mean the recovery of pain as a human dimension, but recovering also the joy of their lost freedom. To live the tempests of the soul.
La Zaranda
 
Artistic Team:
Francisco Sánchez, Gaspar Campuzano, Enrique Bustos, Javier Semprún actors
Eusebio Calonge text and dramaturgy
 
31 July > 6 August
5 August meeting
6 August public performance of the results
 
 
GABRIELA CARRIZO (Peeping Tom) – Belgium
Gabriela Carrizo (Cordoba, Argentina, 1970)
At the age of ten she began studying dance in a multi-disciplinary school and until she was nineteen danced with the Ballet of the University of Cordoba, where she created her first choreography. She then moved to Brussels to work with Caroline Marcadé and in the subsequent four years participated in various projects between Paris and Brussels. She created the solo Et tutto sarà d'ombra et di caline (And All Will Be Shadow and ) (1993), and then worked with Les Ballets C de la B for La Tristezza Complice (Sadness as an Accomplice) (1995) and Iets op Bach (1997) and with Koen Augustijnen in Portrait intérieur (1994). Later she worked with Needcompany in Images of Affection (2001) and with Einat Tuchman and Lisi Estaras in Bartime (2000). With Alain Platel she created the choreography for the opera Wolf (2002). Together with Franck Chartier and others from the company of Platel she created Caravana (1999), a performance in a camper and later Une Vie Inutile (2000). Thus was born the company Peeping Tom, for which she would create the trilogy Le Jardin (2002), Le Salon (2005), Le Sous Sol (2007), which toured all over the world. Later she staged with Franck Chartier 32 rue Vandenbranden (2009), A Louer (2011) and Vader (2014). In 2013, Gabriela performed The Missing Door along with the dancers of the Nederlands Dans Theater.
 
Project for the Biennale College - Theatre
2 / insomnio
There is something that passes through all our work: the search for uncertain states of semiconsciousness, access to a parallel dimension, and phase shift, always. This idea has nurtured the project 1/velorio (vigil) and now Peeping Tom and the Draft.inn theatre collective return to collaborate in the research done for a second "fresco" of death -2 fresco/insomnio (insomnia). In this case, we will take insomnia as a guiding idea (in its eternity, the opposite of death), which had already piqued our interest at the time of 1/velorio in Brussels. If we consider the dream a small death, insomnia would be a small eternity. We will work with the idea of absolute and eternal insomnia. The terrible nightmare of not sleeping. The disorientation of being condemned to stay awake when everyone else is sleeping.
Gabriela Carrizo (Peeping Tom), José Manuel Mora (Draft.inn)
 
Artistic Team:
Gabriela Carrizo, José Manuel Mora, Diane Fourdrignier, Paco León, Carlotta Ferrer, Charlotte Clamens
 
1 > 7 August
5 August meeting
7 August public exhibit of the results
 

RICCI / FORTE - Italy
Trained at the Accademia Nazionale d'Arte Drammatica Silvio D'Amico and at New York University, they studied under Edward Albee. They have won the Studio 12 award, the Oddone Cappellino, the Vallecorsi, the Fondi-La Pastora, the Hystrio prize for Dramaturgy and the Gibellina/Salvo Randone for Theatre. In 2006 they went onstage with Troia's Discount. In 2007 they were invited by the Embassy of France to perform Face à Face with Olivier Py. At the Castel dei Mondi International Festival they performed metamorpHotel and the first part of the project Wunderkammer Soap. In 2008 they debuted 100% furioso. Ploutos (by Aristophanes), produced by Teatro di Roma and directed by Massimo Popolizio, was awarded the critics' Prize for Best Theatrical Text at the Venice Biennale 2009. Macadamia nut brittle debuted that same year at the Garofano Verde. 'abbastarduna, directed by David Bobée, is performed at the Théatre des Bernardines, Marseille. In co-production with CSS in Udine, they presented Pinter's Anatomy. In 2010 Troilus Vs. Cressida (by Shakespeare) was given the national award at the Festival dei Due Mondi in Spoleto. The Alda Fendi Foundation hosted the performance Some Disordered Christmas Interior Geometries. In 2011, with the support of the Apulian Public Theatre, Grimmless debuted. At the Espace Malraux Scène Nationale de Chambéry and the Théâtre Les Ateliers di Lyon Macadamia nut brittle was presented, directed by Simon Delétang. They co-produced the complete edition of the project Wunderkammer Soap at the Romaeuropa Festival. The new creation, Imitationofdeath, debuted in October 2012 at the Romaeuropa Festival, which was co-produced with the Festival delle Colline Torinesi, and at the CSS Teatro stabile di innovazione del FVG and at Centrale Fies. Their latest work is Still Life (2013) at the Teatro Argentina in Rome. In November 2013 100% furious debuted, produced in Russian by Platforma, at the NET Festival in Moscow.
 
Project for the Biennale College - Theatre
ORESTEA, Sangue o Stato: traiettorie verso Eschilo (ORESTES, Blood or State: trajectories towards Aeschylus)
Can the horrors of the Oresteia, irrespective of the question of how close they are to the symbols we're imbued with now, restore to us through this nightmare a new and solid platform on which to rest our hopes for a future? Or will it be yet another hospital ward where we'll accept the punishment of a bromide to continue along the path of the utopian democracy that we are being shown? Garden moles, we upend tidy flower beds looking for a dress that will make us seem like civilized inhabitants in an ersatz perfect world.
In a world of frigid self-representation and cold rationality, the old system of values, pervaded by faith in miracles and magic, seems downright psychotic. But its paradoxical logic exceeds all the postulates of reality, as occurs in the unconscious states of dreams.
Aeschylus and ricci/forte, Genesis and hypercontemporary, Artaud and the hard rock of Led Zeppelin, intertextual overlays of sound and matter, all set on metabolizing an LSD that - at a time like this in which a society defines itself by limiting the Other (thus ensuring its own identity) - serves as a compass to map out new trajectories.
Ricci/Forte
 
Artistic Team:
Anna Gualdo, Giuseppe Sartori, Fabio Gomiero actors
ricci/forte dramaturgy
Marco Angelilli movements
Francesco Ghisu scenographic elements
Liliana Laera Assistant Director
Stefano Ricci Director
 
1 > 7 August
5 August meeting
7 August public exhibit of the results


AGRUPACIÓN SR. SERRANO - Spain
The brochure of the Venice Biennale 2011 described us more or less like this: "A heterogeneous company dedicated to the performing arts, which creates a short-circuit between hyper-innovative technological products and other modern vintage pieces. Experiments, live elaborations, destabilising performance actions and interaction are the codes of Agrupaciòn Señor Serrano, with a creativity that turns the video images into a scathing language". We would like to add that our shows are ruthlessly pop and we play with concepts like chaos and deconstruction. The company is based in Barcelona, was founded by Àlex Serrano in 2006 and since then has produced ten shows. In 2010 we felt the need to broaden our horizons beyond the national border, so we presented Katastrophe and Brickman Brando Bubble Boom, our last two performances, from Shanghai to Rio de Janeiro, via Paris, Warsaw, Amsterdam, Neuchâtel or Potsdam. A House in Asia, the show we are presenting this year, is a co-production between the GREC 2014 Festival de Barcelona, Théâtre Hexagone (France), Centre d'arts Escèniques de Terrassa (Spain), Monty Kultuurfaktorij (Belgium) and La Fabrique du Théâtre (Belgium).
Among the creations of Agrupación Señor: Brickman Brando Bubble Boom (2012), Katastrophe (2011), Memo (2010), ImmutAdriantic (2009), Contra. Nature (2008), Europe (2007), Mil Tristes Tigres (2006).
 
Project for the Biennale College - Theatre
Kingdom
In this edition of the Biennale, Agrupación Señor Serrano intends to continue exploring some of the ideas that run through its later shows, A House in Asia and Brickman Brando Bubble Boom. Issues such as the need for a home, the couple, identity, our counterfeits will be addressed with the theatrical language that is its trademark: music and live videos, scale models, performance and beers.
 
Artistic Team:
Àlex Serrano, Pau Palacios, Diego Anido, Ferrán Dordal, Alberto Barberá creation and performance
 
2 > 8 August
5 August meeting
8 August public exhibit of the results
  
 
NEIL LABUTE (United States), NATHALIE FILLION (France), MARCO CALVANI (Italy)
 
NEIL LABUTE
A playwright, director and scriptwriter, he studied Theater at Brigham Young University (BYU) where he met the actor Aaron Eckhart, who would subsequently have a role in all his films, thus becoming his fetish actor. He graduated in Film and Theatre at the University of Kansas. In 1993 he returned to Brigham Young University to present the drama In the Company of Men, a portrait of misogynistic, arriviste businessmen, that would become a film in 1997, marking his debut as a film director. In 1998 he made his second feature with Friends & Neighbours with Aaron Eckhart and Ben Stiller. In 1999 he debuted in off-Broadway with Bash: Latter-DayPlays. In 2000 he directed Nurse Betty and won the Palme d'Or at the Cannes Film Festival for Best Director. In 2002, he made The Mercy Seat, the first theatrical work focusing on the attacks of September 11, 2001, starring Liev Schreiber, and directed Possession - A romantic story with Gwyneth Paltrow. In 2006 he directed Nicolas Cage as The Wicker Man and works at the film adaptation of The Danish Girl by David Ebershoff. His latest films are Lakeview Terrace (2008) and Death at a Funeral (2010). For the theatre he has written, among other things, In a Dark Dark House (2007), Reasons to Be Pretty (2008), Helter Skelter/Land of the Dead (2008), Some White Chick (2009) and The Furies (2009). In may 2013 he directed Reasons to be Happy, a sequel to his 2008 play, at the Lucille Lortel Theatre in New York. In 2012 he became permanent artist-in-residence of the Profiles Theatre in Chicago. In 2013 he was among the winners of the American Academy of Arts and Letters. He is currently in preparation for the filming of Crooked House based on the novel by Agatha Christie.
 
NATHALIE FILLION
After being formed and having worked for years as an actress, she dedicated herself fully to playwriting and directing. She now divides her time between writing, directing and teaching at the prestigious theatre school Studio d'Asnieres, near Paris. Her first great success was Alex Legrand (2004), unanimously acclaimed by critics. In 2006 La Comédie Française commissioned her to create a one-act play, Les Descendants. A mise en espace of the work has been staged at Piccolo Teatro Eliseo in Rome as part of the festival Face à Face, and was broadcast on Radio RAI. In 2010 she directed the musical Plingper. Her last pièce, A l'Ouest debuted in 2012 at the Théâtre des Célestins in Lyon, before moving with success to the Théâtre du Rond Point of Paris. She belongs to the Cooperative d'écriture, an innovative association of French playwrights. She regularly collaborates with musicians and dancers. In 2002 her book Lady Godiva, written in four languages, is represented at the Opera Bastille in Paris and, in a new production at the Theatre du Chatelet in 2012. In 2010 A l'Ouest she received an award from CNT Centre national du théâtre in France. Translated into German, English and Spanish, A l'Ouest won the Foundation Barriere award in 2011. She is currently working with the Royal Court Theatre in London, for whom she is writing a new text, Aba Zabba Zoom (provisional title).
 
MARCO CALVANI
An actor trained at the school of Theatre  della Limonia of Florence and at the Duse Studio in Rome, he made his debut as a playwright  2002 with  Quasi,  commissioned by the European Social Forum of Theatres. Other works include: Te lo leggo negli occhi! (2003),  Prima che tu dorma, commissioned by Todi Arte Festival 2004, La vita bassa (2005) commissioned by the Phoenix Theatre  of London,  Le mani forti  (2006), a cult text inspired by the tragedy of Novi Ligure; La città sotto commissioned in 2008 by the Fundació di Barcelona and presented in its world premier at the Sage Theater in New York; Olio (2008) with which he made his debut in directing. In 2009 he was the only European guest of the Ubud Writers & Readers Festival of Bali. In the same year he wrote and directed Penelope in Grozny and then Unghie, a text commissioned by Garofano Verde 2010. In 2010 he taught acting at the Obrador Internacional d'Estiu  at the Sala Beckett of Barcelona. In 2011 he won a residency at the Cité Internationale des Arts in Paris and was invited by the Théâtre de la Ville to represent Italy in an international writing project, Le Bal Littéraire, directed by Fabrice Melquiot, Face à Face and Chantiers d'Europe. That same year he received in Spoleto the Siae Award for best playwright. In January 2013 the Teatro Metastasio Stabile della Toscana, dedicated  a retrospective to him, on the occasion of which he wrote and directed Io sono Dracula. In June 2013 Olio debuted for the first time in English at the Robert Moss Theater of New York, directed by Glory Kadigan for which he received the award for "Outstanding playwriting" at Planet Connections Theater Festivity Awards. He currently works as a literary consultant with the National Theatre of Scotland. He is founder and artistic director of Mixò (Mixed), an international cultural centre that brings together young actors and authors in the promotion of original works of theatre and cinema. His texts have been translated and performed in six languages. He is a member of the Dramatists Guild of America.
 
Project for the Biennale College - Theatre
AdA Venice
After the success of the first edition of AdA- Author directing Author - born from the encounter between Neil LaBute and Marco Calvani and that gave birth to three international premiers in the summer of 2012 in Italian, Spanish and English, the French filmmaker and playwright Nathalie Fillion joins the two authors/directors in giving life to the second edition of the project.
AdA was born with the intention of celebrating the different approaches to writing and directing. But also with the objective of enhancing the different styles and specific characteristics of contemporary European and American dramaturgy by disseminating these works internationally. During a residency at La MaMa Umbria in June 2014, Calvani, Fillion and LaBute will write three short single-acts plays around a common theme (desire).
During their residency at the Venice Biennale the three authors/directors will work at staging three Italian pièces, "exchanging" directorships: Calvani will direct the play by Fillion, Fillion the play by LaBute, LaBute that of Calvani. With them there will be three actors, trait d'union between the three mise-en-scenes, to be presented in the course of a single evening.
 
Three Directors. Three actors. Three texts. Only one show.
 
2 > 8 August
5 August meeting
5 August public performance of the results