What's new with the UTE in spring 2017
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Coming up...
Our upcoming events cover questions of migration, the internationalization of artists through masterclasses, residencies and think-tanks, the exploration of theatre structures in Europe and the expansion of our online theatre magazine 
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International Theatre Festival

Comédie de Reims

2 – 11 February 2017

La Cartonnerie, Césaré - Centre national de création musicale, la Comédie de
Reims – Centre dramatique national, le FRAC Champagne Ardenne, le manège, scène nationale-reims, Nova Villa and l’Opéra de Reims.

The cultural scenes from Reims gathered together for the Festival since 2009, will present for 10 days a program mixing theater, dance, music, opera, circus, performances and young performances.
Working together to prepare for the next edition of Reims Scènes d’Europe, they chose to approach a theme that reflects the issues at the heart of the work of European artists, particularly sensitive to changes that shake our continent.
So, this programming is made in the spirit of the Maxim-Gorki Theater of Berlin, whose project is "to think of the city as a whole, with all those who have arrived there in recent decades, whether they are refugees, exiles, immigrants, or simply that they have grown up in Berlin". The festival aims to present works that question our European identity by paying attention to its diversity (origins, religions, sexual preferences or even through multiculturalism), European and international artists such as Sanja Mitrović, Argyro Chioti, Myriam Marzouki, Massimo Furlan, Malika Djardi, Faustin Linyekula, Denis Mpunga, Carole Karemera...
This year again, the Festival will make it possible to share the performances of major European figures; Peter Brook, Falk Richter, Fabrice Murgia, the Diotima Quartet, and the main works of the repertoire: The Nozze di Figaro ...
The richness of Reims Scènes d'Europe is also to be a place of debate and circulation of ideas in which the texts occupy a central place, such as those of the author Aiat Fayez or Yamen Mohamad, Syrian author and director, refugee in Reims; whose work will be presented for the first time in France.

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Our Young Journalists on Performing Arts from France will cover the events of this festival. Stay tuned!
Browse through our online theatre magazine!
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YPAL — Young Performing Art Lovers
at Reims Scènes d'Europe

Comédie de Reims

2 – 11 February 2017

This year’s programme of the Reims Scènes d’Europe festival is focussed on the theme of refugees. YPAL members see the shows of the festival Reims Scènes d’Europe, meet artists, discuss and compare their experiences as spectators, and exchange ideas on the role of the audience, as well as discuss the topics brought up in the context of the festival. YPAL is an excellent example of how spectators can take an active part in theatre, and that they can contribute to a redefinition of the audience.

The YPALs will also participate in a writing workshop that is held by our Italian journalist who regularly writes for our online magazine. This merger creates a synergy between our YPAL audience development programme and our platform of Young Journalists on Performing Arts.

“Awakening the Eye” is a two-day workshop dedicated to theatre lovers, who want to dig deeper into such a complex event as a theatrical play.
Especially in international contexts – where spectators and artists do not share the same language and cultural background – the theatrical code can become hard to encrypt.
Two instruments will serve as the base of this workshop: memory and writing.
The first is the basic tool of recollecting images, words, colours, facts and figures of the play we just saw; the second is a closed yet very manageable structure useful for organizing memories, thoughts and reflections, in order for other people to understand what we saw and captured in the play.
These two instruments, alone or in combination, have one thing in common: they emphasize the presence of the spectator.
Thus, the aim of this workshop is not to offer the key to an objective analysis of the play, on the contrary: it is to rediscover the importance of our very role as spectators. The act of recollecting and organizing our memory brings us to a more defined awareness of our own vision, to complete the creative process initiated by the artist.

An event by the Union des Théâtres de l’Europe in collaboration with the Comédie de Reims. In the context of the CONFLICT ZONES network-programme.
With the support of the Creative Europe programme of the European Union.

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Masterclass with Oskaras Koršunovas
Teatro di Roma | Rome, Italy
In collaboration with the Lithuanian Embassy

2 - 12 March 2017

This masterclass will be implemented in collaboration with the Scuola di Perfezionamento per Attori Diplomati and the Embassy of the Republic of Lithuania. Young actors from the Roman Drama School as well as young European actors proposed by our member theatres will have the opportunity to learn from each others’ different acting backgrounds under the guidance of a teacher of the Lithuanian Academy of Music and Theatre in Vilnius, challenging them both in an artistic as well as in a cultural way, which will help their career in a multi-faceted way.
This masterclass is part of the UTE Decentralized Academy, launched in 2012, that enables young theatre makers from different cultural and artistic backgrounds to meet and learn from leading figures of international theatre. Favouring intercultural dialogue, these masterclasses contribute to the links between artists from Europe and beyond, while enabling the exchange of knowledge and skills.


An event organised by the Union des Théâtres de l'Europe and the Teatro di RomaIn context of the CONFLICT ZONES network programme of the UTE.
With the support of the Creative Europe programme of the European Union.

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News from our UTE member theatres
Reims, France
I Am Not Ashamed of My Communist Past
Premier in France
Directed by Sanja Mitrovic and Vladimir Aleksic

2  – 3 February 2017
I Am Not Ashamed of My Communist Past! An investigation towards the East
The director Sanja Mitrović and the Serbian actor Vladimir Aleksić look back on their history, that of the Yugoslavian socialist republic, a country that now only exists in their memories and imagination. Looking at this multi ethnic, multi religious socialist state makes us reflect upon the Europe of today. These two childhood friends investigate an idea: is it possible to remain faithful to the ideas that one has at a younger age at the time of Yugoslavia? What can unite the different communities who share the same country? What is left of the values of solidarity and social justice at a time dominated by materialism and individualism?
It is through the Yugoslavian cinema of this period, that together we will rediscover this lost country. Sanja Mitrović has been recognised for his previous performances at Reims, Crash Course Chit Chat and the impressive Do You Still Love Me? This new work brings together as always, his personal stories combined with a collective history, in a performance bursting with energy.

Performance in Serbian with French and English subtitles


Small Town Boy
Written, choreographed and directed by Falk Richter

3 – 4 February 2017

A theatre group who is concerned with urgent social issues.
The plays of Falk Richter always bear witness to a burning social issue. In recent years he has increasingly worked on projects that are based on his own writings in collaboration with a theatre group, musicians and dancers. Small Town Boy is the title of a well-known song by Broski Beat: the band sung about the escape of a young homosexual boy from a narrow and oppressive world to a freer and more distant city. A metropolis where people can find and reinvent themselves, refuse to adopt traditional roles and images, question their appearance, redefine their relationships and try everything that the family had denied them. Can we exist as a man or a woman in a different way? Can we stop being boy or girl? Can we reject the norms and instead love and live in a different way? This question is a current issue in Germany today, a country of immigration, where the question about identity and a return to normality has been vehemently raised.

Performance in German with French and English subtitles

Based on Mahabharata and the piece by Jean-Claude Carrière

8 – 9 February 2017

Peter Brook’s masterpiece, le Mahabharata, in a spectacular shorter version.
Reims Scènes d’Europe offers the possibility of seeing again or for the first time le Mahabharata, a mythical play first staged thirty years ago and one of Peter Brook’s most accomplished works. This immense stage director reduces this great Indian epic, previously performed at the Avignon Festival, when the performance started at nightfall and finished around the break of dawn. This war poem, written thousands of years ago, covers all aspects of our existence. Here, in an African village we will hear Greek tragedies and Shakespearian voices. As the Indians say: everything is in le Mahabharata. Here Peter Brook presents a short version, with four actors and a musician. With transparent language, sensitive music and pure lighting we meet up with the master of Zen, born in 1925. With an exceptional minimalism, Peter Brook takes us through a battleground and opens up some of the biggest universal myths. 

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Belgrade, Serbia

Hamlet on Tour
Directed by Aleksandar Popovski
A guest performance of William Shakespeare’s Hamlet, directed by Aleksandar Popovski and produced by Yugoslav Drama Theatre, is scheduled for the 10th January at the Croatian National Theatre in Zagreb. Since last season, this is the second guest performance of YDT in the Croatian National Theatre after a long break.
Audiences have shown a great deal of interest in this production which opened on 17th September 2016 on our Ljuba Tadić stage and it has been already presented on tour to the audience in Ljubljana, Slovenia (December) and Yugoslav Theatre Festival in Užice, Serbia (November).

Directed by Aleksandar Popovski

live, die, repeat… Hamlet is an excellent vehicle for examining war fever, paranoia and the political situation in the world. The king is forever attending headquarter briefings. Troops are on the march; everyone is in the state of high alert, soldiers are standing guard. Camp fires and military uniforms…. foreign aggressors. Policemen patrols wearing bulletproof vests, emergency services. The madness of Prince Hamlet is not a private matter any more; the whole country is a madhouse. It is not the first time this has happened to Hamlet. He has been there many times before. And by the look of it, seems like it will carry on happening. Live, Die, Repeat…


New Don Juan
Directed by 
Gorčin Stojanović

The new production of Molière’s Don Juan directed by Gorčin Stojanović is on from February 2017.
In the cast are: Vojin Ćetković, Sergej Trifunović, Anđelika Simić, Vojislav Brajović, Marko Baćović, Dubravko Jovanović, Milica Janevski, Goran Daničić, Jovana Gavrilović, Slobodan Tešić, Sonja Vukićević, Katarina Jovanović (soprano). Set design by Gorčin Stojanović, costume design by Lana Cvijanović with Ljiljana Mrkić Popović in charge of voice coaching.
This will be the third play by Molière on the current YDT repertoire (together with Tartuffe – directed by Egon Savin and The Imaginary Invalid – directed by Jagoš Marković)
The first ever YDT production of a play by Molière was back in 1953 with The Bourgeois Gentleman directed by Bojan Stupica.


Under the Millstone
By Dragoslav Nenadić
Directed by Egon Savin

The economic crises of 21st century have awakened people’s interest in the first play ever written by a young and nearly forgotten playwright Dragoslav Nenadić, one he wrote at the beginning of 20th century.


Death of an Anarchist
By Dario Fo
Directed by Maja Maletković

Like a trapeze artist, the Maniac hangs above an abyss in the middle of a police station – in a plot that threatens to descend into a hilarious comedy of errors. The cast, led by Nikola Đuričko, does away with everything that defies logic in the death of an anarchist seeing as behind the mask of comedy lurks a world of organised crime, state corruption, political assassinations, religious confrontation and terror. Accidental Death of an Anarchist (1970/71) is a stage representation of an episode from Italy’s history, better known as The Years of Lead – a wave of terrorist attacks in the late 1960s which lasted right up to early 1980s.


What Has Happened After Nora Left Her Husband Or Pillars Of Society
By Elfriede Jelinek
Directed by Snežana Trišić

The play What Happened after Nora Left Her Husband; or Pillars of Society by the Austrian author Elfriede Jelinek, recipient of the Nobel Prize for Literature, could be perceived as a sequel or a paraphrase of two plays by Ibsen – Nora (A Doll’s House) and The Pillars of Society.



Every month a select number of performances at Yugoslav Drama Theatre is subtitled in English for theatre goers from abroad.

Yugoslav Drama Theatre has been performing plays with English subtitles since 2012.
Since season 2015/2016 Yugoslav Drama Theatre has been performing plays with Serbian subtitles for the hard of hearing. By providing subtitles in Serbian language once a month we hope to contribute toward a better and more humane treatment of people with impaired hearing. 

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Cluj, Romania

Be Faithful Unto Death
By Zsigmond Móricz – Tibor Kocsák – Tibor Miklós
Directed by László Béres | Main Hall

On stage: 18 February 2017
Be Faithful Unto Death is one of the most beloved novels in the entirety of Hungarian literature. The package, the lost lottery ticket stub, the particular tragedy of little Misi is well-known to everyone. More than twenty years ago, Tibor Kocsák and Tikor Miklós wrote a musical based on Zsigmond Móricz's novel, a musical performance that has continued to conquer audiences ever since. According to the director László Béres, Be Good is a motto, which we tend nowadays to use as a commonplace saying, not attributing an underlying content to it and thus not searching for its meaning. To be good is equated with being honest, and with our efforts in striving for honesty. In spite of the systems and expectations that surround us, it is always and forever important to remain ourselves. This story is about nothing else but staying true to one’s self.
By Henrik Ibsen
Directed by Andriy Zholdak
With English surtitles

Premiere: end of March 2017 | Main Hall
According to many critics, Rosmersholm – written in 1886 –, is one of Ibsen's masterpieces, only equaled by The Wild Duck.  The drama, written during the so-called psychologizing period of the author, focuses on the development of the individual's destiny while using certain crucial symbolic elements. Similarly to the vast majority of Ibsen's works, Rosmersholm also analyses modern society's moral shortcomings. The Norwegian author's plays pose questions that are crucially important in today's society as well.
The Ukrainian-born Andriy Zholdak will be the one who will stage Ibsen's work at the Hungarian Theatre of Cluj. His unique theatrical world promises to bring before audiences an experimental theatrical performance.  

Additional Premieres of the 2016/2017 Season:

Maurice Maeterlinck: The Blinds
Directed by Botond Nagy
Opening date: May 2017
Studio performance
With English surtitles
Directed by Ferenc Sinkó
Opening date: May 2017
Studio performance
Tennesse Williams: A Streetcar Called Desire
Directed by Tom Dugdale
Opening date: June 2017
Studio performance
With English surtitles

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Bochum, Germany

Biedermann und die Brandstifter (The Arsonits)
By Max Frisch
Directed by Hasko Weber
For the first time, Hasko Weber, artistic director oft the German national theatre in Weimar, directs at Schauspielhaus Bochum: Max Frisch’s “Biedermann und die Brandstifter” (“The Arsonists”). The “didactic play without a lesson” defies a monocausal interpretation up until today. Which totalitarian system – be it in the shape of seemingly unswerving righteousness or of radical impertinence – struggles for believability, lies in the eye of the beholder.
The opening night with Martin Horn as Gottfried Biedermann, Jürgen Hartmann as Josef Schmitz and Matthias Eberle as Wilhelm Eisenring will take place on January 21st at Schauspielhaus.

Democracy and populism:
On January 20th, the 45th President of the United States will be sworn in. His election has caused a tremor, which has shaken the political landscape in the western world. In the year of the parliamentary elections in Germany, the question that determines our political discourse is how we want to shape our democratic coexistence in the future. Hence, we would like to invite everyone who is interested to a shared democracy-breakfast at the foyer of the Schauspielhaus on January 21st – the morning after the inauguration – in order to discuss what we expect of the democracy in our own country. Part of our thematic focus “democracy and populism” is also the premiere of “Biedermann und die Brandstifter” (“The Arsonists”) directed by Hasko Weber on January 21st and a public discussion following the show “Die unsichtbare Hand”/”Am Boden” (“The Invisible Hand/Grounded”) on January 20th.
Theatre texts NL
New drama from the Netherlands

The Netherlands and Flanders were guests of honour at the Frankfurt book fair in 2016. However, it is not only there that new Dutch texts are presented: in the course of “Theatre texts NL”, the works of young Dutch writers can be seen in staged readings at Schauspielhaus Bochum and at Deutsches Theater Berlin in the season of 2016/2017. The new drama from the Netherlands is being presented by Toneelschrijfhuis – a platform for Dutch playwrights under the lead of Lot Vekemans, the author of “Gift. Eine Ehegeschichte” and winner of the Ludwig Mülheims theatre award.
10 February 2017
7pm, Kammerspiele
Neue Stimmen aus den Niederlanden (New voices from the Netherlands)
A keynote speech about contemporary Dutch drama by Lot Vekemans
7.30pm, Kammerspiele
Sprachflut – Spraakwater (Language flood)
By Frank Siera | German by Alexandra Schmiedebach
Scenic arrangement: Eric de Vroedt
9pm, Kammerspiele
Genesis – Genesis (Genesis)
By Sophie Kassies | German by Eva M. Pieper and Alexandra Schmiedebach
Scenic arrangement: Anselm Weber
Saturday, 11 
February 2017
8pm, Theater Unten
Am Kanal nach links – Bij het kanaal naar links (Left at the canal)
by Alex van Warmerdam | German by Christine Bais
Scenic Arrangement: Olaf Kröck
from 9.30pm, Theater Unten
Grolsch & Poffertjes
Conclusion to Theatre texts NL with Grolsch and Poffertjes
THEATERTEXTE NL was created on behalf of Dutch Performing Arts and is carried in joint partnership by Schauspielhaus Bochum, the German Theatre Berlin, Nationaltheater Den Haag and the Theatre Utrecht. The organisation of festivals is in the hands of the foundation MAM (Mehrere Antworten Möglich), the theatre foundation of Lot Vekemans.
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Vienna, Austria


Klein Zaches - Operation Zinnober
Based on the tale of E. T. A. Hoffmann
Adaptation for the stage by Péter Kárpáti / German by Sandra Rétháti
Directed by Victor Bodo

Premiere 12 February 2017

The Hungarian director Victor Bodo takes E.T.A. Hoffmann's romantic tale of art from a failed enlightenment from the year 1819 as a play-back to investigate the grotesque excesses of an authoritarian sovereign state.

Shows with English/French surtitles:

Medea by Franz Grillparzer, directed by Anna Badora
With English surtitles

The immigrant Medea does everything to accommodate herself to her husband Jason's homeland Greece. But she will not get rid of the barbarian's stigma, and their love ends in disaster.

Das Missverständnis / The Misunderstanding / Le Malentendu by Albert Camus, directed by Nikolaus Habjan
With French and English surtitles

In Albert Camus’ modern classic, directed by the award-winning puppeteer Nikolaus Habjan, the return of the lost son leads to a fatal misunderstanding. 

2 April 2017 (more dates to come)

Der Menschenfeind / The Misanthrope by Molière, directed by Felix Hafner
With English surtitles

Alceste, the protagonist in Molière’s classic comedy, consistently rejects the superficial behavior of his fellow-men. Can the love for Célimène, which perfectly rules the game of society, change the misanthrope?

2, 18, 26 February 2017

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Moscow, Russia

King Lear
By William Shakespeare
Directed by Anton Yakovlev 

Premiere: February 2017
Historical Stage
William Shakespeare's play, «King Lear» is a tragic story about an aging king of Britain, who decides to retire and divide his kingdom evenly among his three daughters. It is one of the most dramatic works of world’s classics.
Talents and Admirers
By Alexander Ostrovsky
Directed by Vladimir Dragunov

Premiere: March 2017
Bolshaya Ordynka stage
Written by Aleksandr Ostrovsky, the founding father of Russian theatre, «Talents and Admirers» is a story about the behind-the-scenes life in the theatre. The main character of the play is a young, talented actress Alexandra Negina in a provincial company who becomes the magnet for male attention. Despite the fact that this romantic satire was written in the late nineteenth century, the story seems to be quite topical today.

The Servant of Two Masters
By Carlo Goldoni
Directed by Stefano De Luca 

Bolshaya Ordynka stage
The classic commedia dell'arte characters are brought to life at the Maly Theatre. Directed by Giorgio Strehler's follower and pupil, the acclaimed Stefano De Luca (Piccolo Teatro di Milano), it is a hilarious tale of love lost, found and mistaken! His Truffaldino, played by Sergey Potapov, inherited the traits of Russian folk characters. Beatrice, played by Olga Abramova, is a strong independent woman, who wins the heart of the audience right on the spot. The performance is accompanied by music by Antonio Vivaldi adapted by Eduard Gleizer, which adds a romantic sound to it.
Excursions, seminars and workshops, exhibitions and evenings in memory of prominent actors and directors of Maly Theatre held in Memorial apartment of A. I. Sumbatov-Yuzhin
Venue: Memorial apartment of A. I. Sumbatov-Yuzhin, Bolshoi Palashevsky, 5,
Dates: January – March 2017
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Stuttgart, Germany

Die Offene Gesellschaft: Do we really need the European Union?

In cooperation with the initiative “Die Offene Gesellschaft” which is organizing open talks since 2015 to animate citizens to participate in politics, the Schauspiel Stuttgart hosts a same-titled series of events. Once per month we are welcoming the audience to join a discussion with experts from culture, science and politics.
The European Union with its 28 member states has the biggest domestic market in the world – this purposely economic integration is intended to prevent military conflicts, boost economic growth and the wealth of European citizens. But what does happen to the EU and Europe because of Brexit? In February you can discuss those and other questions with the prestigious political scientist Andre Wilkens and Jörg Armbruster: Do we really need this Union? What will happen if there are more attempts from the right wing populists to leave the EU?
With: Andre Wilkens
Moderation by Jörg Armbruster
Tuesday, February 21st, 7pm
Lobby of the Schauspielhaus, free entrance

Die Offene Gesellschaft: What type of economy do we need?

In cooperation with the initiative “Die Offene Gesellschaft” which is organizing open talks since 2015 to animate citizens to participate in politics, the Schauspiel Stuttgart hosts a same-titled series of events. Once per month we are welcoming the audience to join a discussion with experts from culture, science and politics.
On March 12th we are discussing with experts in the field of economy the responsibility of the economic policy of the past 30 years and in how far it contributed to the success of Donald Trump and the uprising of populism in general. The key question is: What type of economy and politics do we need to create a flourishing open society?
A discussion about the future with Thomas Fricke (economical columnist for Spiegel Online and chief economist of the European Climate Foundation), Jakob von Weizsäcker (economist and politician) and others.
With: Thomas Fricke, Jakob von Weizsäcker
Moderated by: Jörg Armbruster
Sunday, March 12th , 11am
Schauspielhaus, Admission: 5€

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Budapest, Hungary

A Midsummer Night’s Dream
By William Shakespeare
Directed by Dániel Kovács D. 

Premiere 25 February 2017
Love, erotic desires, deceit and persistent loyalty are eternal issues of both life and theatre. Midsummer Night is the shortest night of the year, when, according to old beliefs, anything can happen, wishes come true and lovers are united. The setting of A Midsummer Night’s Dream is a mysterious forest, where young lovers chase each other – and become totally entangled on the way - until, with the help of a little magic, everyone ends up by the side of their chosen partner. The magic continues when Enkő Eszenyi as Puck “puts a girdle around about the earth in forty minutes” and in the meantime András Stohl undergoes the most famous transformation in theatre history.
The loyal viewers of the Vígszínház get to see a new Shakespeare performance every year. In this season we continue our Shakespeare series with A Midsummer Night’s Dream.

A Midsummer Nigth’s Sex Comedy
A comedy based on the screenplay by Woody Allen 
Directed by Alexandr Bargman

Premiere 24 February 2017
Pesti Theatre

Three couples, one weekend cottage, Midsummer Night’s madness, and Woody Allen’s matchless sense of humour.
Andrew, the crazy inventor and his unhappy wife invite their friends over for a long weekend. Professor Leopold is preparing to marry the attractive Ariel, who once had an affair with Andrew, who of course denies it all. Maxwell, the womanizer doctor also arrives together with his latest acquisition, the incredibly pretty nurse, Dulcy. At the swish of Woody Allen’s magic wand emotions break loose, promising a truly witty and erotic night at the theatre.
Our production of Woody Allen’s Play It Again Sam has been an ongoing success for over 30 years with András Kern in the leading role.

The Director
By Attila Bartis
Directed by Rémusz Szikszai

Premiere 26 February 2017
Vígszínház | Studio

Following the success of his previous play, Doom, Attila Bartis has written yet another disturbing and ruthless story for the Vígszínház. The play takes place in a theatre and is full of deep secrets, painful and smouldering lies, as are the private lives of the actors. János, the witer-dierctor is in rehearsal for his new play. In the heat of the intensive work real life and life on stage, private lives and the horrors of the fifties mingle almost unnoticeably. The line between lie and reality appears to be very very thin. Who betrayed who? The past is there to haunt everyone.
To our great joy, Attila Bartis received yet another literary prize in May 2016. His novel The End, was awarded the public’s prize of the Libri Literary Awards.
Directed by Rémusz Szikszai, this performance is the Vígszínház’s tribute to the 1956 revolution.

A Song from Far Away
By Simon Stephens
Directed by István Szabó

Premiere March 2017
Vígszínház | Studio
New York. A winter’s day. Willem’s phone rings. His mother is calling to tell him that his brother died and he has to go home. A journey back to the old home. Arriving in Amsterdam. As Willem decides to write a letter to his deceased brother his memories storm him. The abandoned love left behind. His otherness and the life it created. As he is composing his letter he has to reconsider his life and his relationship with his cold and dismissive family. It dawns on him that his emotions and affections lead him somewhere totally different. With the brilliant young actor, László Józan in the leading role.
It is our great pleasure that we succeded in inviting Oscar winning film director, István Szabó, who has not worked in theatre for a long time, to direct this very personal and peculiar performance.
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Milan, Italy

Dramatisation by Antonio Latella, Federico Bellini, Linda Dalisi
Directed by Antonio Latella

19 January – 12 February 2017
Piccolo Teatro Strehler
Antonio Latella directs, for the first time, a play produced by the Piccolo. No easy short-cuts here, he puts his talent to the test with a universal figure which belongs to everyone and for which everyone has their own, almost exclusive, memory.
But this will be no fairy tale. And it’s not (only) for children. Latella places himself face to face with Pinocchio, looking for a view which is free of the 135 years of infinite interpretations deposited on Collodi’s character; trying to find, if it exists, that which until now has never been seen. «I don’t know which Pinocchio we will recount», admits Latella, stimulating his own artistic “curiosity”, and the expectations of everyone. But the starting point is certain: the lies of adults, of which Pinocchio was a most able apprentice. 
We are used to thinking that the puppet Pinocchio sees his own nose get longer every time he tells a lie; this is what we have been taught and this is what we have learned to believe.  And yet even this is a lie told by adults. Pinocchio’s nose, in Collodi’s tale, grows on various occasions, but not always when he lies.. At times it grows because he is alive... Hunger is also linked to the nose, because Geppetto saw fit to give his puppet a stomach. The nose permits Pinocchio to sense the breath of life in different ways from us... 
Dieci storie proprio così
Dramaturgy by Emanuela Giordano and Giulia Minoli
Directed by Emanuela Giordano

Piccolo Teatro Grassi

"Dieci storie proprio così" is an integral part of an experimental project of collaboration between theatres, prison institutes, schools and civil society (the stage of legality). It was born as a work-debate on legality. The journey began in the 2011 season of the Teatro di San Carlo, Naples, and in 2016 it flowed together with stories of suffering and redemption from Sicily and Lazio, widening out to touch on the theme of the expansion of the mafias abroad and “Mafia Capitale” (the scandal of Mafia influence in the Capital city), as well as the strengthening of ties between the Calabrian ‘ndrangheta, Lombardy and international traffic. 2017 will see a further a further development with the collaboration of the Università degli Studi di Milano, and in particular with the Course on Criminal Sociology organised by Nando Dalla Chiesa, with which the Piccolo, through the “Observatory on the present”, has been carrying out an intense project of study and reflection on the theme of legality over the last three years. The long and rigorous scientific study lead to the production of E io dico di no in 2014, directed by Marco Rampoldi.
A Bench on the Road
I am not Scottish, I am not Italian, I am a woman
Tritten and directed by Laura Pasetti

Piccolo Teatro Studio Melato
Inspired by interviews, accounts and documentation collected through more than thirty years of research, A Bench on the Roadgives a voice to Italian women who immigrated to Scotland between 1850 and 1950, telling the story of one hundred years of immigration  Real stories which touch us directly, voices which mix English with Italian dialects, tales of fear and integration, of solitude and hope for the future. Everything constructed through a sequence of “scenes” which underline fundamental events - the Great War, the rise of Fascism, the Second World War - and how these events were lived by Italian and Scottish women: daughters, mothers, grandmothers, each with their own experience, their own lives. A play of strong visual impact, accompanied by traditional Italian and Scottish music, in which the real words of the interviewees become lines from the script: Why did we leave our families? Because we were hungry, because there was no future for our children. You don’t leave if things aren’t so bad. No-one leaves if they are fine. The suitcase is weighed down with suffering.
Bestie di scena
Written and directed by Emma Dante

28 February – 19 March 2017
Piccolo Teatro Strehler

Audiences have welcomed her into the Piccolo family. The extraordinary successes of Le sorelle Macaluso in 2014 and the diptych Sorelle Macaluso - Oparetta burlesca in 2015 are the indication of total affinity with the expressive world of Emma Dante. It was therefore time for a new production created for the stage of the Teatro Strehler, leading to the birth of a play which stages "the scandal of the actor", with her as always as writer and director. Bestia di scena is a point of arrival for Emma Dante at the Piccolo, but it is also a stage in her artistic journey: for a woman of the theatre who shapes the living body of the person who takes to the stage to the point of possession, it was an inevitable moment, which fills us with anticipation, a work on the nightmare of acting. In Bestie di scena - explains Emma Dante - there is a community which, having spent so much time together, has become a family. A tribe. 
Louise e Renée

Based on Mémoires de deux jeunes mariées by Honoré de Balzac 
Dramaturgy by Stefano Massini 
Directed by Sonia Bergamasco

21 March, 30 April 2017
Piccolo Teatro Grassi

An all-female Balzac Sonia Bergamasco in the director's chair, and the performances of Federica Fracassi and Isabella Ragonese bring life to the staging of a text that Stefano Massini has loosely based on Letters of two brides (1842), the only epistolary novel by the author of The human comedy.
Lehman Trilogy
By Stefano Massini
Directed by Luca Ronconi

Piccolo Teatro Grassi

Stefano Massini's text has the air, the style and the pace of an epic poem, which tells of 150 years of the history of capitalism, from the mid 1800s - when the first of the Lehman brothers, Henry, arrived in America on 11 September (an ever-fateful day for United States history...) 1844 - to 2008, the year of the bankruptcy of the bank founded by the family in New York, Lehman Brothers.

A story of men and women, of fathers and sons, of temperaments and passions, of cotton, coal, railways, money and financial speculation, the saga of the Lehmans is at the same time a slice of the American dream: the country which gives everything to whoever shows talent, inventiveness and self-sacrifice, and which can over-turn fortunes and destinies in a handful of seconds. The Lehmans risk falling more than once, with the American Civil War, two world wars and the 1929 crisis, always however managing to pick themselves up again. Except for the final time: on 15 September 2008, Lehman Brothers became the greatest bankruptcy in world history. It is the abyss (or one of the results) of the global crisis into which we all still falling.

An all-star cast for the splendid directing of Luca Ronconi.

The extraordinary life of San Gennaro 
Text and dramaturgy by Roberto Saviano and Mimmo Borrelli
Directed by Mimmo Borrelli

Piccolo Teatro Studio Melato

Blood is the common thread in a show of words, lights and sounds, with a wonderful original live score. It is the blood which liquifies, every year renewing the pact between the saint and his people; it is the blood of the first Christian martyrs, but also that of the "lay martyrs" of the Neapolitan Republic who, at the end of the 18th century tried to oppose Bourbon oppression with their democratic ideals; it is the haemorrhage of the emigration of the early 1900s, when thousands  and thousands of Italians crossed the ocean in search of a better future; it is the blood spilled beneath the bombs of the Second World War; and, lastly, by the attacks of the Camorra. In a show which weaves together narration and poetry, celebrating the Neapolitan language in all its Baroque beauty, Mimmo Borrelli and Robert Saviano, aim at the heart of Naples, a city of blood and burning hot lava, exploring its mysteries and contradictions.


By Stefano Massini
Directed and performed by Manuela Mandracchia, Sandra Toffolatti, Mariangeles Torres

25 March – 13 April 2017
Piccolo Teatro Studio Melato

Eden Golan, a professor of Jewish History. Mina Wilkinson, more or less covertly working for a foreign army. And lastly Shirin Akhras, a Palestine student. Their points of view meet and move apart among improvised and highly risky encounters and dizzying contrasts, at times almost reaching the rash thrill of perfect harmony. But fighting for the same side is not allowed on the chessboard where everything relies on contrast.

In a piece which runs on three narrative lines without intercommunication, the story feeds on echoes and references, convergences and contrasts, and after an unstoppable crescendo, it culminates in the purifying and cursed fire of the umteenth sacrifice. An important acting challenge for a mosaic of sensations, reflections and states of mind, represented in a puzzle of solitude, where nothing is more disturbing than the absolutely endless confrontation with ones own ideals and beliefs.

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For further information visit our website:
Athens, Greece
Desire Under the Elms
By Eugene O’ Neil
Directed by 
Antonis Antypas

Opening Night: 19 January 2017
Main Stage – Ziller Building

Emotionally and family deadlocks as a result of the American’s dream pathology and the vital need for ownership and sovereignty, highlighted O "Neil’s play, an author who knows the intricate paths of human soul. The play, although not often performed in Greece, is a top sample of American realism, with references to greek mythology standards that inspired the great dramatist.

By Fyodor Dostoyevsky  

Composed and directed by Thodoris Ampazis

Opening Night: 02 February 2017
REX Theatre – Marika Kotopouli Stage 

Exploring the roots of ideas and mental processes, Dostoevsky’s  masterpiece is pertinent and fiery. With Demons, work deeply political and immersive regarding characters and action, the great Russian novelist manages ethics and ideology issues causing concern with high sense of spirituality. 

By Konstantinos Oikonomos of the House of Oikonomos

Directed by Lilly Meleme

Ziller Building 

There is no worse miser in the whole of Smyrna than Exintavelonis.  The rich widower deprives his children and his servants and even goes without food, but to increase his wealth still further, he engineers the most outrageous and ill matched marriages for himself and his children. Fortunately for everyone, the servant who has suffered most from his stinginess comes up with a solution by striking at the notorious penny-pincher’s Achilles heel…

Konstantinos Oikonomos’s Exintavelonis was written in Smyrna in 1816. The play, one of the most important of the neo-Hellenic Enlightenment, is a Greek translation of Moliere’s The Miser, but exists as a theatrical work in its own right, thanks to its flowing idiomatic language, vividly recognizable characters and comic episodes which are adapted to the familiar and timeless shortcomings of the newly established Greek state.

Lessons of leaking
By Dmitrij Gawrisch and machina ex
Directed by Anna Fries

Experimental Stage ( -1)

Germany in 2021. After the multiple crises of the last decade, the vision of a united Europe has given way to the reality of an overarching security apparatus. The society is divided: critics of all political camps demand that Germany quit the European Union whereas supporters of the EU want to hold on to the old ideal of a community of solidary. To appease the situation, the German government let the people decide in a referendum on quitting the Union. A couple of days before the vote, a young PR agent gets hold of top-secret information. Its publication would have severe consequences for Europe as a whole. 
In “Lessons of Leaking” machina eX reflects the moral conflicts between the conflicting priorities of democracy, transparency, freedom of speech and manipulation. In collaboration with the playwright Dmitrij Gawrisch, the media collective develops a theatrical game, where political ideals and personal interests are pitted irreconcilable against each other. In a group of 12, the audience enacts a political thriller and makes wide-ranging decisions on the course of history: To leak or not to leak? 

EUROPOLY is a European project for theatre and film by the Goethe-Institut in cooperation with MünchnerKammerspiele, Onassis Cultural Centre Athens, Sirenos – Vilnius International Theatre Festival, Teatro Maria Matos Lisbon and Tiger Dublin Fringe.

Language: German, with Greek subtitles. 


General Secretary
By Elias Kapetanakis   
Directed by Sophia Marathaki
Experimental Stage ( -1)    

The General Secretary is one of the most important examples of modern Greek drama.  In it, Elias Kapetanakis develops and enhances the comic theatre of his era, castigating political and social corruption and the effect they have on family life. 

Fawning behavior, slavish deference to all things foreign, matchmaking, political corruption, clientelism, fraud, hypocrisy and theft are all paraded before us as motley characteristics of the new Greece. But at the same time, the naiveté, imagination and innocence of some of the characters create a humorous image in a game of roles and masks that is almost carnivalesque.
This production by the ATONAl Theatre Group experiments with elements of slapstick comedy that run through the genre from Kapetanakis and the Marx Brothers to Gogol and the Theatre of the Absurd. The use of music accentuates the satire, positioning the grotesque at the heart of the performance. The central concept of the production is that ridiculousness is a fundamental aspect of the human condition, imbued with comic inevitability and tragic impotence.      

Directed by Lefteris Giovanedes

Opening Night: 01 February 2017
Ziller Building

National Theatre gives step to contemporary greek dramaturgy and presents plays by four Greek playwrights at New Stage-Nikos Kourkoulas under the umbrella of the action "PLAYWRIGHT OF THE MONTH”. 

The plays are presented from February to May 2017 (one project per month) as a result of an original preparation process, after about 25 days of rehearsal for each. The setting result is therefore a work in progress, intending to present the playwrights to the audience.

Schumann by Sophia Kapsourou 

"Schumann", draws its inspiration from the life of the great German composer and balances between two places and two seasons: 19th century Europe and the 21st century Athens. With particular language, sometimes growing rhymed verses, the author combines two seemingly incompatible historical and social conditions in order to link them with a surprising solution.

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Sofia, Bulgaria

Ateliers on the Program “Exorcizing the Demons“
Based on texts by Fyodor Mikhailovich Dostoyevsky (“Idiot” and “Demons”), Vsevolod Sergeyevich Solovyov, and Nikolai Alexandrovich Berdyaev 
Leaders Ivan Dobchev, Margarita Mladenova

1 - 28 February 2017

"If all is allowed to humans, then human freedom transforms into self-slavery. And self-slavery is fatal to man. The human image rests upon higher nature than its own. Human freedom reaches its final form in a higher freedom, that of the freedom of striving for the Thruth."
N. Berdyaev
Dostoevsky’s words are coming true.
Everything important to humankind that the genius saw, knew and wrote about - occurred in the life of this world after his death - and is continuing to occur. If for his contemporaries he is a “Prophet of the Future” - today, in the beginning of the 21 c. - he is a grand author of the present, of what is. [...]
Fyodor Mihailovitch’s Warnings

The horrific “All-permissive” time, envisioned by Ivan Karamazov is a fact.
The Father-God has been put to death. The Man-like God (Jesus) - is forced by God-like man to go back where he came from and not to tamper with earthly affairs.
The Spirit is ill with a superabundance of pride. Man is much more concerned with the bread of the Earth rather that with the bread of heavens.
The Revolutions quickly made a false step from “endless freedom” to “endless tyranny”, the ideas degenerated into dimple interests.


Dostoevsky's  intercession/advocacy

"And am I not right in saying that two times two, gentlemen, is no longer life, but rather the beginning of death..." Is it not true that a human being can wish not only for things cleaver, that it has within itself its own mad, frenzied imagination, is prepared to mindless even in the name of mixing up prudence with the element of pernicious fantasy, in the name of proving that people are still people and not piano keys... because, after all, human endeavor seems to be rooted in the effort of proving that human beings are exactly that - not more screws... [...]

Our advocacy steps on the two emblematic works of Dostoevsky's - the novels "Idiot" and "Demons”/”The Possessed". The protagonists of these life dramas Prince Mishkin, Rogozhin, Nastasya Filippovna, Stavrogin, Verkhovensky, Kirilov, Shatov will lead us through the suffering to catharsis. 
Margarita Mladenova, Ivan Dobchev


Wall of Desires
Dance performance
Based on works by Bernard-Marie Koltès and Ivan Dimitrov
Directed by Vladimir Petkov

Premiere 30 March 2017 

"Wall of desires" is a project for an author’s dramatic-dance performance which will be a kind of continuation of the research by director V. Petkov and choreographer M. Iskrenova in the field of theatrical expression combining dramatic structure with contemporary dance techniques. An aesthetic continuation of performances like "The Night before the Forests" and "Figures in Love Flight". The project examines the problems of relationships in the contemporary society where everything is a Merchandise. The main characters are the Dealer and the Client, but the main driver is the Desire defining the merchandise which we are willing to acquire or to sell. This is a poetic opus, which tells about the destructive inability of man to accept the other just as he is. It is a question about the ways of the everyday communication, his diseases, the misunderstanding about the power of dreams, the insufficiency of being yourself, the inability to understand the other.


Based on texts by Daniil Kharms
Adaptated and directed by Katja Petrova

Premiere 30 April 2017

The performance will be a non-classical model of circus. Navigating the rope when you do not step on the ground or you fall, but it does not matter; you juggle with your own thoughts or the thoughts of other people; a focus where you can disassemble the people of their parts and collect them, but when you collect them - they do not match.When values are upside down or misaligned. Confused, chaotic world, when people and things are not in place. [...]

Lecture course “Exorcizing the Demons“
1 March – 30 November 2017

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Thessaloniki, Greece

For information about the NTNG whole programme of activities click here.

Wuthering Heights
By Emily Bronte
Directed by Giannis Kalavrianos 

Launch: Theatre of the Society for Macedonian Studies, 11 February 2017

“Wuthering Heights” was written by the English author Emily Bronte in 1847, when she was only 27 years old. Being one of the most famous works of world literature, it has been adapted for theatre, cinema, opera, musical and ballet. The characters are the members of two families living in isolated houses in the moorlands of Yorkshire and are marked by the love between Heathcliff and Catherine. Bronte presents the story of their destruction, bringing to the surface the desperate and passionate depths of human existence, in manner that reminds of ancient tragedy.
Yannis Kalavrianos, who collaborates for the first time with the National Theatre of Northern Greece, adapts for theatre and directs the Victorian novel. He notes that there could be no better description of the novel than the words of the English poet and painter Dante Gabriel Rossetti: “The action is laid in hell – only it seems places and people have English names there”


GKIAK - Dimosthenis Papamarkos*
Directed by Georgia Mayragani

Launch: 18 February 2017  
Lazaristes Monastery - Studio Theatre


Georgia Mavragani talks about the performance: “At a wedding table somewhere in the villages of Locris, the diners unfold their stories, stories of Gkiak. Gkiak, in the language of Arvanites, means blood, consanguinity, vendetta, revenge and race. The protagonists of these stories, Arvanites from the villages of Locris, have fought in Asia Minor and experienced the violence of war. When they return home they are not the same anymore. They will collide with the traditional values of the society they grew up and they will be deeply shocked when they realize that nothing is the same. They will confide their stories and reveal to us moral and psychological dilemmas while, at the same time, they will present their personal ‘document’ about the violent transformation of the modern Greek state”.


Salvatores dei - Nikos Kazantzakis

Lazaristes Monastery - Studio Theatre
A theatrical version of the famous work “Salvatores Dei” (The Saviors of God) 

By Nikos Kazantzakis, a text rich in meanings that expresses the metaphysical faith of the great Cretan writer. The text belongs to Kazantzakis’ early works. Kazantzakis himself has argued that “Salvatores Dei” is a Cry and his whole work a comment that expresses his anguish to overcome the borders of the mind and to solve the mystery of existence.

The Celebration (Festen)
By Thomas Vintenberg, Mogens Rukov, Bo hr. Hansen 
Directed by Giannis Paraskevopoulos

Until March 2017
In the foyer of the Theatre of the Society for Macedonian Studies 

Not permitted to people under the age of 18.

Directing Delacroix
Directed by Nikolas Maragkopoulos
in collaboration with the Teloglion Fine Arts Foundation (AUTH) 

The event, inspired by Eugène Delacroix’s famous painting “The Massacre at Chios” and based on original testimonies as well as a script by Alexandra Charani, is directed by Nikolas Maragkopoulos. At the legendary Salon of the Fine Arts Academy, two great painters are trying to win their place in history. August Ingres, a dedicated lover of antiquity representing Classicism, and Eugène Delacroix, a heretic dandy representing Romanticism, confront one another with the painting “The Massacre at Chios” serving as their background.


Maintenance and improvement of infrastructures of the Forest Theatre of NTNG

The Forest Theatre of Thessaloniki (Theatro Dassous) is the most emblematic open-air theatre venue of the National Theatre of Northern Greece (NTNG) located on the slopes of Kedrinos Hill (otherwise known as Seich Sou), enjoying a panoramic view over the city and its port. This theatre has been operating without interruption since 1978 and is a key meeting point for the citizens of Thessaloniki as well as  visitors to the city. Through a wide range of art events every summer, including ancient Greek drama, concerts, music and dance performances, the theatre is a home to modern culture attracting audiences and artists not only from the Balkans but also from all over Europe. With the passing of time, however this fine theatre, has suffered considerable wear and tear. According to the relevant study, waterproofing of the stage and the theatre seating area is necessary. At the same time new buildings will be built aiming at housing key parts of stage sets and costumes of historic NTNG productions with a view to organising guided visits also in the winter time. In line with its commitment to promote culture, act4Greece supports the action “Maintenance and improvement of infrastructures of the Forest Theatre of Thessaloniki (Theatro Dassous)” from 15.12.2016 through 30.4.2017, on a total budget of €132,880. The NTNG is contributing with €27,880. Through Act4Greece, additional financial resources amounting to €105,000 are being sought.    

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Bucharest, Romania

By William Shakespeare
Directed by  Michal Dočekal

I choose Macbeth because of the witches, because witchcraft is nowadays in power, social media is changing the public view. You are not sure anymore what is true or not. We thought that with Internet, with TV people would be more informed, but we realize now that it’s almost the opposite: we have only fake news, fake informations – this is a sort of modern witchcraft. —  Michal Dočekal


By William Shakespeare
Directed by Alexandru Darie 

On golden pond 
By Ernest Thompson
Directed by Dinu Cernescu

The Indian wants the Bronx 
By Israel Horovitz
Directed by Iarina Demian

A short and unsettling play that explored anti-asian racism and violence in the late 1960s. Written by Israel Horovitz, The Indian Wants the Bronx centered around two teenagers who confront and eventually attack an Indian man trying to visit his son in New York City. Gupta, the Indian of the title, has just arrived in New York City from his native country to visit his son and speaks only a few words of English. While waiting for a bus to The Bronx, he is approached by two young punks, Joey and Murph, who begin teasing him. Name-calling taunts eventually result in acts of rage and violence.

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Porto, Portugal

By Regina Guimarães
Directed by Nuno Carinhas
What if a little ghost, a “ghostkid”, were to fall in love with a panicked singer who is about to make her debut performance on the very same stage she is rehearsing on? And what if that promising young lady were being helped by a rock star who once faced the same fears? [Fan] – a tiny word that holds a huge enthusiasm – attempts a fantastic meeting between music and theatre, between pop songs and the imaginative machine of the stage. Fan, here, does more than simply designate a fanatic follower of a band. Now, it is also short for fantasma [the Portuguese word for ghost], a creature that likes theatres and the reverse side of the stage sets, where it spends its days playing tricks and prepping scares… Featuring songs by Clã, a script by Regina Guimarães and stage direction by Nuno Carinhas, this new TNSJ production is a show aimed at the very young, but one that is guaranteed to not cause their parents, relatives, teachers, godfathers, godmothers and other adult companions to break into hives or die of boredom. By playing with our fears of the dark and our luminous discoveries, will make us “sing/ write words on the air/ create winged sentences/ where thought dwells”.
A Noite da Iguana
By Tennessee Williams
Directed by Jorge Silva Melo

9 – 26 February 2017
Teatro Nacional São João
With English surtitles
“This won’t be an easy night to get through.” A “rustic and Bohemian” hotel on the East Coast of Mexico, a iguana tethered by its neck, a group of characters who carry, with sarcasm and tenderness, their lost paradises and self-created hells, in search of a possible “home”, a safe haven. A tempest blows through The Night of the Iguana but everything ends in a note of hope, as if it were possible to arrive unscathed at the end of such a journey as “spooked and bedeviled people are forced to take through the unlighted sides of their natures”. This play, according to Tennessee Williams, is about “how to live beyond despair and still live”. It premiered on Broadway in 1961 and was his last critical and box-office success, the “swan song” of a career that would henceforth be plagued by incomprehension. With The Night of the Iguana, stage director Jorge Silva Melo and the Artistas Unidos company bring to a close a cycle of four plays (three of them co-produced by the TNSJ) by the American playwright, a vital revisitation of a body of work that sits “at the moving, tormented heart of the human condition”.

A Máquina de Emaranhar Paisagens
based upon texts by Herberto Helder
directed and performed by Dinarte Branco
23 – 26 February 2017
Teatro Carlos Alberto
“I read somewhere that the ancient Greeks did not write obituaries,/ when someone died they simply asked:/ was he passionate?” Moved by the unconditional passion he found in the work of Herberto Helder, actor and stage director Dinarte Branco dared to bring to the stage a set of texts by that magician of contemporary Portuguese poetry, a poet who towers over the second half of our 20th century as much as Fernando Pessoa does over the first. A Máquina de Emaranhar Paisagens [The Machine for Entangling Landscapes] features, besides the text that gives it its title, extracts from such books as Photomaton & Vox, Os Passos em Volta, A Faca Não Corta o Fogo, Antropofagias and A Colher na Boca, among others. A musician will also be on the stage – Cristóvão Campos, who by the way is also an actor –, but we will only glimpse him once in a while: Dinarte Branco will stand there alone, and mostly in shadow, using the words of that poet who lived obscurely and wrote incandescently to create “an intense, extreme field, haunted by other presences” – dubious creatures, shudders, irrevocable experiences, most dangerous games, human possibilities.

By Maksim Gorki
Directed by Nuno Cardoso
With English subtitles

Teatro Nacional São João
9 – 18 March 2017

“We are surrounded by the hateful bustle of idleness.” It is 1904, the Summer of discontent of fifteen smart and idle characters, unhappy monsters dressed to the nines, compulsive chatterboxes, creatures that are tragically unfit for living. They lead a life that is a kind of market where everyone tricks everyone, giving as little as possible, taking as much as they can. In the confusing and claustrophobic world of Veraneantes [Summerfolk], all ask themselves a centuries-old question: “How shall I live?” Maxim Gorky wrote this play on the eve of the bloody uprising of 1905, which would eventually usher in the Bolshevik Revolution of 1917. The country was changing and the Russian elites could not face their future, taking refuge instead in bitter sentimentalism. Peopled by the heirs of a twilight time, Summerfolk allows stage director Nuno Cardoso to resume his journey through Russian drama, in the wake of a Chekhovian trilogy (Platonov, The Seagull and Three Sisters), plays in which dream still acted as a driving force for the future. However, the “rotten and corrupt” universe of Summerfolk offers nothing but a dead end. Autumn comes and all return serenely to their “mundane life”…
BoCA – Biennial of Contemporary Arts
Júlio César – Peças Soltas
Dramatic intervention on William Shakespeare
Conceived and directed by Romeo Castellucci

Mosteiro de São Bento da Vitória
30+31 March 2017

When he first visited Portugal, Romeo Castellucci brought to the PoNTI’97 festival a fragmented Hamlet – actually, an Amleto –, in which he recreated, using a handful of words, all the symptoms of an autistic paranoiac. Now, the Italian stage director returns to the TNSJ, this time within the BoCA biennial, and once again under the aegis of William Shakespeare. However, those who come to the cloister of the São Bento da Vitória Monastery should not expect to witness a canonical approach to the historic tragedy of Julius Caesar. Castellucci claims to have respect for the texts, and that veneration is what drives him to continuously carve – in the double sense of hacking away and sculpting – the monuments of the world’s dramatic heritage. A revisitation of a show originally produced in 1997, Júlio César – Peças Soltas [Julius Caesar – Loose Parts] is a surgical operation on Shakespeare’s tragedy, its characters, its speech: from an aged, mute Julius Caesar who can only express himself through gestures to a Mark Antony who, having undergone a laryngectomy, makes his appeal to the people through his esophagus, it is as if all those bodies from ancient statuary were being turned inside out, their organs exposed, in a solemn and visceral reflection on mortality and meaning, rhetoric and ritual. What do words conceal, whence comes their power?    
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Tel Aviv, Israel

A Festival of 3 plays for 2-3 characters directed by young directors
Opens 2 February 2017

By Michal Aharoni
Directed by Alon Tiran

Dates: 2, 3 February, 5, 14, 15 March 2017

My Wife's Husband
By Miro Gavran
Translated by Yaron Frid

Dates: 3, 4, 21 February, 13, 15, 16 March 2017
By Nick Pyne

Translated by Ido Ricklin
Director & Musical Editor Miri Lazar

Dates:  2, 3, 4, 9, 11 February, 14, 15 March 2017

Love Love Love
By Mike Bartlett

Translated by Yaron Frid
Directed by  Moshe Kepten

Dates:  27, 28 February,  1 – 5 March 2017

London, 1967. Beatlemania is in full effect, the “Me” generation is in its prime and Kenneth and Sandra have the world at their fingertips. It’s the summer of love, and that’s all they need. But what will happen when the sex, drugs and rock ‘n’ roll fade away and these boomers have babies of their own?

Torch Song Trilogy
By Harvey Fierstein

Translated by Rivks Meshulach
Directed by Nathan Datner

Dates:  16 – 20 February,  21 – 26 March 2017

"Torch Song Trilogy" chronicles a New Yorker's search for love, respect and tradition in a world that seems not especially made for him. From Arnold's hilarious steps toward domestic bliss with a reluctant school teacher, to his first truly promising love affair with a young fashion model, Arnold's greatest challenge remains his complicated relationship with his mother. But armed with a keenly developed sense of humor and oftentimes piercing wit, Arnold continues to test the commonly accepted terms of endearment--and endurance--in a universally affecting story that confirms that happiness is well worth carrying a torch for.
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Rome, Italy

Written and Directed by Claudio Tolcachir

23 March – 23 April 2017
Teatro Argentina

"Emilia" is a show about a family, or better still, about family bonds, and how much these can develop within a close-knit group of people, carrying out an in-depth study on their secret network of relationships. Things happen and they are narrated almost simultaneously, the present, the past and the future interpenetrate each other. This way, Emilia, a nanny, after twenty years, meets by chance the little boy she had brought up and who, by now, has become a successful man. The woman follows his new, complicated family, speaking to the audience and narrating his story, while the characters suddenly allow her to take part in their dialogues. A whirl of feelings is expressed in this moving, magnetic show. By means of this event, Claudio Tolcachir, yet again, shows that theatre, as Stanislavsky once again, can capture the soul, making us more sensitive, vulnerable and fragile, pervaded by countless intense emotions.

Ten Just So Stories  (10 storie proprio così)  
Conceived by Giulia Minoli: Dramaturgs Emanuela Giordano and Giulia Minoli
Directed by Emanuela Giordano

27 – 31 March 2017
Teatro Argentina
"Ten Just So Stories" form an integral part of “Legality on Stage,” an experimental project witnessing collaboration between theatres, penitentiary institutions, schools and civil society. The protagonists of the show are victims of organised crime, stories of social commitment and redemption, individual and collective responsibilities, institutional connivance and tacit approvals. This is an important path, expressed through the courage of stubborn youths, the tenacity of the relatives of the victims as well as the commitment of all citizens, without ever succumbing to any sort of victory celebration. The stories blend together giving life to a collective fresco that is full of energy, expressing a well-thought out provocation against that omnipresent mafia network that would like to annihilate the ability to react and understand. In 2017, there will be a further evolution of this show, with an in-depth insight into the links between the Calabrese ‘Ndrangheta, Lombardy and international trafficking.

Lear by Edward Bond
Adapted by and Directed by Lisa Ferlazzo Natoli
Translation Tommaso Spinelli

28 March - 9 April 2017
Teatro India

"Lear by Edward Bond" directed by Lisa Ferlazzo Natoli returns to the Teatro India with a new staging and starring Elio De Capitani.  This play faces the entirely contemporary issue of the boundaries and pain on which the controversial Western democracies were built. In this story, everything revolves around a wall, a pressure, a state of widespread danger. It deals with all aspects of violence, from those of a private kind to those of a more knowledgeably democratic nature; it speaks of a society that manipulated the concept of violence until it was made to become acceptable. Thirty-five characters are portrayed by eight actors. The set design appears as a building currently under construction or as the ruins of a sumptuous building, the “walls” of which have collapsed leaving the iron core structure bare and in which doors, windows, chairs, precious gauzes have become trapped. A hazardous architectural structure about to collapse. 
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Prague, Czech Republic

At Sea, Starting Up
By Finegan Kruckemeyer
Directed by Štěpán Pácl

Czech premiere: 9, 13 March 2017
New Stage

The young Australian dramatist Finegan Kruckemeyer possesses a narrative voice endowed with inexhaustible imagination. His characters both tell and live their stories, with their fates entangling and disentangling, and their tales unexpectedly blending together. Noah, the Englishman, lives in Bristol, taking care of the community garden and mourning his deceased Italian wife, who has died during a road accident. Caleb, the Australian, is haunted by nightmares and vivid dreams, and even loses his job because of one of them. He moves to England, where he meets the dreamy girl Silvia. Emma, the Icelander, alias “the Greek”, arrives at the conclusion that she is cursed: both of her brothers have died in dramatic circumstances at sea, while staring at her. So as to prevent the death of her beloved father, she decides to never return from the sea. Elise, the German from Braunschweig, drives her car with her little son every night, as it is the only way how to make the brain-damaged boy sleepy, as well as how to avoid making a decision between her husband and her lover. Silvia, who is capable of appearing and disappearing (she is evidently a sorceress), in some way or another influences the lives of all the four characters, also bringing about their unexpected encounters and revelations. Kruckemeyer’s play At Sea, Staring Up was premiered in 2012 at the Jute Theatre in Cairns, Australia, and if we were to define its style, we could label it modern-time magic realism.

Blood Wedding
by Federico García Lorca
Directed by Martin Kubučka and Lukaš Trišovský

Premiere: 16, 17 March 2017
Estates Theatre

A work by the Spanish poet and dramatist Federico García Lorca (1898–1936) is returning to the National Theatre in Prague some half a century after his play The House of Bernarda Alba, directed by Alfréd Radok, was performed on its stage. Blood Wedding was staged at our theatre shortly after WWII by Jindřich Honzl. Lorca’s unsettled life itself could provide sufficient material for a play – yet our attention has focused on his text, blending folk art with avant-garde, the traditional world of weddings and inviolable rites with the passion of the present moment and overwhelming love. The Bride knows who to marry and the Groom is preparing for the nuptials with the utmost seriousness. Their path, however, is crossed by Leonardo, with the result being the concepts of all the relatives collapsing like a house of cards. Yet we are compelled to raise the question: what about the other characters, now parents and grandparents? Do they too know what mad desire is like? Is love merely the domain of youth, or is every one of us somewhat similar to the abandoning Bride and the betrayed Groom?


A Midsummer Night‘s Dream

By William Shakespeare
26 February, 28 March 2017
National Theatre

William Shakespeare
19 February, 10 March 2017 
The Estates Theatre
Love and Information
Caryl Churchill
24 February, 20 March 2017
The New Stage

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The Life A Dream. Calderon
By Pedro Calderon de la Barca, Pier Paolo Pasolini
Directed by Frank Hoffmann

9, 10 February 2017
Grand Théâtre de Luxembourg

Pasolini was fascinated by Calderón's poetry and his oddly lost creatures. Fragile puppets in an existence that doesn't steer the will of the human but the power of destiny. Or, from Pasolini's perspective: the power of the affairs.

Six People Seek A Composer
World Premiere
By Claude Lenners nach Luigi Pirandello
Directed by Frank Hoffmann

1, 3, 5 March 2017
Théâtre National du Luxembourg

Claude Lenners is a composer from Luxembourg who has a resounding name in the European music scene. Together with Frank Hoffmann he already produced two excited music theatre productions — they are a well attuned team. Claude Lenners took Luigi Pirandello's play "Six People Seek An Author" and made it into a music theatre production entitled "Six People Seek A Composer".


Home Is Not A Place
World Premiere
By Olivier Garofalo
Directed by Marion Poppenborg

A new city is designed on the drawing board. It should be modern, and attract new investors; a centre for successful, dynamic people. At least that's mayor Karl Burger's plan who also wants to be memorialized this way.
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Young European Journalists on Performing Arts 

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