7 August 2015
, 12 AM

Biennale Teatro 2015

, Teatro Fondamenta Nuove, Venice, Italy |

The Caucacus, 1942. Language and power: at the foot of the “mountain of languages” – 50 or more tongues which resist any attempt of normalisation in an impermeable ethno-cultural crossroads. Two Nazi officers, an SS officer and a linguist seconded to the service of the Third Reich analyse races and discuss the possibility of “scientifically” isolating the Jewish strain for extermination. The dialogue is presented in the form of a video and inspired by The Kindly Ones by Jonathan Littell, progresses with a process of accumulation of fragments, variable, sonorous and visual evocations of startling intensity and beauty. Lingua imperii is a tangible result of a political theatre project started by the Castelfranco Veneto- based company 15 years ago. The theme of the Holocaust is interlaced with the wider theme of killing, a veritable massacre which has no historical frontiers, no stopping-point, from the sacrifice of Iphigenia and the genocide of the Armenians to the massacre of Srebrenica. On stage, nine actor-witnesses sing an undecipherable song using voices which are sometimes amplified and transformed into wind, and solar storms which blind the spectators’ vision of the sky and the horizon.



This project stems from the need to conceive a multimedia and multidisciplinary creation of video art and live music. Starting from the work of the painter Artemisia Gentileschi (Rome 1593 - Naples ca. 1656), it aims to analyze some features of the painting and music of the early Italian Baroque, highlighting their creative specificities and their emotional substrate.

Daughter of Orazio Gentileschi (one of the first Italian Caravaggesque painter), Artemisia was only remembered, until a few decades ago, for the scandal of the rape trial - filed against Agostino Tassi, one of her father artistic partners, who raped her when she was seventeen – and she had to wait over three hundred years to see her value as a painter fully recognized.
The high quality of Artemisia as an artist was revalued by Roberto Longhi for the first time, followed by various studies and exhibitions since 1991. The big exhibition (perhaps the most complete to date) held in Milan at Palazzo Reale from 22nd September 22nd 2011 to January 29th 2012, and then in Paris (Musée Maillol), has given back to the artist full dignity.

The duration of the performance is 1 h. 15 mn. On stage, a group of 13 musicians (playing on period instruments) and a singer performs music by Monteverdi, Luigi Rossi, B. Strozzi, Kapsberger, Trabaci, Merula, Landi, Castello, Fontana. The 13 pieces performed correspond to the 13 chapters of the video, running on a 6 m. by 3.3 m. screen.  Spellbinding music, images and telling blend into an indissoluble theatrical plot of great emotional impact.




with Anna Bragagnolo, Mattia Beraldo, Moreno Callegari, Marco Crosato, Paola Dallan, Marco Menegoni, Gayanèe Movisisyan, Eliza Oanca, Monica Tonietto
and with Hannes Perkmann, Hauptsturmbannführer Aue and Benno Steinegger, Leutnant Voss
translation and linguistic advice Filippo Tassetto
voice off stage Silvija Stipanov, Marta Cerovecki, Gayanèe Movisisian, Yasha Young, Laurence Heintz
original music Paola Dallan, Simone Derai, Mauro Martinuz, Marco Menegoni, Gayanèe Movsisyan, Monica Tonietto
costumes Serena Bussolaro, Simone Derai
non original music Komitas Vardapet, armenian music of the medieval tradition
video Moreno Callegari, Simone Derai, Marco Menegoni
dramaturgy Simone Derai, Patrizia Vercesi
direction Simone Derai
production Anagoor 2012
coproduction Trento Film Festival, Provincia Autonoma di Trento, Centrale Fies, Operaestate Festival
with the support of APAP Network Culture Programme of European Union
initiative organized with the support of Fondazione Cassa di Risparmio di Trento e Rovereto
Anagoor is part of the Fies Factory project

Stories of unnameable hunts: not metaphors, but concrete historical phenomena, hateful old habits according to which, in the forms of hunting, some men have become predators of other men and, even in the twentieth century, have soaked the soil of Europe with the blood of millions of people, its civil heart, as much as its vast forests, up to its mountainous borders. Mourners who no longer want to be hunters and, in front of the resurfaced memory of the victims, complain the burden of guilt for the bloody hunting.
The Caucasus, extreme end of Europe, natural geographical frontier, the Mountain of the Languages, dense crucible of people, a maze that trace boundaries, limits and distinctions and confounds them at the same time, a massif that stands as the epicentre of the memory, a mythical place for this judgment.



concept Simone Derai, Moreno Callegari, Marco Menegoni
with Anna Bragagnolo, Pierantonio Bragagnolo, Moreno Callegari, Marco Menegoni
choreography Anna Bragagnolo, Simone Derai, Moreno Callegari, Pierantonio Bragagnolo
scenes and costumes concept Simone Derai, Moreno Callegari, Marco Menegoni
scenes and costumes design Simone Derai, Serena Bussolaro, Mauro Parolini, Silvia Bragagnolo, Sabrina Pozzobon
photographic footage archivio fotografico Fortuny, Gallerie dell’Accademia Venezia, Ernst Friedrich
video Simone Derai, Marco Menegoni
music score Marco Menegoni, Paola Dallan
arrangement and chants Paola Dallan, Emanuela Guizzon
arrangement for pipe organ Anna Furlan
direction Simone Derai
production Anagoor
coproduction Città di Venezia / Teatro Fondamenta Nuove, Centrale Fies, Operaestate Festival Veneto
in collaboration with Fondazione Musei Civici Veneziani, Contemporanea Festival/Teatro Metastasio Stabile della Toscana
under the patronage of Regione del Veneto
thanks to Fortuny spa, Pallucco srl
supported by Apap Network Cultur Program of European Union

Anagoor is part of the Fies Factory project

The desperate defense of memory, the fragility of beauty in a country that seems to trample on it with impunity are the guidelines of Anagoor's newest theatrical path.
Fortuny is not a theatrical project about Mariano Fortuny but rather takes its inspiration from his complex eye for the precious delicacy of Venice with the intent to capture the spirit of his fervent work on cataloguing memory and on the ways form is transmitted.
Today in Italy, the ignorant and criminal indifference for cultural memory and beauty, the agony suffered by the land and landscape, the discomfort of those who live in a very delicate age of growth, go on parallel tracks and are frighteningly intertwined. It could not be otherwise for those who, in the process of metamorphosis, perceive the fragility of precious things and the nonchalance with which anything precious is sacrified in the name of endless profit. When fathers are absent or, without shame, share in the devastation brought by the bright fury for fortune then clouds gather on the horizon. They do not bode anything good. And in Renaissance Venice the link between fortune and tempest was well-known).

This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.