[…] Sitting at your table, among strangers, if you accept to be guided, you will experience a new kind of freedom. Do not be afraid. Surrender completely. Let yourself go. You will (re)discover some childhood dreams left under the pillow, that your adult head sometimes is likely to crush. A delightful journey into one’s own intimate self.

Azione (Switzerland)

Trickster-p

Common land

What then is time? If no one asks me, I know; if I wish to explain it to him who asks, I do not know.

The game

The world as we have created it is a process of our thinking. It cannot be changed without changing our thinking.

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.

Nettles

At what age does one stop being an orphan? Who loses the father, let’s say at sixty, can he be defined an orphan? At ten yes – but at forty? (...)

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 fairytale Snow White

.h.g.

Installation in 9 rooms, one prologue and one epilogue

Common land

Trickster-p — Projects — Common land

What stories lie hidden in a single fragment of reality? How many layers of time are overlaid within the same space? How do these elements contribute to the endless flow of which we, too, are a part? At a time when everything is in constant transformation, Common land is a suspended space where the landscape becomes a tale, woven into the rhythm of the world. A place of many visions, where there is no single perspective, but a constellation of coexisting gazes brushing against one another, and at times contradicting each other, while composing a mosaic of voices engaged in a silent dialogue across time. Spectators are invited to explore a changing landscape without physically moving: each gaze opening new paths and giving rise to new narrations. Inspired by the structure of mycelial networks that nourish and entwine with life in all ecosystems, the performance unfolds as both a collective and deeply individual experience. In it, the human is no longer the center, but a thread woven into a living, interdependent fabric.
Common land is an invitation to slow down, and lose one’s bearings so as to rediscover a sense of belonging. It is a journey through dimensions composing our own fragment of the world – a cartography of space-time, where the visible and the invisible coexist and cross the paths of those inhabiting it.

Credits

Creation

Trickster-p

Concept and realization

Cristina Galbiati & Ilija Luginbühl

Artistic collaboration

Maria Da Silva, Jovana Malinarić

Voice

Gabriella Sacco

Styling

Ettore Lombardi

Illustrations

Giorgio Zeno Graf

Original sound space

Zeno Gabaglio

Mixing

Studio Lemura

Graphic design, video and design consultants

Studio CCRZ

Advice and development

Mauro Danesi

Photos and trailer

Giulia Lenzi

Production

Trickster-p, LAC Lugano Arte e Cultura

Co-production

Theater Casino Zug, Theater Stadelhofen Zürich, ROXY Birsfelden, TAK Theater Liechtenstein, Triennale Milano Teatro

In collaboration with

Postremise Chur

Supported by

Pro Helvetia – Swiss Arts Council
DECS Repubblica e Cantone Ticino – Fondo Swisslos
Città di Lugano
Comune di Novazzano
Fachausschuss Darstellende Künste BS/BL
Swisslos/Kulturförderung Kanton Graubünden
Amt für Kultur Kanton Zug
Stadt Zug
Migros-Kulturprozent
Landis & Gyr Stiftung
GKB BEITRAGSFONDS
Stiftung Dr. Valentin Malamoud
Fonds culturel de la Société Suisse des Auteurs (SSA)

Press review

La Regione Ticino (Switzerland)

[…] The work of Trickster-p is one that consistently calls into question the assumptions of its audiences – first and foremost, their understanding of what theatre is. Through journeys and installations that may at first appear akin to other artistic forms, the work ultimately reveals itself, once experienced, as profoundly theatrical – above all in the deft handling of dramaturgical timing.

Kappa e spalla, RSI (Switzerland)

[…] In Common land, “dwelling” comes to mean recognising oneself as part of a landscape that precedes and exceeds our individual history. To narrate a house becomes a way of questioning what holds our lives together and, perhaps, in an age that senses the instability of its own structures, returning to those foundations – however fragile – becomes an attempt to rethink our place in the world, making once again perceptible the connections that bind us to one another and, more broadly, to what surrounds us.