#XploringTheatre #16ETPstory Europe Theater Prize
This year from 12 to 17 December Rome hosted the XVI edition of the Europe Theater Prize and the XIV edition of the Europe Prize Theatrical Realities.
The Europa Prize for the Theater this year has proposed a rich program of events, conferences and assigning important awards to artists of the theater reality.
The event was an 'opportunity to host in Rome a high-profile event accompanied by moments of reflection on the contemporary scene.
As a whole, the six days of the Prize were therefore far beyond the mere dimension of the show, necessarily touching the themes of the social function of the theater and of the knowledge between different cultures.
Moreover, in Rome, a city in which the 60th anniversary of the Treaties of Rome was ideally closed, the European Year of Cultural Heritage 2018 was inaugurated as the first initiative. All the events took place in collaboration with the Theater of Rome and the Palladium Theater.
The XVI Europe Theater Prize was awarded to:
Isabelle Huppert and Jeremy Irons
The two artists shared the scenic space together, taking part in a performance conceived specifically for the Europe Prize: Ashes to Ashes by Harold Pinter. Furthermore, Isabelle Huppert has read songs by Guy de Maupassant.
Isabelle Huppert
Isabelle Huppert was born March 16, 1953, in Paris, France, but spent her childhood in Ville d'Avray. Encouraged by her mother Annick Huppert (who was a teacher of English), she followed the Conservatory of Versailles and won an acting prize for her work in Alfred de Musset's "Un caprice". She then studied at the Conservatoire d'Art Dramatique and followed an illustrious theatrical career, which includes Ivan Turgenev's "A Month in the Country", Euripides' "Medea" (title role) etc.
She made her movie debut in 1971 and soon became one of the top actresses of her generation, giving fine performances in important films :La merlettaia (1977), Si salvi chi può (la vita) (1980), Loulou (1980), as an upper-class woman who is physically attracted by a young vagabond.
Huppert has an extremely productive collaboration with Claude Chabrol, who cast her in several movies, including Violette Nozière (1978), in which she played a woman who murders her parents, and Un affare di donne (1988), in which she gave an excellent performance as a shameless abortionist, the last woman to be executed in France. More recent good films include Patricia Mazuy's Saint-Cyr (2000) and Michael Haneke's controversial La pianista(2001), as a sexually repressed piano teacher.
Extra credit She was awarded the French Legion of Honor in 1999… She has made many films with director Claude Chabrol.
Nominated for 1 Oscar. Another 105 wins & 48 nominations.
Jeremy Irons
British actor Jeremy Irons was born ( 19.9.1948 ) in Cowes, Isle of Wight, a small island off the south coast of England. Young Jeremy didn't prove very fond of figures. He visited mainland England only once a year. He wound up being grounded when his family settled down in Hertfordshire. At the age of 13 he enrolled in Sherborne School, Dorset, where he could practice his favorite sport, horse-riding. Before becoming an actor, he had considered a veterinarian surgeon's career.
He trained at the Bristol Old Vic School for two years, then joined Bristol Old Vic repertory company where he gained experience working in everything from Shakespeare to contemporary dramas. He moved to London in 1971 and had a number of jobs before landing the role of "John the Baptist" in the hit musical "Godspell". He went on to have a successful early career in the West End theatre and on TV, and debuted on-screen in Nijinsky (1980). In the early 80s, he gained international attention with his starring role in the Granada Television serial adaptation of Evelyn Waugh's classic novel Brideshead Revisited (1981), after which he was much in demand as a romantic leading man. In 1984, he debuted on Broadway opposite: Glenn Closein Tom Stoppard's "The Real Thing" and, in the mid-80s, he appeared in three lead roles with the Royal Shakespeare Company. [if !supportLineBreakNewLine]
Once described as 'the thinking woman's pin up', he has made his name in thought provoking films such as David Cronenberg's Inseparabili (1988), for which he won the New York Critics Best Actor Award. He gained a Golden Globe Award in addition to an Oscar for Best Actor in 1990 for his role as Claus von Bulow in Il mistero Von Bulow(1990) alongside Glenn Close. Among his many achievements, his role as Professor Higgins in Loewe-Lerner's famous musical "My Fair Lady" mustn't be forgotten. It was in London, back in 1987. [endif] [if !supportLineBreakNewLine]
Special Prize to Wole Soyinka [endif]
Akinwande Oluwole "Wole" Babatunde Soyinka (born 13 July 1934) is a Nigerian playwright and poet. He was awarded the 1986 Nobel Prize in Literature, the first African to be honoured in that category. Soyinka was born into a Yoruba family in Abeokuta. After studying in Nigeria and the UK, he worked with the Royal Court Theatre in London.
He went on to write plays that were produced in both countries, in theatres and on radio. He took an active role in Nigeria's political history and its struggle for independence from Great Britain. In 1965, he seized the Western Nigeria Broadcasting Service studio and broadcast a demand for the cancellation of the Western Nigeria Regional Elections. In 1967 during the Nigerian Civil War, he was arrested by the federal government of General Yakubu Gowon and put in solitary confinement for two years.
Soyinka has been a strong critic of successive Nigerian governments, especially the country's many military dictators, as well as other political tyrannies, including the Mugabe regime in Zimbabwe. Much of his writing has been concerned with "the oppressive boot and the irrelevance of the colour of the foot that wears it". During the regime of General Sani Abacha (1993–98), Soyinka escaped from Nigeria on a motorcycle via the "NADECO Route." Abacha later proclaimed a death sentence against him "in absentia." With civilian rule restored to Nigeria in 1999, Soyinka returned to his nation.
In Nigeria, Soyinka was a Professor of Comparative Literature (1975 to 1999) at the Obafemi Awolowo University, then called the University of Ife. With civilian rule restored to Nigeria in 1999, he was made professor emeritus. While in the United States, he first taught at Cornell University as Goldwin Smith professor for African Studies and Theatre Arts from 1988-1991 and then at Emory University where in 1996 he was appointed Robert W. Woodruff Professor of the Arts.
Soyinka has been a Professor of Creative Writing at the University of Nevada, Las Vegas and has served as scholar-in-residence at NYU’s Institute of African American Affairs and at Loyola Marymount University in Los Angeles, California, US. He has also taught at the universities of Oxford, Harvard and Yale.
At the same time, he taught drama and literature at various universities in Ibadan, Lagos, and Ife, where, since 1975, he has been professor of comparative literature. In 1960, he ... Nobelprize.org. Nobel Media AB 2014. Web. 5 Dec 2017. ...
Special Mention to Fadhel Jaibi
Fadhel Jaïbi born on December 10, 1945 at Ariana, is a Tunisian director and director. He is a figure of contemporary Arab theater.
After his theatrical studies in France between 1967 and 1972, he held the position of director of the National Conservatory of Dramatic Art from 1974 to 1978 and founded with Jalila Baccar, Fadhel Jaziri and Habib Masrouki the first private Tunisian company, the New Theater, in 1976 and the company Familia Productions in 1993. Member of the Tunisian Academy of Sciences, Arts and Letters, he is appointed on July 8, 2014 at the head of the Tunisian National Theater. Author of several scenarios and director of several training courses in Tunis and abroad, he describes his theater elite for all. He has to his credit more than twenty plays, including Corps hostages, and four films.
In 2002, he was invited by the Festival d'Avignon as the first Arab creator in 56 years of festival. In September, he is invited by the Berlin Festspiele where he creates the play Araberlin with German actors.
In 2013, he creates Tsunami, which questions the outburst of anxiety that is going on in Tunisian post-revolutionary society.
In 2014, he sponsored the 76th promotion of the National School of Arts and Techniques Theater of Lyon. In 2015, he creates Violence (s), the first part of a trilogy that takes a critical look at the false hopes raised by the Tunisian revolution.
In 2017, he creates Fear (s), the second part of the trilogy, where he takes an uncompromising look at what happened to the hopes of Tunisians following the political events of 2011.
The XIV Europe Theater Realities Prize has been awarded to :
Susanne Kennedy,Jernej Lorenci, Yael Ronen, Alessandro Sciarroni, Kirill Serebrennikov and Theatre N099. [if !supportLineBreakNewLine] [endif]Susanne Kennedy
Susanne Kennedy, born in Friedrichshafen in 1977, studied at the Hogeschool voor de Kunsten in Amsterdam. At the Nationaltheater in The Hague, she has recently directed productions by Henrik Ibsen (“Hedda Gabler”), Enda Walsh (“The New Electric Ballroom”), Sarah Kane (“Phaedra’s Love”) and Elfriede Jelinek (“Über Tiere”). Her productions, which have an installational character, have been invited several times to the Dutch Theatertreffen.
In 2011, she was invited as a guest director to the Gent Theatre with her production of Rainer Werner Fassbinder’s “Die Bitteren Tränen der Petra von Kant”. During the Berlin Theatertreffen in 2014, Susanne Kennedy was awarded the 3-Sat prize for her production of “Fegefeuer in Ingolstadt” (2013) at the Münchner Kammerspiele.
Her subsequent staging of “Warum läuft Herr R. Amok?” (2014) was invited to the Theatertreffen 2015. In cooperation with the Ruhrtriennale in 2015 she created the installative opera “Orfeo” and “MEDEA.MATRIX” in 2016. In the 2017/18 season, Susanne Kennedy will become a member of the creative directorship at the Volksbühne am Rosa-Luxemburg-Platz in Berlin.
She recently directed “Die Selbstmord-Schwestern/The Virgin Suicides” at the Münchner Kammerspiele based on the novel by Jeffrey Eugenides.
Jernej Lorenci
Jernej Lorenci was born in 1973 in Maribor. Already in high school, he directed the first performances under the auspices of the Dead Theater Maribor. In the Drama Studio, Vili Ravnjak finally delighted him for the theater.
After finishing gymnasium, he studied theater directing at AGRFT in Ljubljana under the mentorship of Mile Korun and Matjaž Zupančič. In 1996, he directed the diploma, Sofokle's Antigone, with which he graduated three years later. In 1997, he was co-founder of the Theatrical School of the First Gymnasium Maribor. [if !supportLineBreakNewLine] [endif]After studying, he gained directing experience in Slovenian, Croatian and Bosnian theaters. He was artistic director of the Ptuj Theater and received many domestic and international awards for his directing work. In 2006, he became an assistant, and a year later he became an assistant professor of theater and radio directing at AGRFT Ljubljana.
Yael Ronen
Yael Ronen, in-house Gorki director, was born in Jerusalem in 1976. She comes from a theatre family and is internationally considered as one of the most exciting theatre makers of her generation.
The greatest tool at her disposal is black humour in the framework of historical conflicts. Ronen’s play Third Generation, featuring German, Israeli and Palestinian actors, was invited to numerous festivals.
Another of her productions Hakoah Wien, developed at Schauspielhaus Graz, was awarded the Austrian Nestroy theatre prize in 2013. She staged the world premiere of the adaptation of Olga Grjasnowa’s bestselling novel All Russians Love Birch Trees. Common Ground emerged as a meditation from Ronen and her actors on the aftermath of the war in former Yugoslavia.
2015 the play was invited to the reknowned Theatertreffen Festival at Berlin and won the audience award at Mülheimer Theatertage. Her latest productions at Gorki are Erotic Crisis and Das Kohlhaas-Prinzip as well asThe Situation which was invited to the Theatertreffen 2016. The Piece was elected as piece of the year (Stück des Jahres) 2016.
Alessandro Sciarroni
Alessandro Sciarroni was born on 25 July 1976 in San Benedetto del Tronto (Ascoli Piceno-Italy). As a boy he attended the accounting institute and took piano lessons. He attended university studies in Parma in "Conservation of cultural heritage". Wanting to enroll in an acting course, he comes across a poster from the Lenz Rifrazioni company that was looking for participants for workshops.
After passing the first audition, Sciarroni wins a scholarship and begins to study acting at the company. This happens in 1998; the collaboration will last nine years, until 2006. In this period, Sciarroni as an amateur actor will become one of the main performers of the company, figuring, among many, in the performances of the trilogy on Faust by Goethe - Urfaust (2000), Faust II (2001), Faust I (2001) -, as in the project on the Brothers Grimm - Cinderella (2001), Cappuccetto Rosso (2003), La Sirenetta (2005) - and in High Surveillance by J. Genet (2006).
But it is the trilogy on Calderón de la Barca that sees Sciarroni's rise as an interpreter. The trilogy begins in 2003 with La vita è sogno, follows with Il magico prodigioso (2004) and Il prince constant (2006) so life and performance come to coincide in an all-encompassing way, marking a point of no return.
The actor leaves the company and returns to the Marche, after graduating with a thesis on the Portuguese artist Helena Almeida entitled Corpo Celeste.
In 2007 he founded the independent cultural association and performed his first show as an author, IF I WAS YOUR GIRLFRIEND, follow YOUR GIRL, with which the author wins the New Sensitivity award, the show IF I WAS MADONNA (2008), the choreography COWBOYS - I Found Out I Am Really No One (2009) and the LUCKY STAR performance (2010).
2011 is the year of change: after the training experience of CHOREOROAM Europe, during which the first version of FOLK-S_Will You Still Love Me Tomorrow is designed? Sciarroni choreographs only one dance, JOSEPH, where he interfaces with online users on Chatroulette live.
2012 Will You Still Love Me Tomorrow trilogy begins? with the first show FOLK-S. UNTITLED_I Will Be There When You Die (2013) and AURORA (2015) will follow. Called "trilogy of practices", this series of shows reflects on the concepts of effort, resistance and concentration and is based on the research of the archetypal system of performative signs of mankind, which Sciarroni identifies in three practices: folk dance, juggling, sport. The artist declines these practices with originality, conceptual abstraction and post-pop references and thus elaborates a work that will be worth international recognition. In 2015 he was nominated choreographer of the Balletto di Roma directed by Roberto Casarotto and since the appointment of Virgilio Sieni as director of the Dance sector at the Venice Biennale for the choreographic training activities.
Reduce da un bel successo al Festival d’Autumne – dove era invitato per la seconda volta – e da un emozionante debutto a New York, Alessandro Sciarroni si appresta a tornare in scena a Roma con TURNING | Symphony of Sorrowful Songs, un progetto per il Balletto di Roma diretto da Roberto Casarotto che la …
Kirill Serebrennikov
[if !supportLineBreakNewLine]Kirill Semyonovich Serebrennikov (Russian- born September 7, 1969 ) is a Russian stage and film director, and theatre designer. Since 2012, he has been the artistic director of the Gogol Center in Moscow. He has been described as one of Russia's leading theatre directors.
In 2001, he staged his first production in Moscow. Serebrennikov has staged drama productions in Moscow Chekhov Theatre, Latvian National Theatre, Theatre of Nations. He has been active in opera staging productions for the Mariinsky Theatre, and the Bolshoi Theatre in Russia, where he has also been a stage director and a designer for a ballet,Komische Oper Berlin and Stuttgart Opera in Germany.
Serebrennikov is one of the artistic directors of Territory Festival in Moscow. Since 2008 he is a professor of the Moscow Art Theatre School, where he has a class of actors and directors. His productions have been presented at the Wiener Festwochen, and the Avignon Theatre Festival. His films have been screened at Cannes Film Festival,Locarno Film Festival, Rome Film Festival, and the Warsaw International Film Festival where his film Yuri's Day received the Grand Prix.
He is a director and writer, known for Parola di Dio (2016), Izmena (2012) and Izobrazhaya zhertvu (2006).
Theatre NO99
Theatre NO99 is a theatre in Tallinn, Estonia that began to operate in February 2005. It is a state-owned repertoire theatre that has its own building with two theatre halls in central Tallinn.
The name of the theatre is NO99, although it has no connection with classical no-theatre. NO is an abbreviation of the word “number” and 99 has decreased by one with each new production.
The troupe consists of 10 actors, eight men and two women. The theatre produces two to four new stage productions for the large hall every season. In addition, co-production projects (for example, with the theatre school) premiere in the small hall.
Drama productions are staged primarily in the large hall. They aspire towards artistic exactingness and social relevance. Texts are often composed by the directors themselves (or in cooperation with actors).
In some cases, finished drama texts have also been brought to the stage. Some of the authors that have been produced are McDonagh, Kurosawa, Tarkovski, Jarry, Mishima, Chekhov, Shakespeare, and others.
The theatre has won several national and also international festival awards for productions, and for stage design and acting. Several productions have been invited to participate in international festivals in Austria (Wiener Festwochen), Germany, Russia, Switzerland, Poland, Russia, Finland, Lithuania, and other countries.
a Special Prize has been awarded to Dimitris Papaioannou
Dimitris Papaioannou (Greek - born 21 June 1964) is a Greek experimental theater stage director, choreographer and visual artist who drew media attention and acclaim with his creative direction of the Opening Ceremony of the Athens 2004 Olympic Games. His varied career spans three decades and has seen him conceive and direct stage works for the Athens Concert Hall, Edafos Dance Theatre and Elliniki Theamaton, work as a costume, set and make-up designer, and published over 40 comics.
Events and performances
Events
Much followed the meetings in collaboration with the Association Internationale des Critiques de Théâtre :
- Critical Stages: the magazine for the international theater at hand.
- The future of dramatic criticism and stages for young critics of IATC.
Performances
The award-winning artists, present at the event, proposed performances and also participating in meetings and conversations about their approach to the scene.
The performances, represented in Rome during the event, were:
Teatro Argentina, december 12
Re Lear
of William Shakespeare Translation: Cesare Garboli Direction and adaption : Giorgio Barberio Corsetti Teatro di Roma - Teatro Nazionale e Teatro Biondo Palermo
Thirst for power, the will to destroy and betrayal are the key words that best summarize the most contemporary tragedy of the Bard. All the characters, unable to overcome their demons, reflect on the stage and indirect contact with the public reveal their dark side along the story of the plot made of love, wars and murders.
Lear takes place now, in our days, in a fluctuating world, where economics and finance push us from one crisis to another. Bringing with them ... is the story of the power of succession, of fathers and daughters, sons and fathers ...
So Barberio Corsetti, who imagines his show divided into three parts as the kingdom of Lear: the drama of the two families, Lear and Gloucester and the Tempest, the nature that is confused with the mind, here the scene loses the contours of reality; the war that arrives as a battle of soldiers, in which a king should be saved by the daughter he has hunted, but he loses the need to reconstitute himself around a new character.
The costumes are modern, an invented contemporaneity, with strong colors, but that then lose all forms, until they leave Lear half-naked in his old meats.
Teatro Argentina , december 13
N° 43 Filth
Theatre n.° 99 Direction : Ene-Liis Semper and Tiit Ojasoo (Estonia)
Inspired by the novel by Sologub The petty demon, Ene-Liis Semper and Tiit Ojasoo create a scene whose power is both metaphorical and literal: the feet of the nine actors are immersed in the mud that puts a strain on their body and their performance.
N ° 43 Filth gives a concrete and physical account of these "emotions on the surface", ie persistent, stupid and dominant moods that feeds on European populism today. The almost wordless story, whose imagery is in constant metamorphosis, is carried on by the physical involvement of the actors and their extraordinary energy, and leaves the audience in front of the unsolved enigma of life in society.
Teatro Nazionale, december 14
Richard II
of William Shakespeare Direction and adaption : Peter Stein
The head of a king becomes heavier when his crown falls down. The challenge between Henry Bolingbroke and Thomas Mowbray ends with the exile of both gentlemen ordered by King Richard II: he can now take possession of the legacy of Bolingbroke. However, the king finds himself fighting with Bolingbroke who returns to start a battle that Richard is destined to lose, since he is abandoned by all his allies.
In the end, the king is persuaded to abdicate in favor of his enemy. At this moment, he offers the public one of the most touching monologues of Shakespeare's work from the cold walls of the castle of Pontecraft: life is a prison where the only freedom a king can earn is to imagine being a solitary beggar , so as not to run the risk of being betrayed by his loved ones.
È una riflessione politica ad aprire la nuova stagione del Teatro Metastasio a Prato con il Riccardo II di William Shakespeare per la regia di Peter Stein.
Teatro Argentina, december 14
Untitled written and directed by Alessandro Sciarroni (Italia)
The concept of resistance has always captured the attention of the theatrical research of the Italian artist. The juggler represents the fragility of man and his infinite desire to create and regenerate his art and at the same time his life.
The stereotype does not find a dwelling on the stage and every action brings new ways of signification and interpretation. In this way the Schuhplatter represents the internal struggle that every human being must face with its limits and its fears, as a tightrope walker does in a circus.
"Hic et nunc" becomes the motto of this performance, in which both artists and spectators are invited to remain suspended above the world and its disorder.
Auditorium Parco della Musica, Teatro Studio Borgna, december 15
Hamletmachine texts by Heiner Müller ideation, direction, scenes and lights by Robert Wilson
This atypical drama is characterized by the wealth of topics treated by the characters that resemble those of Shakespeare's Hamlet. It is claimed that Hamlemachine can represent the difficult social situation in East Germany after World War II.
Abstract elements blend with the concreteness of the characters' impulses along the course of the five scenes that make up the opera. Hamlet, Horace and Ophelia always seem more voices that come from a parallel space-time dimension that discuss politics, love ecology and revolution in a dance of spirits and endless intentions.
Robert Wilson's friendship with the East German playwright Heiner Müller was not only legendary but also extremely productive. Müller wrote texts for the Cologne Section of THE CIVIL warS (1984), The Forest (1988), and La Mort de Molière (1994) and some were used in Wilson's Medea (1984), Alcestis (1986), Ocean ...
Il testo completo (in inglese) di Hamletmachine del drammaturgo tedesco Heiner Muller nella traduzione di Dennis Redmond.
Teatro India, december 15
Ubu king of Alfred Jarry directed by Jernej Lorenci (Slovenia)
This is a text that was initially written for puppet theater. It soon became a mythological symbol of tyranny. In addition it can also be considered a parody of Shakespeare's Macbeth and parts of King Lear and Hamlet.
The ancient king of Aragon, Ubu, is a fat fanfarone who is pushed by his wife, mother Ubu, to make King Wenceslas capitulate with the aim of getting rich. Suddenly Ubu becomes so powerful as to scare even his wife but is immediately defeated by Bougrelas, son of Wenceslas, who comes to power with the title of Tsar of Russia.
Power, money and war are the main themes of the environment that often darken the heart of the human being.
Teatro Argentina, december 16
Roma Armée directed by Yael Ronen (Israel/Germany)
While Europe is threatened by the specter of neo-fascism, a diverse group of people decide to form a Roma Armée to defend the continent from discrimination, racism and anti-Gypsyism.
The actors all come from different parts of the world and reflect the director's will - with the support of Simonida and Sandra Selimović - to imagine and create a utopian dimension where every human being needs no mask to live and start fighting for a better world.
Yael Ronen is considered an expert on global theatrical crises. It conveys all its forces to bring together soldiers from Romania, Austria, Serbia, Great Britain and Sweden to regain their identity as vagabonds of Europe.
Maxim Gorki Theater - Startseite
ALL PLAYS WITH ENGLISH SURTITLES
Teatro Palladium ,december 16
Virgin Suicides
Based on the novel by Jeffrey Eugenides Directed : Susanne Kennedy Münchner Kammerspielea
A conservative, fanatical and religious family from North America, made up of five sisters and their parents. The house represents a closed world, with no way out.
Every child's dream or youthful desire breaks down in comparison with the religiosity of the parents. Control and rules precede every enthusiasm, change and growth of adolescents.
Observed by a group of boys - the male point of view - the sisters are more and more an overwhelming attraction. The girls try to escape from their state of imprisonment but the parents prevent the escape attempt.
They simply try to isolate them more firmly, until the life that remained in them is suffocated and they are taken to the extreme, until death.
Teatro Argentina , december 17
Ashes to Ashes
of Harold Pinter
performance by Isabelle Huppert (Rebecca) and Jeremy Irons (Devlin)
"Ashes to Ashes" is an extraordinarily powerful work: elusive, mesmerizing, disturbing. "This is Harold Pinter's latest comedy - premiered on September 12, 1996 in London by Pinter himself - is strong and violent right from the start.
Only two characters: Devlin, her husband, and Rebecca, his wife, who 'converse' in the living room. She reveals a past full of events, he is apparently surprised. But is he really in the dark about everything? He will not actually be involved in those bloody episodes that Rebecca tells him with an ill-concealed and resentful rancor that flows under a detached and melancholic appearance?
Rebecca is a character who brings not only her but also our past. And his memories surface, in an atmosphere of ever more hallucinated reminiscence, marked by the tragedies and horrors that have marked the coming century.
The comedy ends with an echo that emphasizes even more the disquieting and incorporeal climate of which Pinter is a master and that only he has been able to propose us since his first comedies.
Isabelle Huppert -Readings by Guy De Maupassant
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