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Highlights: Festival d’Automne a Paris

Highlights: Festival d’Automne a Paris

Heiner Goebbels
I Went To The House But Did Not Enter

[singlepic id=128 w= h= float=]Three tableaux based on four texts by T.S. Eliot, Maurice Blanchot, Franz Kafka and Samuel Beckett challenge the very principles of narration. Heiner Goebbels has set them to music and in space, offering them scope. “Narrative?  No.  No narrative. Never again.” [Maurice Blanchot] Tailor-made for the Hilliard Ensemble, for both their voices and figures, this is their first venture into musical theater.

Michael Marmarinos
Je meurs comme un pays of Dimitris Dimitriadis

[singlepic id=130 w= h= float=]Ancient tragedies and modern Greece –that of the Colonels’ regime – combine in this play to conjure a mythical country, haunted by a mysterious curse. Dimitriadis’ fragmented text has been fascinating directors for years. This monumental version by Michael Marmarinos revisits the playwright’s vision of a dying civilization.

The Wooster Group
Vieux Carré from Tennessee Williams

[singlepic id=134 w= h= float=]This little-known play written a few years before he died, as well as certain of his short stories, revealed a different Tennessee Williams. The Wooster Group, addressing the inner conflict experienced by the great American playwright in the light of liberated New York avant-garde circles of the late seventies, forges a new mode of expression for Williams’ lyric voice, refracting the misty past through the sharp, frank lens of the present.

Robert Wilson
L’Opéra de quat’sous/Bertold Brecht and Kurt Weill

Robert Wilson renews his collaboration with the Festival d’Automne with this version of Bertolt Brecht and Kurt Weill’s Threepenny Opera, performed by the Berliner Ensemble. Written in 1928, this story of gang war and corruption pioneered the musical comedy genre. The tale’s darkness is beautifully revived by Wilson’s reinterpretation of expressionist aesthetics.

La Ribot
llámame mariachi

[singlepic id=129 w= h= float=]Ever since her latest work Pa amb Tomaquet, which ended the “Distinguished Pieces”series, La Ribot has developed a style of performance using video to disrupt representations of movement. For llámame mariachi, two dancers have first filmed themselves, resulting in a film and performance which multiply perspectives on the body.

Rachid Ouramdane
Des témoins ordinaires

[singlepic id=132 w= h= float=]Much like Rachid Ouramdane’s previous play Loin…, his latest work Des témoins ordinaires (“Ordinary witnesses”) explores the boundaries between documentary and fiction. The play is based on interviews carried out in countries at war. Rejecting voyeurism and ordinary sympathy, Ouramdane’s work reveals moments of survival and healing.

Rodrigo García

[singlepic id=133 w= h= float=]In Versus, things start off with talk of pizza and football and end up dealing with the most tragic aspects of History. Rodrigo García’s play attacks all contemporary obsessions, from the overwhelming presence of images to the objectification of bodies or the symbols of mass consumption. Mixing video and performance, he aims to present us with “moments forever incomplete, and enigmatic realities.”

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Caden Manson is Editor In Chief and Curator of Contemporary Performance Network and co-founder and artistic director of Big Art Group, a New York City performance company founded in 1999.
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