DAVID MARTON / ROAD OPERA Narcisse Et Écho

THÉÂTRE VIDY-LAUSANNE AV. E.-H. JAQUES-DALCROZE 5 CH-1007 LAUSANNE

DAVID MARTON / ROAD OPERA Narcisse et Écho

Vidy Creation

Rehearsal photos © Christian Friedländer

Creation June 13th 2019 DAVID MARTON/ROAD OPERA NARCISSE ET ÉCHO 2 CONTACTS

THÉÂTRE VIDY-LAUSANNE

DIRECTION:

VINCENT BAUDRILLER

PRODUCTION:

DIRECTOR OF ARTISTIC AND INTERNATIONAL PROJECTS CAROLINE BARNEAUD [email protected] T +41 (0)21 619 45 44 TECHNICS: Narcisse et Écho TECHNICAL DIRECTION at Vidy CHRISTIAN WILMART / SAMUEL MARCHINA [email protected] Jeu. 12.09 20h30 T +41 (0)21 619 45 16 / 81 Ven. 13.09 20h30

Sam. 14.09 19h00 PRESS: Dim. 15.09 17h00 DIRECTOR OF AUDIENCES AND COMMUNICATION ASTRID LAVANDEROS [email protected] Mar. 17.09 20h00 T +41 (0)21 619 45 74 M +41 (0)79 949 46 93 Mer. 18.09 20h00 Jeu. 19.09 20h00 COMMUNICATION ASSISTANT PAULINE AMEZ-DROZ Ven. 20.09 20h00 [email protected] Sam. 21.09 15h00 T +41 (0)21 619 45 21

Narcisse et Écho on tour 12-21.09.19 Théâtre Vidy-Lausanne (CH)

2-3.10.19 Le ThéâtredelaCité – CDN Toulouse Occitanie (FR)

13-17.12.19 Nouveau Théâtre de Montreuil (FR)

20.12.19 L’Onde, Vélizy-Villacoublay (FR)

29-31.01.20 Maillon, Théâtre de Strasbourg (FR)

6-9.02.20 Radialsystem, Berlin (DE)

8-9.04.20 Théâtre de Caen (FR)

15-16.04.20 Les 2 Scènes, Scène nationale de Besançon (FR)

28-29.04.20 Théâtre de Lorient (FR)

26-27.05.20 Scène nationale du Sud-Aquitain, Bayonne (FR)

DOCUMENTATION AND HD PICTURES DISCOVER #LAVIEAVIDY AND SHARE YOUR FAVOURITE MOMENTS: To download on https://vidy.ch/en/narcisse-et-echo-1 (page of the show, tab « Press and pro ») CreationVidy DAVID MARTON/ROAD OPERA NARCISSE ET ÉCHO 3 CreationVidy DISTRIBUTION

Text: Adapted from Ovid’s Metamorphoses Conception and directing: David Marton Scenography: Christian Friedländer Light: Henning Streck Dramaturgy: Lucien Strauch Music and composition: Paul Brody (trumpet) Michael Wilhelmi (piano) Daniel Dorsch (sound creation) Costumes: Valentine Solé Assistant director: Lisa Como Dramaturgical advice: Barbara Engelhardt With: Thorbjörn Björnsson Paul Brody Daniel Dorsch Vinora Epp Marie Goyette Michael Wilhelmi

Production: Théâtre Vidy-Lausanne

Coproduction: Wiener Festwochen - Maillon, Théâtre de Strasbourg, Scène européenne - Nouveau Théâtre de Montreuil - Théâtre de Caen - Les 2 Scènes, scène nationale de Besançon

With the support of: L’École de la Comédie de Saint-Étienne - DIÈSE #, Auvergne, Rhône-Alpes - Pro Helvetia, Fondation suisse pour la culture - Hauptstadtkulturfonds Berlin - Radialsystem

Production supported by LaB E23, Interreg Program France-Switzerland 2014-2020 with funding support from the ERDF.

Creation June 2019

With the production, technical, communication and administration crews of Théâtre Vidy-Lausanne DAVID MARTON/ROAD OPERA NARCISSE ET ÉCHO 4 THE ROAD OPERA AS A METAMORPHOSIS

Initially trained as a pianist at the Hanns Eisler Academy of Music in Berlin before becoming a musician for the likes of Frank Castorf, Árpád Schilling and Christoph Marthaler, over the last 15 years David Marton has become a leading figure in musical theatre, continuing to surprise with his formal inventiveness and ability to bring drama to the musical repertoire. He has been invited to collaborate with major German and European theatres and is sought after by European opera houses for his productions that through their mise en scène, both learned and ingenious, shake up the notions of traditional opera yet reveal the very letter, spirit and tone of the works. This was evident in Don Giovanni Keine Pause (2012), where Giovanni is a woman, the text is interspersed with quotes from the Marquis de Sade, and

Mozart mixes with the jazz world. In just a few years, Marton has become one of Europe’s Read David Marton‘s portrait most unique and inspiring artists. on the Goethe Institute website - „50 contemporary German directors“ : While for the last 15 years he has been exploring the possible relationships between the David Marton various repertoires and their forms, both in opera and theatre, he is now searching for a hybrid that would lead to a lighter and more mobile form of opera – a ‘road opera’. This musical theatre, freed from the constraints of opera, has a pared-down crew and less substantial scenography, but retains the same principles of composition, mixing music, voice, text, scenography and movement. This search has led to Narcisse et Écho, a new creation that invites us to reflect on metamorphosis, inspired by Ovid.

NARCISSUS AND ÉCHO OR LOVE THRU IMAGE AND SOUND Recounted in Metamorphoses by Roman author Ovid, the myths of Écho and Narcissus are linked together. Écho is a nymph who has been cursed and is condemned to repeat only the last words spoken to her. She falls in love with Narcissus, but is unable to attract him as she cannot use her own words, instead reduced to expressing herself via the sounds of others. Narcissus wearies of the nymph’s tiresome voice and discovers his own reflection in mirror-like calm waters. Fascinated, he falls in love with it. Through this image, he is drawn into a spiral of infinite self-reflection from which he is unable to escape. These two tales touch on the themes of art and love as much as they do on loneliness and the relationship with oneself. The dramatic aspect of this creation is metamorphosis – the search for a form and narrative that are continually changing, where each element transforms another, driven by five performers, singers, actors and musicians. And finally,the music will range from baroque to contemporary. It will be performed on-stage, both with period instruments and with sounds from today’s digital technology, emanating from smartphones and other objects of daily use. The movement between analogue and digital worlds will signal a journey through time, where snippets of the past are revealed, as if they were a possible future. In David Marton’s theatre, music is like a memory of the future: the insubstantial and intangible shape of human desires and hopes – such as Écho’s voice and the image of Narcissus – re-emerge from a forgotten past in an unexpected and unpredictable way. This time, it tells of a long-hoped for and endless search for love, as well as the wandering path of loneliness. ERIC VAUTRIN DRAMATURG AT THE THÉÂTRE VIDY-LAUSANNE DAVID MARTON/ROAD OPERA NARCISSE ET ÉCHO 5 DIRECTOR’S NOTE

Ovid’s Metamorphoses form a sensitive and coherent world that recounts the uncertain and multiple adventures of mythological figures. David Marton and his Road Opera ensemble have reinterpreted these narratives in light of our present day. The nymph Echo, in love with Narcissus, has been punished; she can only communicate through the words of others. Narcissus, too, has received a punishment; he is lost in the contemplation of his own reflection, infatuated with an inaccessible object. Narcissus and Echo represent two forms of introspection, one audio and the other visual; their paths cross but without joining together. On stage, musicians and actors explore the solitude of “I”, imposed or voluntary, in a polyphony where ancient music resonates with the digital sounds of today.

DAVID MARTON JUNE 2019

Rehearsal photos © Christian Friedländer DAVID MARTON/ROAD OPERA NARCISSE ET ÉCHO 6 DAVID MARTON, OR MUSICAL THEATRICALITY

Trained as a pianist, conductor and director, David Marton’s way of not simply illustrating the score, but of searching for the theatricality in the music itself and for the musicality in human behaviour, is surprising. His theatre contains the dual traces of gentle melancholy and a surrealist humour that recalls the sharp mind of Marcel Duchamp. He makes use of a playful science that gives a sense of staging and drama to the music. And so in his work, especially thanks to performers who are musicians as much as they are actors or singers, music equals text, capable of expressing a character’s innermost feelings or the hidden shape of a situation, or even the unforeseen turbulence of a narrative, while words and gestures can reveal unexpected melodic and rhythmic qualities. ‘Music is not just a means for rendering emotion in the middle of a story, but a way of understanding the world,’ he says. ‘Where staged sequences of events or the relationships between individuals organised by precise psychological rules would normally occur, music instead allows its own unique rules to appear. I believe that this is a vital step in the endless inquiry into how we should create musical theatre.’ And so Marton’s primary focus is the fundamental musicality of human beings, whose individuality and innermost feelings are expressed through sound. On stage, music and singing are tangible realities in the exploration of aspects of the human condition. And, hopes David Marton, ‘music will thus become an integral part of our existence.’

ERIC VAUTRIN DRAMATURG AT THE THÉÂTRE VIDY-LAUSANNE DAVID MARTON/ROAD OPERA NARCISSE ET ÉCHO 7 TRANSFORMATION AND SOLITUDE

David Marton in conversation with Lucien Strauch

Lucien Strauch : Narcisse et Écho is the first work that you have presented with Road Opera, a group that was created especially for this project, with artists you have been working alongside for a long time. David Marton : Road Opera is actually a correction. I have developed many relationships since I began working in the independent theatre scene in Berlin; actress Marie Goyette, lighting designer Henning Streck, and sound designer Daniel Dorsch were already involved in my very first production. At the time, we often thought about naming our company, but most of our comrades in arms were musicians with an intensive and independent musical life and were not able to tour exclusively with a fixed group. Things have changed now, though. There is also something symbolic about Road Opera, and I felt it was important to demonstrate that. It’s a bit like a couple that has been together for fifteen years who suddenly says : How about we get married ? When we founded the Sleepwalkers Improvisation Club at the Münchner Kammerspiele, I saw a new side to these musicians, and I wanted to create an evening of musical theatre that would fit within this working structure. Lucien Strauch : The Sleepwalkers Improvisation Club was a regular musical event that took place late at night in the foyer of the theatre, and it had only one rule : there must be non-stop sound for an hour. Narcisse et Écho also thrives on this contrast between improvisation and following the score. David Marton : That is the aim. That is what we are all working towards in different ways – the process from production to improvisation as a compositional strategy. Improvisation occurs through transformation, especially when several people make music together. It’s like finding a toy – a musical theme is studied from all possible angles, it is transformed, new ideas emerge. Breaks are rare in improvisation – one idea leads to another. On the subject of transformation, Ovid’s Metamorphoses were obvious. All his stories contain transformations, but we came to the conclusion that Narcisse et Écho actually told a complementary audiovisual story. Narcisse is trapped in his image, Écho is caught in sound. Lucien Strauch : In Ovid’s work, Narcisse is a handsome young man, desired by both men and women. But he cares nothing for his admirers. The nymph Écho also falls in love with him, but she has been cursed and can only repeat the last words addressed to her. When they meet, she makes music. Narcisse speaks – plays a musical theme – and Écho picks up it, playing variations on that theme. When we began working, however, we didn’t have a musical source for the interplay on themes. We deliberately decided, for example, not to use the opera Écho et Narcisse by Gluck. Our starting point was Christian Friedländer’s scenography, a text by Ovid, as well as musicians and actors who added their own creative vision. David Marton : Some improvisations began with a phrase that gave us an idea for the sound. What comes after doesn’t necessarily conform exactly to the text ; the music takes on its own life and follows its own logic. This is how change can occur. We started with a sound that was closely related to the text, and the musical transformation suddenly illuminated that same text differently. Or we started with the musical theme and we wondered which text it would go with. This created interactions between the text and the music. Narcisse et Écho is a narrative and poetic text that also contains something profoundly musical. The stage, however, gave us a clear theme. For me, this has less to do with the usual interpretations of self-esteem or narcissism as a social phenomenon than with isolation, solitude, or being withdrawn. The main characters’ two forms of existence have much in common with our experience of today’s world. Lucien Strauch : Narcisse is trapped within his own egocentricity, orbiting around himself. He is unable to break free from his self-contemplation. And as for Écho, it’s quite the opposite; she is totally dependent on others and cannot reveal her true self. I think that DAVID MARTON/ROAD OPERA NARCISSE ET ÉCHO 8

these two ways of being dominate our present day and that we swing between these two extremes. David Marton : I don’t believe, though, that Écho doesn’t have her own identity. The fact that she is condemned to repeat the words of others refers to her ability to communicate, not to her idea of self. In Ovid’s story she had a clear identity, but was cursed by the goddess Juno and could no longer speak. Lucien Strauch : Her past was characterised by her talkativeness. While Jupiter was having fun with some mountains nymphs, Écho tried to distract Juno with long-winded stories so that Jupiter could escape without being discovered. Juno punished Écho for her trickery. Her ability to communicate was dramatically reduced, but her desire to communicate remained. David Marton : Écho is actually a very playful character who continues the game. Even though she can’t begin a conversation, she plays with different possibilities. What can she interpret differently through repetition ? Lucien Strauch : It is a creative moment – she creates something improvised from a limited range of possibilities. But to return to the question of isolation; there is an obvious link with the current context of isolationist policies. David Marton : Myths have many possible readings. What I find most striking in today’s world is that as possibilities for communication increase, loneliness becomes more and more existential. It’s omnipresent. Everyone feels it but we can’t escape from it. The desire for a collective identity within a political community doesn’t take into account the fact the every human being is in fact alone and must search within themselves for the reason behind their existence. Lucien Strauch : An important social and political context lies in that delicate zone between the individual and the masses, which can be broken down into individual existences and their interpersonal relationships. The philosopher Robert Salomon wrote that being an independent individual is on one hand a necessary condition for love, but that this condition must also be overcome by love. The individual insists on autonomy, but love demands a mutual determination. Even at the very moment of fulfilment, we are aware of the chasm that divides us. Narcisse sees a handsome face reflected in the water and falls deeply in love with it. It is only later that he realises that he is seeing his own reflection and thus dies in mourning because he was not able to unite with his beloved image. He is ready to create a link, but he is continually thrown back on himself. David Marton : It’s no coincidence that Ovid brought the two characters Narcisse and Écho together. It is human nature to want to establish a single character. One true god, a true partner, a true job. But experience shows us that every situation emerges out of a pair of opposites, and this is unbearable. When we reach a certain state, we simultaneously experience the failure of that state. In the figures of Narcisse and Écho we can see this same complementarity ; we almost see them as one single person : autonomy as Narcisse’s main principal and the desire to adapt, to repeat, and to unify in his echo. DAVID MARTON/ROAD OPERA NARCISSE ET ÉCHO 9 PRESS REVIEWS

ON DAVID MARTON

« A Phenomenon Called David Marton » Marie-Aude Roux, Le Monde, 11.02.2012 “On 27 November 1975, the artist was born into a well-respected artistic and intellectual family, in Budapest – his father was a painter and his mother a translator. But it was thanks to socialism, which required “all children to learn a musical instrument at school”, that he set out on the path of being a professional pianist, studying at the prestigious Franz Liszt Academy in Budapest, before being swept away by German pianist Klaus Hellwig, “one of Wilhelm Kempff’s former students, met during a summer class and professor at the Berlin University of the Arts”. Exit Budapest. Guten Tag Berlin! Marton found the piano to be “too lonely” and started to form a band; he studied orchestra conducting and musical theatre directing at the Hanns Eisler Berlin Academy of Music (from 1999 to 2004) and met master directors at the Schaubühne am Lehniner Platz – Swiss Christoph Marthaler (with whom he collaborated as a pianist and actor), Frank Castorf and Árpád Schilling (as musical arranger for both). He now has his own core of people working with him: pianist Jan Czajkowski, who plays and produces his musical arrangements, and scenographer Alissa Kolbusch, who designs his catch-all, geometric, walled-off, interior universes. They all deserve to be mentioned one by one, as their outstanding work stems from performance. Marton has gone from success to success and in 2009 was named Opera Director of the Year by magazine Die Deutsche Bühne for Don Giovanni. Keine Pause and Lulu.”

« One of Today’s Most Exciting Directors » Exitmag, oct. 2016 “Decidedly, David Marton is a special case. Of Hungarian descent and living in Berlin, he swears by stage work and “research work”. (...) He works until late on stage with singers, searching for that final rapport between theatre and music, and is one of those rare, truly inventive directors that dares to make the shifts and movements that others don’t, such as the choir’s slowed-down choreographies in his previous production Orpheus and Eurydice. He came to prominence at the Nuits de Fourvière festival with his rock’n’roll “pocket opera” Don Giovanni. Keine Pause, a compressed version of Mozart’s Don Juan played by a woman and performed with the keyboards and electric guitars of today. That required courage. A child of Christoph Marthaler’s radical and theoretical theatre (and of his humour too), (...) faithful servant to a music he loves for its liberty, David Marton, too, is just searching for one thing: new forms that make the experience of listening to live music a unique one. We’re looking forward to seeing the next work of one of today’s most exciting directors.”

« Horns Sound in the Forest » Egbert Tholl, Süddeutsche Zeitung, 31.01.2016 “David Marton has succeeded in creating a magical production of Bellini’s La Sonnambula for the Münchner Kammerspiele. (...) Even though he is simply continuing what he began ten years ago. Of Hungarian descent, former musician for Castorf and Marthaler, and trained pianist, conductor and director, apparently Marton can’t decide what he would rather do, opera or theatre. So he has decided on his own exceptional path: he does both at the same time. The stronger the subject matter, the more beautiful and profound the result. (...) Two aspects are particularly phenomenal: firstly, the way in which Marton combines characters and their dreams in Arndt Rössler’s lights, the way in which he makes each relationship and each action plausible in its melancholy and nostalgia, even as the boundaries between interpreter and interpretation become diaphanous. And secondly, the music.”

« We Call Him Opera » Sabine Leucht, Nachtkritik, 29.01.2016 “By playing with associations, Marton manages to open up small interstices in La Sonnambula’s DAVID MARTON/ROAD OPERA NARCISSE ET ÉCHO 10

continuous melodies and breathe air into them. The purely instrumental music, gently murmured and whispered, as sweetly as opera, or screamed passionately, is one form of communication, among others, that each of us can take hold of, according to our ability. (...) A theatre that is at once gentle, rough and intelligent.”

ON NARCISSE ET ÉCHO

« Narcisse Masterfully Breaks the Looking Glass » Alexandre Demidoff,Le Temps, 18.09.2019 “We can’t escape Narcisse. We can fool ourselves into thinking we’re indifferent to him, but he sneaks up on us. Just like Ovid’s hero, we chase after an image of the self – to the point of obsession, or even nausea. Examine your face from all sides and you will discover the unknown person within. At your own risk, of course. At the Théâtre de Vidy with his new production Narcisse et Écho, the young Hungarian musician and director David Marton has dreamt up a wonderfully atmospheric hunting trip for five performer- musicians. A tune floats in the air, mixed in with the sound of the sea. On stage in front of you there are five mobile cubes on wheels, with tinted glass – peep-show red, disreputable yellow, electric orange. These small islands are a fool’s paradise. A man wearing a vest comes hurtling onstage, as lively as the seer Tiresias, who foresaw Narcisse’s destiny, a ladies’ man who after breaking hearts (beginning with that of Écho) is sentenced to love only his own reflection. It may be that the pianist (Michael Wilhelmi) is Tiresias, or rather one of the Rhapsodes. He pushes open the door of a transparent cube, sits down at the keyboard, and lets himself be swept away in music. A flurry of jazz. Two women in turn slip into the story. One with the vintage elegance of the young girls in Jacques Demy’s musicals and the other with the rough authority of one of Rainer Werner Fassbinder’s heroines. Seated in your comfortable armchair, you begin to daydream : these night-time beauties remind me of Écho.” DAVID MARTON/ROAD OPERA NARCISSE ET ÉCHO 11 DAVID MARTON THORBJÖRN BJÖRNSSON

Conception and directing Interpretation

After studying piano in Budapest, Hungarian David Born in Iceland, Thorbjörn Björnsson studied Marton learnt from directors Christoph Marthaler, classical singing at the Hanns Eisler Academy of Frank Castorf and Árpád Schilling – with whom he Music in Berlin and performed the title role in Kleist soon collaborated as a musical interpreter and by Rainer Rubbert. He has worked with director arranger. His early productions demonstrated his David Marton for ten years in theatres such as the keen sense of dramaturgy and stage music. He has Schaubühne in Berlin, the Staatstheater in Dresden, become attracted to the relationship between them, the Theaters in Hanover and Stuttgart, the where one never dominates the other: how can Volksbühne am Rosa-Luxemburg-Platz in Berlin theatre and music create a dialogue, oppose one and the Kammerspiele in Munich. He made his another, complete one another? How can music be directing debut with Annika Stadler in Das Verein translated into theatre? By searching for the rhythm and Holzfæller, and his productions of Replay and and melodious harmony within theatre and the Insider by Julia Violetta Marx were presented at the drama within music, by revisiting major canonical Schlosstheater in Berlin. As a performer, he is works in a manner as free as it is virtuosic and regularly invited to musical institutes and theatre learned, he reveals the musicality of beings and the companies such as Hauen und Stechen, Atonale e.V., imaginary possibilities of music. The performances Operalab, Last Song, GKW Basel, Hexenkessel and as well as the operatic productions of this artist, the Neuköllner Opera. He also played the main role barely forty, are today produced and acclaimed by in the film Der Traumhafte Weg by Angelas Europe’s greatest theatres and opera houses, in Schanelecs, released in 2016. In 2019, he performed particular, the Sophiensaele in Berlin, the Volksbühne in Didon et Enée, Remembered by David Marton at the am Rosa-Luxemburg-Platz, the Burgtheater in Opéra National de Lyon and at the Ruhrtriennale. Vienna, the Royal Theatre in Copenhagen, the Schaubühne am Lehniner Platz, the Münchner Kammerspiele and the MC93 in Paris.

Interpretation and music Interpretation and music

Paul Brody studied trumpet, composition, and poetry Daniel Dorsch is a musician and sound designer at Boston University and the New England living in Berlin. After ten years of studying classical Conservatory of Music. He has lived in Berlin for over piano he turned to experimental electronic music twenty years. As a composer and solo artist, much and created sound spaces for Expo ‘92 in Seville, of Brody’s work has been with John Zorn for the Expo 2000 in Hanover and the Bauhaus Dessau. He Tzadik label and Enja Records. Brody has extended was the keyboarder and producer for rock and pop his compositional techniques to sound installation bands such as Madonna Hip Hop Massaker, Recorder and radio art, which is often dedicated to exploring and Herr Blum. His silent movie project Tronthaim the world between music and spoken word. Some of was invited to festivals such as the MIDEM in Cannes his most notable works are Inside Webern (Boulez and Le Salon du Livre in Paris. He has worked Saal Berlin), Five Vocal Pieces (Jewish Museum extensively at the Thalia Theater in Hamburg, Berlin), Art Accompanying Noise (Gorki Theater), Five Staatstheater Stuttgart, Kammerspiele München and Families Listening (Transmediale Festival) and The the Maxim Gorki Theater in Berlin. One of his latest Music of Yiddish Blessings and Curses (Canadian compositions was created for Hans-Werner Language Museum). Brody’s Artist in Residence Kroesinger’s production of Stolpersteine at the sound installation at the Munich Kammerspiele, Badisches Staatstheater, which has been shown in Singing Melody/Talking Story, which explores the Nancy, Riga, Tel Aviv and Beijing after being invited qualities of aria and recitative in ordinary language, to the renowned Berliner Theatertreffen. He currently has been featured on the Deutschlandfunk sound art works with his own invented, electro-acoustic series and at the Prix Europa Broadcasting Festival. instrument, the Ele Meta Phone, which he uses both Brody is also an established theater composer and in sound installations and as an instrumentalist. performer. Currently, Brody is composing an opera based on interviews with people living in Nancy for danieldorsch.de the Opéra National de Lorraine. paulbrody.net

Interpretation Scenography

Vinora Epp was born in 1993 in Minneapolis, United Christian Friedländer, Danish scenographer and States. After completing her secondary school actor, was born in 1967. He is a graduate of the Royal studies, she decided to study theatre in France. She Danish Academy of Fine Arts. He began his acting spent two years at the University of Rennes 2 career with Katrine Wiedemann in 1993 in a television studying for a bachelor’s in performing arts. programme broadcasting theatre productions. He Alongside her university studies, she participated in has worked with internationally recognised directors many workshops, shows, and projects by cultural such as Anders Paulin, Katrine Wiedemann, Tue organisations and theatre companies in Rennes, in Biering, Bille August, Kasper Holten, Jeremy Weller, particular with the Vertigo group. In 2015 she began Alexander Mørk-Eidem, Frank Castorf and David a three-year training programme at the École de la Marton. Since 1993 he has created more than eighty Comédie in Saint Étienne (under the direction of sets for theatres and operas throughout Scandinavia, Arnaud Meunier), in its 28th edition. As part of the Germany and France. From 2004 to 2007, with Tue programme she works with Pauline Sales, Lorraine Biering, he was artistic director at the Turbinehallerne, de Sagazan, Fausto Paravidino, Frédérich Fisbach, a theatre stage designed inside an abandoned factory Claire Aveline, Maguy Marin, Vincent Garanger, the in the centre of Copenhagen. From 1998 to 2013 he NIMIS group, Kaspar Taintureier-Fink and Aurélie was a member of the troop at the Royal Danish Droesch, Dorian Rossel, Matthieu Cruciani, Pascal Theatre and as such participated in approximately Kirsch, Arnaud Meunier and Raphaëlle Bruyas, thirty productions, including Hamlet (Shakespeare, among others. In 2018 she performed with Fabrice directed by Alexander Mørk-Eidem) for the opening Murgia in her creation SYLVIA, based on Sylvia Plath, of the main stage at the Royal Danish Playhouse in at the Théâtre National Wallonie-Bruxelles. In early 2008. During this time, he created the scenography 2019, alongside Matthieu Cruciani and Pauline for many of the Royal Theatre’s productions: Nero Peyrade, she participated in the project Le Théâtre (Rhode), Animals in Paradise (Barker), Uncle Vanya c’est (dans ta) classe. (Chekhov), Ivanhoe (Rhode, based on Scott), etc. He lives and works in Copenhagen and Berlin.

Interpretation Costumes

Born in Quebec, Canada, Marie Goyette studied Born in 1981 in Barcelona, Valentine Solé grew up in piano at McGill University in Montreal and in London Paris where she graduated with a diploma from the with Albert Ferber and Radu Lupu. She settled in École de la Chambre Syndicale de la Couture Berlin in 1989 and has moved away from traditional Parisienne. She started out as an artistic and costume concert work and expanded her musical activities associate alongside François Lanel and the into the field of performance and radio art. After Compagnie L’Accord Sensible (Les éclaboussures, completing several residencies at S.T.E.I.M. in D-Day, Champs d’Appel). From theatre to opera and Amsterdam and the TU studio in Berlin, her work from dance to cinema, she has continued to explore includes sampling and personal electronics (wire the possibilities that costume can offer in various tap-dancing shoes). She has since branched into projects, notably with Loïc Touzé (Forme Simple), Ola musical theatre (from 1995) and for more than ten Maciejewska (Teckton, Bombyx Mori, Dance-Concert), years has appeared in works by Heiner Goebbels (Die Hélèna Villovitch (Le plus petit appartement de Paris Wiederholung, Hashirigaki). More recently, she has (ou presque), Sofas), Kevin Jean (Des Paradis, La performed in many of director David Marton’s Poursuite du cyclone), Marion Siéfert (Le Grand productions, including this year in Dido and Aeneas Sommeil, Du Sale!, Jeanne d’Arc), etc. This is the first at the Opéra National de Lyon. Marie Goyette danced time she has worked with David Marton’s team, on in Jérôme Bel’s The Show Must Go On at the his new creation Narcisse et Écho. Volksbühne and in 2018 began performing in works by choreographer Trajal Harrell. She also played a role in Wes Anderson’s The Grand Budapest Hotel and in Caroline Link’s Als Hitler das rosa Kaninchen stahl, which will be released this year.

Dramaturgy Light

Lucien Strauch studiert Deutschen Literatur und Henning Streck began his career as a lighting Philosophie an der Humboldt-Universität Berlin und designer at the ORPH-Theater in Berlin, which he absolviert parallel Assistenzen an der Volksbühne co-founded. He studied at the August-Everding am Rosa-Luxemburg-Platz Berlin (Intendanz Theatre Academy in Munich and later worked at Castorf), dem Wiener Burgtheater, Schauspielhaus many renowned theatres and stages – Salzburg, Hamburg, Kampnagel und Schauspiel Frankfurt, bei Berlin and Sydney Festivals, Ruhrtriennale, Wiener Karin Henkel, Oliver Reese, Barrie Kosky, Stephan Festwochen, Staatsoper unter de Linden, Schaubühne Kimmig, René Pollesch und Martin Wuttke. An der and Volksbühne in Berlin, Thalia Theater in Berliner Volksbühne spielt er in René Polleschs Hamburg, Staatsoper in Hanover, Frankfurt Theatre, Service / No Service und fertigt Übersetzungen und Monnaie in Brussels, Augsburg Theatre, Übertitelungen für Frank Castorfs Die Kabale der Kammerspiele in Munich, Perm Opera, Baden- Scheinheiligen und FAUST an. Seit 2014 arbeitet er Baden and Staatstheater Stuttgart. He has worked kontinuierlich mit David Marton (u.a. Opera National with Dimiter Gottscheff, Katrin Brack, Mark de Lyon, Théâtre La Monnaie Brüssel, Théâtre Vidy- Lammert, Michael Thalheimer, Olaf Altmann, Lausanne). Christoph Marthaler, Anna Viebrock, Bert Neumann, Rene Pollesch, Jürgen Gosch, Johannes Schütz, Heribert Sasse, Christian Petzold, Christoph Schlingensief, Frank Castorf, Christian Friedländer, Barry Kosky, Nina von Mechow, Raimund Bauer, Yannis Kounellis, Philipp Himmelmann and Leander Haußmann. Since 2013 he has regularly worked with David Marton. He was also the artistic director of the lighting department at the Schloßpark Theater, the Volksbühne and Deutsches Theater in Berlin, and taught at the Mozarteum in Salzburg. He has been teaching at the Academy of Fine Arts in Munich since 2014 and currently works as an independent lighting and set designer.

Interpretation and music

Michael Wilhelmi studied mathematics, logic, and philosophy at the University of Leipzig, followed by piano, jazz, and composition at the Hanns Eisler Academy of Music in Berlin, where he has been teaching improvisation to students in orchestra conducting since 2004. In 2001 he formed a duo with Thomas Kusitzky called “(((controller-band” that performs live electronic music. They developed software designed to process music samples in real time; Controller-Band performs concerts in Germany and abroad. Michael Wilhelmi has also produced radio recordings for German broadcasters WDR and RBB, as well as concerts in several festivals. From 2005 to 2010 he was the director of the TASTEN Festival : Berlin Piano Days. In 2009 he founded Ensemble Interactif and introduced a series of concerts called NewOpenForm that accompanied the development of his composing software of the same name. Since 2008 he has also worked as musical director and pianist with various theatre directors such as Barbara Weber, Claudia Meyer, Robert Wilson, Christoph Schlingensief, Herbert Fritsch, and David Marton. He recently worked with David Marton as a composer and interpreter for La Sonnambula, The Marriage of Figaro, and On the Road. michaelwilhelmi.de