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
Nettles
Trickster-p — Projects — Nettles
With Nettles Trickster-p invites the audience to dive into a multi-faceted experience that dialectically explores the two extremes of our human journey: childhood and death.
The childhood of Nettles is however not defined by age and rather refers to a much wider shell that symbolically and metaphorically accompanies our adult life throughout; likewise, death is not only the inevitable stopping of the vital beat, but a much sharper archetypical dimension that connects us to unknown and unsettling perspectives.
Now a common trait of their characteristic poetics, Trickster-p creates in the absence of performers and places the audience in the centre of the dramaturgical action.
Led along a path with the aid of headphones, spectators are left free to elaborate, in total solitude, the relationship to the experience of which they are witness and agent, and to directly meet the succession of environments primarily based on the transformative power of the imagination.
The voice that leads them along the journey generates associations, astonishments, mysteries, factual accounts and instances of real life experience that traverse the subtle borderline between dream and reality, memory and reflection, childhood unrest and the immanence of death.
Nettles is a listening experience to the self who is committed to revealing its own thoughts and lets flakes of autobiography and moments of great intimacy burst through the harshness of the themes and the unavoidable radical nature of the encounter with the end.
Human vulnerability is manifest in the double layer of the fragility of the body and the oneiric, mysterious life of our deepest self, and the primordiality of childhood is made concrete in the ferocity of recollections and the obsessions of memory.
Immersed in a visual and sound scape that amplifies and expands the range of possibile readings, the journey through the rooms is a physical passage that is metaphor for an intimate motion within the mind, and for a deeply emotional, compellingly human condition.
Credits
Concept and realization
Dramaturg
Simona Gonella
Voice
Cristina Galbiati (Italian version), Gabriella Sacco (English version), Dorit Ehlers (Deutsch version), Bodil Alling (Danish version)
Artistic collaboration
Yves Regenass, Mamoru Iriguchi
Soundscape
Zeno Gabaglio
Editing and mixing
Lara Persia - Lemura Recording Studio
Space realization
F.M. Scenografie srl. (Buccinasco)
IT consultancy
Roberto Mucchiut
Trainees
Gaia Bozzi, Veronica Ferrari, Martina Galbiati (NABA Scenography undergraduates) under the supervision of Francesca Guarnone
Special thanks to
Gessnerallee Zürich, NABA-Nuova Accademia di Belle Arti, Margherita Palli Course Leader of NABA three years Scenography degree and professor Francesca Pedrotti
Production
Trickster-p, LAC Lugano Arte e Cultura
Co-production
Teatro Sociale Bellinzona, Theater Chur, ROXY Birsfelden, TAK Theater Liechtenstein, FOG Triennale Milano Performing Arts
Supported by
Pro Helvetia – Swiss arts council
DECS Repubblica e Cantone Ticino – Fondo Swisslos
Municipality of Novazzano
Fachausschuss Tanz & Theater BS/BL
Percento culturale Migros
Göhner Stiftung
Landis & Gyr Stiftung
Fondazione Winterhalter
Press review
Textur-buero.de (Deutschland)
[...] Dieses suggestive Wechselbad der Gefühle, das u.a. durch Jahrmarkts -odernächtliche Spukgeräusche oder auch die Erzählung vom Tod des Familienhundes erzeugt wurde– hinterließ wahrscheinlich nicht nur bei mir einen starken körperlichen und seelischen Eindruck, den ich nicht so schnell wieder abschütteln konnte.
Theater der Dinge (Germania)
[...] In Nettles steht die ganze Untröstlichkeit des Sterben-Müssens auf dem Spiel. Des Eigenen, das deutet der Traum am Anfang an, aber vor allem auch das der anderen, hier des Vaters. Die Anekdoten, Überlegungen und Träume der Erzählerin kreisen um die Unwiderruflichkeit des Verlustes, seiner Unzugänglichkeit und des damit verbundenen Dranges zu wissen: Was heißt das, zu sterben, und was macht es mit den Hinterbliebenen? Trauer wird nicht als eine frontale Überwältigung inszeniert, nicht als die großen Gefühle von Schreien und Weinen, sondern als langsames, vorsichtiges Kreisen um einen Verlust, der als Unverständlichkeit ins Leben bricht. Diese Unverständlichkeit führt in Nettles nicht zur stumpfen Ergebenheit gegenüber dem absurden und unausweichlichen, sondern scheint auf eine tiefe Verbundenheit zwischen dem Rätselcharakter der Kunst und dem des Lebens hinzudeuten.
