Cristina Galbiati & Ilija Luginbühl
Eutopia
The stories of the Earth have changed in nature and scale: we do not write stories to tell about the creation or the course of the world, but to avert its end.
Book is a Book is a Book
Ts'ui Pen must have said once: I am withdrawing to write a book. And another time: I am withdrawing to construct a labyrinth. Every one imagined two works; to no one did it occurred that the book and the maze were one and the same thing.
Twilight
Choreography for the dying light
Sights
We met blind people. Some were born blind, others lost their sight over time. We asked them to tell us how they see
B
Room by room audio journey around the fairy tale Snow White
.h.g.
Installation in 9 rooms, one prologue and one epilogue
B
Trickster-p — Projects — B
B, the second episode of a trilogy dedicated to fairy tales, has been created as a rereading of the classic fairy tale Snow White. It is the end result of research focusing on contamination between different art forms.
B has been developed similarly to .h.g. (dedicated to the fairy tale of Hansel and Gretel) as a room by room installation in which the spectator is invited to travel through the spaces in solitude accompanied with headphones. But if Hansel and Gretel was the fairy tale of infancy, Snow White is the fairy tale of the passage from infancy to adulthood in which the infantile brutality of the anthropophagous witch leaves space for internal strife and for loneliness.
As in a recurring dream with undefined borders, Snow White lives in a kind of suspended world in which death is an ever present counterpoint: immense deserted rooms, the darkness of the forest, the dirty and worn beds of the dwarfs. These create the background of her loneliness.
In the fairy tale Snow White there appears to be something which is constantly in the balance between two opposites: life/death, luxury/poverty, immaculate/impure. These are the binomials upon which the narrative framework is grafted.
The rereading created by Trickster-p doesn’t want to be a typical museum-like path which slavishly reproduces the ambiances of the story, but rather a sort of trip through the most intimate and hidden aspects of the fairy tale itself. These create shared and shareable steps in which each singular spectator can interact through their own personal imagery.
Far from the pin ups of our days, Snow White has something diaphanous about her. She has a sort of fragile beauty; a bit emaciated – a perfect body, but already a predestined corpse. But it is precisely in her desperate perfection, in her silent immobility that the fairy tale is – and remains – one of disarming modernity.
Credits
Concept and realisation
Dramaturg
Simona Gonella
Design
Mike Brookes, Trickster-p
Soundscape
Luis Fernandez, Trickster-p
Editing
Davide Perucconi
Production
Trickster-p
Co-production
Migros-Kulturprozent, Teatro Sociale Bellinzona, far° festival des arts vivants - Nyon, Theater Chur, Schlachthaus Bern, TAK Theater Liechtenstein - Schaan
Supported by
Pro Helvetia – Swiss arts council
DECS Repubblica e Cantone Ticino – Fondo Swisslos
Migros-Kulturprozent
Ernst Göhner Stiftung
Fondation Nestlé pour l’Art
Landis & Gyr Stiftung
Oertli Stiftung
Bürki Stiftung
Press review
Süddeutsche Zeitung (Deutschland)
[...] Das Stück B von Trickster-p schleust je einen Besucher durch eine Schneewittchen-Geschichte ohne Schauspieler und Plot. Unterschiedlich grosse Haufen aromatischer Erde darin, echte Fliegen, eingeschweisste Fleischbrocken, das Geräusch eines Schusses oder sieben Paar Schuhe auf dem Boden weisen dabei oft in andere Richtungen als das Wort. Umso mehr ist die Imaginationskraft gefordert, mit der sich jeder Einzelne Brücken zwischen Optik und Akustik baut.
Abendzeitung (Deutschland)
[...] Wie das Tessiner Performance-Duo Trickster-p in ihrer mit dem Buchstaben B betitelten Tour Motive aus Schneewittchen zu einem 35-minütigem Psychotrip für Einzelgänger verwandelt hat, ist schon ein wunderbar morbides Vergnügen. Statt in eine Märchennacherzählung gerät man durch eine Mädchenstimme auf den Kopfhörern in einen assoziativen Bewusstseinsstrom hinein, in dem die Sehnsucht nach der toten Mutter immer wieder anklingt und die sieben Zwerge geisterhaft herumschwirren, wirklich herumschwirren: in Gestalt von sieben Fliegen in einem dumpf beleuchteten Alptraumraum von ebenfalls klaustrophobischer Enge. Vor allem geht es dem Kollektiv darum, jeden Einzelnen in einen anderen, dunklen Kosmos hineinzuführen, hin zu einer sinnlichen Erfahrung.
