Il cielo non è un fondale

“The question of what is real, or reality, and how it can be represented in art and in particular in theatre, has always interested us”, write Deflorian and Tagliarini. They have been working together as authors, actors, performers, and directors since 2008. In preparing for Reality (2012), and prior to tackling the 748 notebooks to which Janina Turek had meticulously consigned half a century’s worth of the minute details of her uneventful existence, they went to Poland to experience for themselves the same daily routine and immerse themselves in the familiar territories of this otherwise unknown housewife. In Ce ne andiamo..., created a year later, one of the show’s ambitions was to make us feel, on a bare stage, the pressurized nature of everyday existence in the all too tangible circumstances of life in Greece today: the squealing of metal shutters being rolled down, with no hope of being rolled up again, the rumble of traffic trams and demonstrations, and silhouettes perched over bins, busily sifting through their contents. According to the two artists, this very real presence of the city of Athens, a backdrop from which the various gestures are detached in order to bring out their full significance in political terms, explains the natural transition towards their new project. Running between them is the common theme of “the landscape as protagonist”, or alternatively “the irreversible phenomena of the metropolisation of landscape and lifestyle” - in this the beginning of the 21st century, in which the human species, for the first time in its history, has become primarily an urban one.

For more than a few seasons now, Deflorian and Tagliarini have been gathering material in preparation for their work on Il cielo non è un fondale. The relationship between background and figure inevitably pointed them in the direction of visual art. In 2014, in Milan, they co-presented Il posto (a term which is the Italian translation of Annie Ernaux’s work: La Place), an in situ study-performance in the presence of an extraordinary collection of works by Novecento. The two performers also developed a shared interest in land art, such as Sophie Calle’s research into the reversal of the hierarchy of human presence and its surroundings (Voir la mer), as well as that of the Dutch artist, Berndnaut Smilde and his recreation of indoor clouds. They studied the documentary work of Nicolò Basseti, the author of a prize-winning investigation into Rome’s major ring-road at last year’s Venice Festival.

Lastly, their research has taken them in the direction of the obsessive nature of the rhythms of contemporary life, and this “hyperactive efficacity” which constantly prompts us to see more and more, but which increasingly prevents us from looking around us, without any immediate objective in mind - and from simple contemplation... What do we mean by “to live in”?. If it is true that “we have traded-in our interior life for an indoor life”, in what way do our various forms of shelter let us think about those left “out in the rain”? The show cannot and will not be reduced into an anthology of material gathered during two years of research. Deflorian and Tagliarini’s new work promises to be dazzling in every sense of the word.

Berthier 17e

France

Berthier 17e

09 december – 18 december 2016 / Length environ 1h15

Il cielo non è un fondale
The sky is not a backdrop

by Daria Deflorian and Antonio Tagliarini

with Francesco Alberici, Daria Deflorian, Monica Demuru, Antonio Tagliarini

in Italian, with subtitles

Length environ 1h15

Votre venue

Berthier 17e
Access

Prices

from 8€ to 36€
More info

Booking online opens November 2d. At the booking office and by telephone from November 9th, 2016

  • Il cielo non è un fondale | Il cielo non è un fondale, photo © Élizabeth Carecchio
    Il cielo non è un fondale, photo © Élizabeth Carecchio
  • Il cielo non è un fondale | Il cielo non è un fondale, photo © Élizabeth Carecchio
    Il cielo non è un fondale, photo © Élizabeth Carecchio
  • Il cielo non è un fondale | Il cielo non è un fondale, photo © Élizabeth Carecchio
    Il cielo non è un fondale, photo © Élizabeth Carecchio
  • Il cielo non è un fondale | Il cielo non è un fondale, photo © Élizabeth Carecchio
    Il cielo non è un fondale, photo © Élizabeth Carecchio

“The question of what is real, or reality, and how it can be represented in art and in particular in theatre, has always interested us”, write Deflorian and Tagliarini. They have been working together as authors, actors, performers, and directors since 2008. In preparing for Reality (2012), and prior to tackling the 748 notebooks to which Janina Turek had meticulously consigned half a century’s worth of the minute details of her uneventful existence, they went to Poland to experience for themselves the same daily routine and immerse themselves in the familiar territories of this otherwise unknown housewife. In Ce ne andiamo..., created a year later, one of the show’s ambitions was to make us feel, on a bare stage, the pressurized nature of everyday existence in the all too tangible circumstances of life in Greece today: the squealing of metal shutters being rolled down, with no hope of being rolled up again, the rumble of traffic trams and demonstrations, and silhouettes perched over bins, busily sifting through their contents. According to the two artists, this very real presence of the city of Athens, a backdrop from which the various gestures are detached in order to bring out their full significance in political terms, explains the natural transition towards their new project. Running between them is the common theme of “the landscape as protagonist”, or alternatively “the irreversible phenomena of the metropolisation of landscape and lifestyle” - in this the beginning of the 21st century, in which the human species, for the first time in its history, has become primarily an urban one.

For more than a few seasons now, Deflorian and Tagliarini have been gathering material in preparation for their work on Il cielo non è un fondale. The relationship between background and figure inevitably pointed them in the direction of visual art. In 2014, in Milan, they co-presented Il posto (a term which is the Italian translation of Annie Ernaux’s work: La Place), an in situ study-performance in the presence of an extraordinary collection of works by Novecento. The two performers also developed a shared interest in land art, such as Sophie Calle’s research into the reversal of the hierarchy of human presence and its surroundings (Voir la mer), as well as that of the Dutch artist, Berndnaut Smilde and his recreation of indoor clouds. They studied the documentary work of Nicolò Basseti, the author of a prize-winning investigation into Rome’s major ring-road at last year’s Venice Festival.

Lastly, their research has taken them in the direction of the obsessive nature of the rhythms of contemporary life, and this “hyperactive efficacity” which constantly prompts us to see more and more, but which increasingly prevents us from looking around us, without any immediate objective in mind - and from simple contemplation... What do we mean by “to live in”?. If it is true that “we have traded-in our interior life for an indoor life”, in what way do our various forms of shelter let us think about those left “out in the rain”? The show cannot and will not be reduced into an anthology of material gathered during two years of research. Deflorian and Tagliarini’s new work promises to be dazzling in every sense of the word.

On Video

Credits

collaboration Francesco Alberici and Monica Demuru
assistant Davide Grillo
lights Gianni Staropoli
costumes Metella Raboni
set construction Atelier du Théâtre de Vidy
technical direction Giulia Pastore
international diffusion Francesca Corona
organisation Anna Damiani

Attilio Scarpellini wrote the text about Jack London.

a production A.D., Sardegna Teatro, Fondazione Teatro Metastasio di Prato, Emilia Romagna Teatro Fondazione

in coproduction with Odéon – Théâtre de l’Europe, Festival d’Automne à Paris, Romaeuropa Festival, Théâtre Vidy-Lausanne, Sao Luiz - Teatro Municipal de Lisboa, Festival Terres de Paroles, théâtre Garonne, scène européenne – Toulouse
avec le soutien de Teatro di Roma
in collaboration with Laboratori Permanenti/ Residenza Sansepolcro, Carrozzerie NOT/Residenza Produttiva Roma, Fivizzano 27/ nuova script ass.cult. Roma

with the support of Teatro di Roma
in collaboration with Laboratori Permanenti/San Sepolcro, Carrozzerie NOT/Roma, Fivizzano 27/Roma

with the Festival d’Automne à Paris

About 1h15
 

Director

Antonio Tagliarini et Daria Deflorian

Basés à Rome, auteurs, acteurs, metteurs en scène, performeurs, Daria Deflorian et Antonio Tagliarini collaborent depuis 2008. Ensemble, ils puisent leur inspiration dans un terrain à l’intersection des arts contemporains et d’un questionnement qui tient de la philosophie, de la sociologie, de la réflexion politique. Après Rewind, un hommage au Café Müller de Pina Bausch présenté dans plusieurs festivals européens, ils créent en 2009 au Teatro Palladium From A to D and back again (Ma philosophie de A à B et vice versa), d’après Andy Warhol. En 2010, ils réalisent Trend, une lecture scénique d’après Blackbird, de David Harrower. Un an plus tard, leur Progetto Reality débouche sur une installation/performance et sur un spectacle. Ce ne andiamo... est esquissé en décembre 2012 à l’invitation de Gabriele Lavia et du Teatro di Roma, avant de trouver sa forme définitive et sa distribution complète en novembre 2013 au Romaeuropa Festival. Daria Deflorian, qui a joué le rôle de La Sgricia dans Les Géants de la montagne de Pirandello sous la direction de Stéphane Braunschweig, a été artiste associée au Théâtre national de la Colline pour la saison 2015-2016.

Excerpt

Nous avons beaucoup travaillé sur la honte de se montrer aux autres qu’on peut éprouver quand on est en détresse. Nous vivons dans la société liquide de la flexibilité, d’après la définition de Zygmunt Bauman, de l’excès de « positivité », du « yes we can » : le système économique libéral conduit à ce que chacun soit son propre entrepreneur – pour plus de rentabilité économique, en réalité. Nous nous croyons donc « libres » de travailler jusqu’à l’épuisement. Faisant de nous nos propres employeurs, nous devenons nos propres esclaves. Le problème, au fond, c’est nous. Alors, comment surmonter cette honte ? Il faut dire non : pas un non passif, négatif, mais ce non vital, qui devient une forme de survie. Nous croyons que le théâtre, historiquement, représente le lieu idéal pour le faire.

Daria Deflorian