Anagoor – Orestea
Concluded
©Giulio Favotto
In its journey of rediscovery and adaptation of the classics in a contemporary key, the Anagoor company is staging Aeschylus’s Oresteia, which, for artists, represents the system of thought which lies at the very origins of theatrical art itself and forms its metaphysical foundations.
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Teatro Strehler
A show in Italian with English surtitles
The show-event, which opened the 46th edition of the International Theatre Festival at the Venice Biennial, winning the company the 2018 Silver Lion, is both a point of arrival and a point of view, an examination of the “ruins of the Western World”. Following Virgilio brucia (2016), Anagoor is once again presenting a work on language which attempts to measure the distance between us and the ancient poets, rediscovering the element of purification of human sentiment. A theatrical celebration which is a unique blend of serious work carried out on the text and profound trust placed in words, memory, vision, the body and in collectivity.
Angoor is exploring the most ancient of the tragic trilogies, the only one to have remained intact. Thus, the bloody saga of the descendants of Atreus is presented to audiences of the new millennium. What repercussions could a work as old as theatre itself have on our lives? It is a question which Anagoor asks to both theatre and to art in general. The answer lies in the focus on the non-historical elements of the tragedy, humans rather than heroes, and their feelings, the loss of the metaphysical points of reference which protect them in the face of evil. Thus, this version of the tragedy is “a work on Aeschylus’s Oresteia, more than a reduction or adaptation of the same”, a human story which forms a bridge between ancient Greece and the contemporary world. The result is impressive. Three and a half hours in two acts, with words, music and dance, expressions of performance as a sacred celebration.
Faced with an Agamemnon presented almost in its entirety, in Schiavi the Libation Bearers is radically changed, while Conversio is a final, farewell structure, based on the foundations rather that the structure or the words. What lies at the very heart of thisOresteia, both freely and cloesly tied to Aeschylus, is the concept of justice, the formally suitable treatment of conflict, the salvation of the Western world through the use of an appropriate language. There is no debate here. The trust placed in the word and the judgement of the memory is the process which pave the way to an escape from violence. At the beginning, burning maps of Europe and Greece accompany the message of the destruction of Troy. Now the maps burn backwards, with a complete and ordered image emerging from the ashes. This miracle of creation resulting from the encounter with destruction is also carried out by Anagoor, with its theatrical poem.
Duration: four hours with interval
A show in Italian with English surtitles
The show-event, which opened the 46th edition of the International Theatre Festival at the Venice Biennial, winning the company the 2018 Silver Lion, is both a point of arrival and a point of view, an examination of the “ruins of the Western World”. Following Virgilio brucia (2016), Anagoor is once again presenting a work on language which attempts to measure the distance between us and the ancient poets, rediscovering the element of purification of human sentiment. A theatrical celebration which is a unique blend of serious work carried out on the text and profound trust placed in words, memory, vision, the body and in collectivity.
Angoor is exploring the most ancient of the tragic trilogies, the only one to have remained intact. Thus, the bloody saga of the descendants of Atreus is presented to audiences of the new millennium. What repercussions could a work as old as theatre itself have on our lives? It is a question which Anagoor asks to both theatre and to art in general. The answer lies in the focus on the non-historical elements of the tragedy, humans rather than heroes, and their feelings, the loss of the metaphysical points of reference which protect them in the face of evil. Thus, this version of the tragedy is “a work on Aeschylus’s Oresteia, more than a reduction or adaptation of the same”, a human story which forms a bridge between ancient Greece and the contemporary world. The result is impressive. Three and a half hours in two acts, with words, music and dance, expressions of performance as a sacred celebration.
Faced with an Agamemnon presented almost in its entirety, in Schiavi the Libation Bearers is radically changed, while Conversio is a final, farewell structure, based on the foundations rather that the structure or the words. What lies at the very heart of thisOresteia, both freely and cloesly tied to Aeschylus, is the concept of justice, the formally suitable treatment of conflict, the salvation of the Western world through the use of an appropriate language. There is no debate here. The trust placed in the word and the judgement of the memory is the process which pave the way to an escape from violence. At the beginning, burning maps of Europe and Greece accompany the message of the destruction of Troy. Now the maps burn backwards, with a complete and ordered image emerging from the ashes. This miracle of creation resulting from the encounter with destruction is also carried out by Anagoor, with its theatrical poem.
Duration: four hours with interval
Meetings and insights
Credits
Piccolo Teatro Strehler
from 13 to 16 November 2019
Anagoor – Orestea
Agamennone, Schiavi, Conversio
based on "Oresteia" by Aeschylus
stageplay and translation from Greek by Simone Derai, Patrizia Vercesi
inspired by and with the words of S. Quinzio, E. Severino, S. Givone, W.G. Sebald, G. Leopardi, A. Ernaux, H. Broch, P. Virgilio Marone, H. Arendt, G. Mazzoni
con Marco Ciccullo, Sebastiano Filocamo, Leda Kreider, Marco Menegoni, Gayané Movsisyan, Giorgia Ohanesian Nardin, Eliza G. Oanca, Benedetto Patruno, Piero Ramella, Massimo Simonetto, Valerio Sirnå, Monica Tonietto, Annapaola Trevenzuoli
dance Giorgia Ohanesian Nardin
music and sound design Mauro Martinuz
sets and costumes Simone Derai
video Simone Derai, Giulio Favotto
light design Fabio Sajiz
directed by Simone Derai
an Anagoor 2018 production
with the support of Fondation d’entreprise Hermès as part of the New Settings programme
a Centrale Fies, Teatro Metastasio di Prato, TPE – Teatro Piemonte Europa, Teatro Stabile del Veneto coproduction, with the participation in the coproduction of Theater an der Ruhr and the support of the Ministry for Culture and Sport of North Rhine-Westphalia
with the support of the San Paolo Company and the technical sponsors Lanificio Paoletti, Printmateria, 3DZ
A show in Italian with English surtitles
GUEST PRODUCTION - PERFORMANCE AVAILABLE FOR SUBSCRIPTION HOLDERS
Stalls:
Full price € 33 | Discounted price for youngsters and the elderly (under 26 and over 65) € 21
Balcony:
Full price € 26 | Discounted price for youngsters and the elderly (under 26 and over 65) € 18
INFO, PURCHASES AND RESERVATIONS
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From Mondays to Saturdays, 9.45 a.m. - 6.45 p.m.; Sunday 10 a.m. - 5 p.m.
It is possible to purchase full price or discounted tickets (for spectators under the age of 26 or over the age of 65) as well as subscriptions.
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It is possible to purchase subscriptions, as well as full-price and promotional tickets
Tickets for all productions for the current season can be purchased up to one hour before the beginning of scheduled performances.
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Reservations are available exclusively for subscription holders. Reservations are valid up to one month before the chosen date: for example, if a reservation is made for a show performing on 15 March, the seats must be confirmed by 15 February. The reservation must be picked up by the deadline at the Teatro Strehler box office or via the box office line.
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