PHILIPPE QUESNE FARM FATALE - TI
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TI O N
CREA 19
20
PHOTO → MARTIN ARGYROGLO
FARM FATALE
PHILIPPE QUESNE
R
TOU 21
2 0 -20
20
PRODUCTION, BOOKING AND TOUR MANAGEMENT
Mathilde Jude - Executive Production Officer
+ 33 (0)7 69 68 82 73 - production@vivariumstudio.fr
FARM FATALE
CONCEPT, SET DESIGN COSTUME COLLABORATOR DRAMATURGY PRODUCTION
AND DIRECTION Nora Stocker Martin Valdés-Stauber Münchner Kammerspiele –
Philippe Quesne Munich
MASKS DRAMATURGY
CREATED AND PERFORMED Brigitte Frank COLLABORATOR COPRODUCTION
BY Camille Louis Nanterre-Amandiers,
Léo Gobin STAGE MANAGEMENT
centre dramatique national
Damian Rebgetz Loïc Even RUNNING TIME
Julia Riedler 1h30
LIGHTING
Gaëtan Vourc’h Fabien Bossard This show premiered on
Stefan Merki or
March 29th, 2019 for the
Raphael Clamer (alternately) SOUND
repertory of the Münchner
Théo Ernandorena
SET DESIGN Kammerspiele, Munich,
COLLABORATOR Germany.
Nicole Marianna Wytyczak
For his latest work, which entered the repertory of In fact, these men and women striving for a better
the Munich-based Kammerspiele theater this season, world are mostly daydreamers, poets and activists
Philippe Quesne has brought together three actors with a charming and intoxicating tendency to marvel
of the regular Munich troupe and two longtime at the beauty and diversity of nature. These are
performers of his work. At the boundary between disarmingly funny and kind heroes living at plant
the human and the puppet, the peasant and the or animal level, somehow trying to steer clear of
scarecrow, the five masked characters of Farm a rampant capitalism that destroys forests, lands
Fatale appear and settle against a spotless white and oceans, and to save the multiple lives of those
background. teeming, speaking, poeticizing and thinking around us.
The audience is then led into a world highly evocative
of the farm, complete with haystacks, the crowing « It is our task to imprint this temporary, perishable
rooster, twittering birds, pitchforks and a collection of earth into ourselves so deeply, so painfully and
farm tools. Here lives a group of poet scarecrows that passionately, that its essence can rise again “invisibly,”
run an independent radio station, sing, play music, inside us. We are the bees of the invisible. » Rainer
invent slogans and sometimes wax philosophical. Maria Rilke
Masked and speaking in distorted voices, these
contemplative clowns attuned to the pulses of the
planet may turn out to be somewhat familiar.
INTERVIEW WITH PHILIPPE QUESNE
PHOTO → MARTIN ARGYROGLO
How did this farm-inspired project how did you come to make that major
come about? dramaturgic decision?
There are many reasons. First, there was an invitation I’ve noticed that children start playing farm early
by the Stadttheater Kammerpspiele in Munich. After on. There are a lot of toy farms with model animals,
our first collaboration on Casper Western Friedrich, utensils, plants and so on. Those educational toys
they suggested I make a new work with the actors of are more than a stereotype, they suggest that each
the ensemble. Also, I was eager to work on the theme and every one of us is potentially a farmer. We can
of agriculture, farming and the soils. I really care all consider living off the grid by cultivating the land
about environmental issues. I wanted to talk about to produce what we need for our subsistence. In this
agriculture, how we treat or mistreat the soils, how we dramatizing of the farm, I felt I needed to create
grow them and eventually about what we eat. The title a kind of distancing by using masks and distorting
of the show - Farm Fatale – epitomizes this idea of the the voices with effects, which also brings in a
threat, the ecological disaster, or even doomsday that clownish dimension. In that way, we’re not mocking a
humanity is inflicting upon the environment. For my professional or social environment, but we’re playing
previous show – Crash Park – I had a compelling image: around with thought-provoking caricatures to actually
an island, a rock isolated in the middle of the ocean. speak on the human race. To make these fabric masks,
For Farm Fatale, the idea of a fable with scarecrows we resorted to traditional German techniques that
gradually came together as I worked with the actors. have long been used by the Kammerspiele in Munich.
That’s how I knew early on that the actors would play
with masks on, like figurines or dolls. The fact that these country
people look like scarecrows can be
interpreted in many ways. Could it
Speaking of masks and the fact that also mean that they are not just
the actors’ voices are distorted, trying to scare away the birds that
might eat their crops but undesirable they have. They have to make do with almost nothing.
beings as well? And so, as a result, The show has a comedia dell’arte side as well, and even
aren’t they clowns in their own a fairgrounds theater side when a wagon appears. But
right? I think the most important thing is the simple and
precarious side of it all, like a post-human world.
The intention is to show that we are living in a fairly
weird world in which humankind is distressing. So, we
use comedy, exaggeration. The scarecrow aesthetics
is engaging because it comes from a different era. It’s
a somewhat dated figure, kind of like the vagrants
in Waiting for Godot. These are battered bodies that
bring to mind cripples as well as those we once called
paupers. The likable version is the clown with straw
in his hair. But if you look at films like The Wizard of
Oz or many other horror movies, the scarecrow can be
frightening, or even become an evil figure. Today the
scarecrow figure has deteriorated. Not only does he
not scare birds anymore, but there are fewer and fewer
birds on earth.
Actually, these comical and endearing
characters have a fragility about
them. They are also freaks, in the
sense used by American hippies at
the time. Could they be portrayed
as outcasts, or even hardcore green
activists?
Yes, they can be represented as outcasts, men and
women that got pushed out of urban centers as if
they were carrying diseases. But here, it’s intentional.
They opted out of this world. They can be seen as a
scarecrow commune. They are putting together a
pirate radio. They are also sound seekers, which is
why there are microphones in the show. They aim to
document the beauty of nature’s sounds, as if they
were building an archive before the end of the world,
when insects and birds died out. The paradox, or the
sense of hope, depending on your vantage point, is
that even though they are aware of this extinction,
they have a life project. Through their desire to share
the findings of their research and so to get a message Strikingly, these farmers never work
across to other people, as well as through their the land. You never see them plowing
archiving of life, they bring out the voices of invisible or milking cows. But still, they
communities. They feel strongly about the question of convey a sense of confusion and seem
non-humans. That leads them to interview a bee, for deeply concerned about the state of
example… the earth. In fact, it’s hard to tell
where they are or what world they
A significant aspect of the set live in.
design is that it is based around a
kind of fake realism. For instance, They may be somewhere, in the middle of nowhere,
the haystacks are not made of real much like children when they play farm. This could be a
hay. Why is that? post-apocalyptic world, like in a novel or a sci-fi movie.
These are the last pockets of resistance, islets
All my shows have a DIY quality I feel strongly about. inhabited by communities of the last surviving
Typically, theater reconstructs reality from various humans. We live in a world where the issue of
materials. We aim to translate or transpose the world. agriculture has become extremely critical. It’s
I’ve always liked this plastic quality, to build artificial significant that the core business of Bayer,
landscapes. So, I wondered what archetype I should the company that bought out Monsanto, is to
start off with. That’s why I went back to an old felt manufacture medicine. So, on one hand, they pollute
or wood toy aesthetic, woolen haystacks, rakes, the soils and the aquifers, and on the other, they
pitchforks, plastic birds, a resin pig... The back of the produce the antidotes. Today, farmers are being
stage is white. That embodies a clean slate, a new pressured by agribusiness. Those who resist and want
departure, starting over. Also, the set design was also to grow the land without following the dictates of the
geared towards focusing attention on the five figures farming industry are isolated. So, what we wanted to
present in the show. This white and almost empty create with this show is a utopia within a dystopia.
space appeals to your empathy as you realize that’s all They don’t give up, they don’t despair, but they try to
reinvent themselves and reach out to other scarecrows world. With this show, we’re trying to run a theater of
through their pirate radio. In the show, there’s a post-apocalyptic deceleration.
character that shows up because he heard their call
and joins the group. This is the alternative scarecrow
movement, the last survivors of an endangered world! INTERVIEW BY HUGUES LE TANNEUR,
MAY 2019
These scarecrows have a child-like
quality and a great capacity for
empathy and wonder…
To me, childhood is a very important stage in the life
of a human being. Often, that’s when everything
changes. The child is very close to the ground, it’s
amazing to feel that you are at the same height as a
ladybug or a snail. Of course, it doesn’t last long. And
that’s where the scarecrow figure comes in.
Unlike the child that bonds easily, the scarecrow just
stands there by himself, waiting indefinitely. But
there are also farms where scarecrows are arranged
in groups like small families or groups of friends. The
scarecrow figure also conjures the doll, the mummy,
and, by extension, the robot. In the show, there is an
android chicken. It’s an industrial artefact, an egg-
laying machine that they eventually discard. But I
think the distinctive characteristic of these figures,
however battered they may be, is that they know how
to take their time. That’s why they sing, play music
and organize a slogan contest. And that’s why they
have such a great capacity for wonder and meditation,
and a deep appreciation of the world. The scarecrow is
by definition never in a hurry, he has all the time in the
REBOOTING THE FICTIONS
They, themselves, don’t seem to master that story
– mastery is too humanized a skill anyway – but
they trust it and simply pay attention. They pay
attention to everyone’s story as well as the stories
of birds, bees, mushrooms and eggs, which are not
merely what the hen spawns but the shared secret
we chose as a group. As unknown and precious as
“living organisms” are, this secret cannot be preserved
unless we attach ourselves to what we spawn, what
we sow, or whatever can still settle on the remaining
branches of the threatened trees and forests in our
environment. Those fragile birds that so many times
we have forgotten to listen to or rather, forgotten that
they were actually talking to us through what we only
consider as meaningless song.
“We are expanding the lens patiently, imagining with
boldness but restraint and equilibrium. What is the
bird “saying” when he is singing? For that matter,
does he sing? We suspect that birds sing but that’s
not how they see it. So, if birds couldn’t care less
about the song we give them credit for, we shouldn’t
conclude that there is meaning there, there isn’t. What
they do is more important, more grammatical. They
deliberately “conjugate”, they make sentences that we
need to connect with ours.”
Our little group of scarecrows expands the vision
and ensures that those new connections take hold
as we must anticipate their fateful oblivion. They
casually build up a thrilling archive of the future. They
record and collect secretions like Donna Harraway’s
“Children of Compost” as if to flesh out our narratives
in a different way. Eschewing catastrophe, they look
instead to the stanzas of poetry, which has also been
« What does Farm Fatale refer to? Is it the play we a distinctive breath of humanity. This little group
are about to see which, presumably, should depict of scarecrow poets and musicians drawing from the
the tragic lives of farmers and other “country philosophy of Emanuele Coccia, Marielle Macé, Bruno
people” played by 5 actors on stage, switching Latour and Jean-Baptiste Vidalou does not seek a
between doom and gloom observations about the different humanity but a social forum in which the
present and fatalistic visions of the future? Or, is it world can rebuild itself from the interactions that tie
what the play is effectively meant to undermine by together the little life journeys of humans. Humans
offering an alternative take on the situation? When that resist the deadly politics of unbridled capitalism,
fatality is the fodder for the reality presented by the which destroys forests, lands, oceans and the multiple
mainstream media, rehashed into “rescue plans” by lives of those teeming, speaking, poeticizing, and
politicians, “collapsology” theories or other forms of thinking around us.
dominant survivalism, shouldn’t we expect art to offer
alternative narratives? Narratives that come along Farm Fatale or how to put an end to fatality. Reopen
“after” the predicted disaster or “before” what we minds, rekindle attentions, reboot the fictions and the
fatalistically acknowledge will happen: the full-scale lucid science fictions, revisit the songs of humans with
collapse of humanity, brought upon itself by its own the languages of birds, build shacks or put together
actions, its overly “human” projections that annihilate radio stations, exist “in between” and make this
other forms of existence, which yet could have brought interstice the place where the imposed “endgame”
“us” some much needed air and respite. of the present drama turns into a bridge to our new
propositions.
The spaces of possibility emerge through the cracks
of these fateful endings. Against a spotless white CAMILLE LOUIS, MARCH 2019
background, 5 characters at the boundary between
the human and the puppet, the “farmer” and the
scarecrow, appear and just settle in there, in the
suspenseful impending doom and the suspenseful
narrative that for once we don’t already know.
THE CONVERSION OF THE SCARECROWS
EMANUELE COCCIA purpose. Have you ever seen live animals in a museum?
Translation: Stephen Grynwasser And how many plants grow in our theatres?
We think we’re human beings, but in everything we
They’ve actually been around forever. Tibullus writes do we’re actually scarecrows. And the world we have
that the Romans used vermilion statues of Priapus. created appears to have been fashioned in the image
They exist everywhere, regardless of cultural latitude. and likeness of scarecrows.
They come in all sorts of shapes and sizes, yet their
function remains similar. They decide, based on Farm Fatale takes this equation seriously and
arbitrary rules, which living creatures should go implements it right through to its final consequence.
together. To achieve that aim, they operate in ways Human beings have disappeared once and for all, and
that are both sophisticated and insidious: they do not only the scarecrows have survived. The Apocalypse is
kill; they scare. And they are outstanding political not the end of life. It’s a life in which the species will be
artefacts precisely because they make fear the driving like scarecrows to one another, and so effectively that
force that splits up communities. Scarecrows are not no contact or communication will be possible.
just trivial implements used in agriculture to improve
the crop yield. They are first and foremost the leading Only once the end has occurred will the scarecrows
protagonists of a bizarre inter-specific terrorism appear to realise the error of their ways. Here Quesne
that has long accorded with the very definition of delivers an improved version of the scarecrow myth
humaneness and what we call politics. In this role, from The Wizard of Oz. Farm Fatale depicts a land
Philippe Quesne has summoned them to the Farm ruined by the separation of the species in which the
Fatale to make them the protagonists and creators of scarecrows finally come to their senses and alter their
the new world. behaviour.
Contrary to what they were doing for thousands of
For centuries, what we call politics has been the work years, they now live nostalgically reminiscing about
of people who tried to play the role of the scarecrow birds and birdsong. They find themselves moved by
by scaring off and driving away all living creatures the tiniest of insects they encounter. They are all
that belonged to a different species. Just look at how activists. Instead of ensuring that there is silence on
we built our towns and cities. We often talk about Gaia, they form music groups and sing the praises of
agriculture as the cradle of monoculture, and yet there the Revolution. But their project is even more radical,
is no more radical monoculture than our towns and for instead of chasing away other species, they now
cities: vast spaces in which individuals of the same stand guard over spaces of amalgamation – the most
species are gathered and do everything they can to radical ones possible. They are the custodians of eggs,
oust those who belong to other species. The forests – of places where the identities of all species blend to
the word itself comes from the Latin foris, meaning create a world in which the division ceases to separate
‘outside of them’ – are a refuge for all those who have the body of one from the body of another.
been driven away by the urban scarecrows. Politics
represented the attempt to turn every single human The new world – a world in which politics and ecology
being into a scarecrow: into an implement that can be will be completely different to what they are today –
used to drive away not just birds also but members of appears to be a world in which the body of one species
other species, for hygienic and productive reasons. seeks a connection with the body of another, rather
than encouraging massacres and purity.
It’s not just politics that was inspired by them. It is hard to imagine a more radical and important
Ecology, too, has let itself be seduced by it. Since the gesture than Quesne’s. Farm Fatale is not a fairy tale;
middle of the 19th century, when an English botanist it is a manifesto to alter nature and the meaning of
applied the categories of customary law to plants what we call art. For years we have been blaming
and made a distinction between genuine ‘citizens’ science and industry for the current ecological crisis:
and invaders, ecology has doggedly reflected on the the two spheres of technology and artifice that are
relationship between life and space in both territorial said to have made the Anthropocene possible. From a
and proprietorial terms. Accordingly, there are certain perspective, the Anthropocene is the utopia of
indigenous and invasive species, but also territories all scarecrows (i.e. machines designed to expel from
which, by nature, are intended for certain species and a particular area anything that is not human). It is
not for others. An ecosystem would therefore be a sort a world made up only of human beings and traces of
of scarecrow that is embodied in the territory and human life, as if non-human life had been eradicated
drives away all alien species in a natural way. from the planet. Yet art produces as much artificiality
as technology or industry. And unlike the latter two,
Even what we call culture – whether we’re talking art is the one that infuses artificiality not just into the
about cultural or purely technological artefacts – is like body, but also and above all into the mind. Even before
a giant Leviathan scarecrow that has to terrorise the technology and science, it was art that pushed the
other species and keep them as far away as possible non-human away from every aesthetic and cognitive
from the places we live. All machines appear to be horizon. The great scarecrow of modern aesthetics has
objects that serve the sole purpose of driving away obliterated from the pages of novels, art museums,
and destroying plants, animals, fungi, and bacteria. cinema screens and theatres all the animals, all the
But all cultural artefacts also seem to pursue a similar plants, and all the microbes, fungi and bacteria
that no longer have civil rights. Art is not innocent. It has not limited itself to making all non-human beings disappear and to scaring off with a monstrous EMANUELE COCCIA aesthetic terrorism. It has, above all, contributed to denying any capacity to act whatsoever to anything Emanuele Coccia was born in 1976 and is an Associate that does not have human form. Plants, animals, Professor of the History of Philosophy at the École des bacteria cannot be the protagonists of plays, films Hautes Études en Sciences Sociales in Paris. He received or novels because they do not have the ability to act, his PhD in Florence and was Assistant Professor of the because they are not endowed with conscience, will, History of Philosophy in Freiburg, Germany. His book and freedom. Far more than science and industry, it Die Wurzeln der Welt, for which he received the Prix was art that deluded human beings into thinking they des Rencontres Philosophiques de Monaco the previous were the only organism capable of desire and thought. year, was published in German in 2018. And it is precisely for this reason that the Revolution – the conversion of the scarecrows – needs the theatre as its stepping stone. For centuries, the theatre has been the privileged space of machines, i.e. of material objects capable of moving autonomously. The automaton is a reality of the theatre more than of technology. So by altering the theatre we are able to alter the idea of artificiality. It is only in and through the theatre that the scarecrow machines we have been creating for centuries will be able to come to their senses. Conversely, theatre is the one art that serves to identify those who act. For it thinks not just of the space as a scene, as a setting, but above all of the world as dramaturgy, as a gathering of actors, of individuals capable of taking action. And that is precisely what we are lacking. Philippe Quesne is not only the most radical among contemporary artists, but also the most radical among philosophers. Indeed, his works are about the capacity of non-human life to take action. For if birds and moles too are able to take action, then biological questions need to be discussed in the theatre, and not in laboratories. Theatre, then, is the science that enables us to overcome the current ecological crisis. What we need are not other machines, but other instances of dramaturgy. In the past we made two big mistakes. On the one hand, we considered nature as a giant spectacle unfolding in front of us in which we were mere spectators and not protagonists. On the other hand, precisely for that reason, we always and exclusively considered dramaturgy as someone else’s problem. We don’t need to alter nature, and we don’t need to alter the world. We just have to alter the script.
BIOGRAPHIES
PHILIPPE QUESNE masterclasses, films
and radio dramas with
Born in 1970, Philippe
Louise Siffert, Joris
Quesne received his
Lacoste, Grand Magasin,
education in Visual Arts.
l’amicale de production,
For 10 years he designed
and Hélèna Villovitch.
sets for theater, operas
Between 2009 and 2016,
and exhibitions. In 2003,
he performed in the
he created the Vivarium
works Les éclaboussures,
Studio Company, and
D-Day, Champs d’Appel
directed his first show,
and Massif Central by the
La Démangeaison des
Accord Sensible company
ailes, based on the acts
run by François Lanel.
of taking off and falling
In addition, he works as
down.
an assistant director to
Philippe Quesne hunts
Philippe Quesne (Next
the marvelous, the
Day, Caspar Western
tiny, and pushes to the
Friedrich and La Nuit des
extreme experiences of
taupes in which he also
our daily lives as well as
performs).
the relationship between
mankind and nature.
As he did as a child, collecting insects, he now works
STEFAN MERKI
and studies small communities under his microscope.
The scenography is used as an ecosystem in which he Stefan Merki, born in
immerses his actors into. Switzerland in 1963,
His shows, such as La Démangeaison des ailes (2003), studied drama at the
Des expériences (2004), D'après nature (2006), L'Effet Berlin University of the
de Serge (2007), La Mélancolie des dragons (2008), Big Arts. He got his first
Bang (2010), Swamp Club (2013), Next Day (2014), engagements at the
compose a repertory thot tours all over the world. Schillertheater in Berlin
In addition to his work for the theater, he creates where he performed in
performances and interventions in public spaces or productions by Benno
natural sites, and displays his installations in the Besson,Hans Neuenfels,
context of exhibitions. Katharina Thalbach, and
Since January 2014, he is the co-director of Nanterre- others.
Amandiers, National Dramatic Center. In 2016, he He has also been a guest
created Caspar Western Friedrich at and Welcome to at the Schaubühne
Caveland! at Kunstenfestivaldesarts in Brussels. In Berlin, the Thalia Theatre
2018/2019, he created Crash Park, la vie d'une Île at Hamburg and Theater
TNB in Rennes, and in Nanterre-Amandiers and Farm Aachen. In 1996, he joined
fatale at Kammerspiele in Munich. the ensemble of the
For the first time, he directed and created the set Deutsche Schauspielhaus
design of an opera, Usher adaptated from Edgar Poe, Hamburg. Besides his
music by Claude Debussy and Annelies Van Parys in stage engagements, he regularly works for film and
2018 at Staatsoper Unter den Linden. In 2019, he was television, as well as for BR Radio. He also plays in the
the artistic director for the Prague Quadriennal where band Kapulikaupunki.
he was rewarded the price for best pavilion. Since 2001, Stefan Merki has been a permanent
In 2020, he will create a scenic version of Gustav member of the Münchner Kammerspiele. He recently
Malher’s symphony Das Lied von der Erde at the performed in productions such as Franziska (directed
Wiener Festochen (Austria) and the set design for by Andreas Kriegenburg, 2012), Onkel Wanja (directed
choreographer Meg Stuart’s new creation. by Karin Henkel and Johan Simons, 2013), as well
as Geschichten aus dem Wiener Wald (directed by
Stephan Kimmig, 2014). He has performed for Philippe
Quesne before, in Caspar Western Friedrich (2016).
LÉO GOBIN
Born in 1990, in Paris, Léo Gobin trained in the circus
DAMIAN REBGETZ
arts and discovered theater in high school where
he attended the classes of Christian Giriat at La Damian Rebgetz, born in Darwin, Australia,
Chartreuse in Villeneuve-les-Avignon. He holds in 1978, studied classical singing (Queensland
a Bachelor’s Degree in Humanities and has been Conservatorium), music theater (Western Australian
involved in various performance pieces, workshops, Academy of Performing Arts) as well as sound studiesat Berlin University of the Rothenhäusler, and others. In 2016, she received the
Arts. As a performer he advancement award from the Association of Friends
worked on productions of the Münchner Kammerspiele and the AZ-Stern for
by Gob Squad (“Western Best Actress. In November 2017 she was awarded the
Society”), Warten auf die Bavarian Art Prize 2017 in the category of Performing
Barbaren, Hotel Savoy, Ein Arts. She also performed in Caspar Western Friedrich by
Theaterlabyrinth by Philippe Quesne in 2016.
blendwerk / Dominic
Huber as well as in
Unendlicher Spaß, an GAËTAN VOURC’H
adaptation of David
He attended the classes of
Foster Wallace’s work
Niels Arestrup at Ecole du
in an episode directed
Passage and later enrolled
by Anna-Sophie Mahler
at ENSATT in the classes of
at HAU (Hebbel am
Nada Strancar and Alain
Ufer). Damian Rebgetz
Knapp for drama, and
collaborated in the
Jean-Pierre Améris for film.
musical concept of
He also studied drama at
Frühlingsopfer by She
the University of Glasgow,
She Pop. Together with
Scotland.
Jessica Páez, Alexander Sieber and Thomas Koch, he
Selected directors he has
created the music performance Voice Box
performed for include
– that thing in your throat (100 ° Festival Berlin, ARS
Noëlle Renaude, Florence
Electronica). In 2012, he staged The Heartbreakers
Giorgetti, Édith Scob,
Reunion Tour, a performative audio walk through
Christophe Huysman,
urban space on the occasion of the klangstaetten-
Frédéric Maragnani, Maurice
stadtklaenge festival in Braunschweig. In 2012/13,
Bénichou, Agnès Bourgeois,
he presented a series of lecture performances for the
Valérie Mréjen, Robert
Neukölln Opera on the subject of “Science Fiction
Cantarella, Rodolphe Congé,
Opera with Paul Hankinson and Jessica Páez. Several
etc.
music theater projects followed, including Something
He has worked repeatedly with Philippe Minyana and
for the Fans (Impulse, 2013) and The Hooks (HAU,
played in films by Martin Le Chevallier, Sébastien
2014). He also collaborated in X Apartments in Košice
Betbeder, Pascal Cervo, Noémie Lvovsky.
as well as in X Firmen at Theater der Welt in Mannheim
Since 2003, he has been involved in all the works by
in 2014.
Vivarium Studio- Philippe Quesne, including L’Effet
Since the 2015/16 season, Damian Rebgetz has been a
de Serge for which he won an Obie award for the New
permanent member of the Kammerspiele ensemble.
York performances (2010).
JULIA RIEDLER
Julia Riedler, born in 1990
in Salzburg, studied at
the Hamburg University
of Music and Performing
Arts. She has worked as
an artistic director of the
MS Dockville Festival for
Art and Music in Hamburg
and has been a member
of the artist network
cobratheater.cobra since
2009. In her final academic
year Julia Riedler was
taken on by the Deutsche
Schauspielhaus Hamburg
and in 2013 she received
the Boy Gobert Newcomer
Prize for outstanding
achievements in acting.
From 2013 to 2015, she
was a permanent member of Schauspiel Köln where
she mainly worked with Stefan Bachmann and Robert
Borgmann. She has appeared in various film and
television productions in Austria and Germany and
has also been involved in numerous radio plays. Since
2016, Julia Riedler has been a permanent member of
the Münchner Kammerspiele where she has performed
for directors Nicolas Steeman, Toshiki Okada, FelixSET DESIGN ASSEMBLY / DISASSEMBLY Assembly at D-1, disassembly at the end of the last representation CAPTATION https://vimeo.com/342040554 / ; code : margritisaB33 STAGE DIMENSIONS Aperture 15 m Depth 12 m minimum Height 7 m minimum
REDUCED VERSION Aperture 12 m Depth 10 m Height 5,5 m
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