[…] With Eutopia, Trickster-p sets a further milestone in its quest for a language that breaks away from the conventional stage, thus giving a further momentum in the context of a dramaturgical research that owes almost everything to renouncing the actor’s presence in its traditional sense. And while the dramaturgical dynamic of Eutopia‘s non-place is the questioning life on Earth, then we also find ourselves in the heart of a theatrical paradigm at its origins.

Volksblatt (Liechtenstein)



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.


Choreography for the dying light


We met blind people. Some were born blind, others lost their sight over time. We asked them to tell us how they see


Room by room audio journey around the fairy tale Snow White


Installation in 9 rooms, one prologue and one epilogue


Trickster-p — Projects — .h.g.

Fairytales belong to a deeply intimate and personal territory that defies age. Trickster-p again takes a fairytale as a theme, in order to work on a subject that belongs to the collective imaginary, disregarding facts to dive into a universe of images, memories and sensations evoked by the story.
.h.g. is a reading – and revision – of the classical fairy tale of Hänsel and Gretel, in the shape of an installation where theatre and visual arts merge. The spectator walks through 9 different physical-sensory rooms accompanied and guided by earphones.
Each room is a world on its own, a passage into universes suspended halfway between reality and dream: here the mind slips into the imaginary and the external spectator becomes integral part of the experience.
The installation evolves along the points of rupture and intersection of the story, in search of the links between the world of childhood and the world of adulthood.
Hänsel and Gretel is a beastly, cruel and merciless story
It is a story made of sounds and silences
It is a story of bones and flesh, of food and hunger
It is a story about home, then about forest, then again home
It is the story of two children who go into the thick of the forest holding hands
It is a story with both a clean and ferocious smell.
Suspended between ferocity and childlike lightness, .h.g. strives to be an experience both aesthetical and sensorial.


Concept and realization

Cristina Galbiati & Ilija Luginbühl

Artistic collaboration

Simona Gonella

Sound space technical production

Area Drama RSI

Audio recording

Lara Persia, Angelo Sanvido

Editing and mix

Lara Persia




Cinema Teatro Chiasso, Teatro Pan Lugano, Teatro Sociale As.Li.Co. Como

In collaboration with

Radiotelevisione svizzera - Rete Due

Supported by

Pro Helvetia – Swiss arts council
DECS Repubblica e Cantone Ticino – Fondo Swisslos
Fondation Nestlé pour l’Art
Ernst Göhner Stiftung
Stanley Thomas Johnson Foundation

Press review

www.klpteatro.it (Italy)

[…] Trickster managed to turn the fairytale of Hansel and Gretel into a work of art that keeps intact the ferocity and primordiality of the feelings evoked by the tale, with the distinctive taste and multimedia research that is the hallmark of our society. A journey into abandon, fear, discovery, ending with a pebble in the hand. A reminder that one can always find their way back home.

Azione (Switzerland)

[…] Galbiati and Luginbühl revisit the fairy tale as an intimate journey where the spectator, whether young or adult, walks the path indicated by the voice on headphones alone with oneself, one’s ghosts and imagination. The rooms to be covered are bare, some dark, smelling of wood. Inside them are a few traces, signs of an inner turmoil or, more simply, clues to reknit the threads of the narrative. In these rooms, the aesthetic combines with the sensory. They are also spaces where ecstasy meets fear. Where, for a moment, we too have stepped back in time, recalling that fairy tale, the first time we were read or told it. The strength of .h.g. lies essentially in having used simple registers, without presumption, with the one aim of captivating through a synthesis of the tale with the “scent of sounds” and their evocative power. Well, we find the project fully successful.