Il giornale del Popolo (Svizzera), Sights

[…] Lo spettatore è chiamato ad una partecipazione attiva, con tutti i sensi all’erta per fare un’esperienza che lo interpella. Osservare il mondo con occhi nuovi, paradossalmente proprio attraverso i racconti di un gruppo di nove ciechi. […] Come vedi? Anche l’ascoltatore di queste testimonianze è dunque spinto alla riflessione, perché non bastano gli occhi per dire di vedere. Dipende dagli occhiali che si usano…

Credits
Sponsor
Nettles

With Nettles Trickster-p invites the audience to dive into a multi-faceted experience that dialectically explores the two extremes of our human journey: childhood and death.
The childhood of Nettles is however not defined by age and rather refers to a much wider shell that symbolically and metaphorically accompanies our adult life throughout; likewise, death is not only the inevitable stopping of the vital beat, but a much sharper archetypical dimension that connects us to unknown and unsettling perspectives.
Now a common trait of their characteristic poetics, Trickster-p creates in the absence of performers and places the audience in the centre of the dramaturgical action.
Led along a path with the aid of headphones, spectators are left free to elaborate, in total solitude, the relationship to the experience of which they are witness and agent, and to directly meet the succession of environments primarily based on the transformative power of the imagination.
The voice that leads them along the journey generates associations, astonishments, mysteries, factual accounts and instances of real life experience that traverse the subtle borderline between dream and reality, memory and reflection, childhood unrest and the immanence of death.
Nettles is a listening experience to the self who is committed to revealing its own thoughts and lets flakes of autobiography and moments of great intimacy burst through the harshness of the themes and the unavoidable radical nature of the encounter with the end.
Human vulnerability is manifest in the double layer of the fragility of the body and the oneiric, mysterious life of our deepest self, and the primordiality of childhood is made concrete in the ferocity of recollections and the obsessions of memory.
Immersed in a visual and sound scape that amplifies and expands the range of possibile readings, the journey through the rooms is a physical passage that is metaphor for an intimate motion within the mind, and for a deeply emotional, compellingly human condition.

Concept and realization
Cristina Galbiati & Ilija Luginbühl
Dramaturg
Simona Gonella
Voice (English version)
Gabriella Sacco
Artistic collaboration
Yves Regenass, Mamoru Iriguchi
Soundscape
Zeno Gabaglio
Editing and mixing
Lara Persia – Lemura Recording Studio
Space realization
F.M. Scenografie srl. (Buccinasco)
IT consultancy
Roberto Mucchiut
Trainees
Gaia Bozzi, Veronica Ferrari, Martina Galbiati (NABA Scenography undergraduates) under the supervision of Francesca Guarnone
Special thanks to
Gessnerallee Zürich, NABA-Nuova Accademia di Belle Arti, Margherita Palli Course Leader of NABA three years Scenography degree and professor Francesca Pedrotti
Production
Trickster-p, LuganoInScena
Co-production
Teatro Sociale Bellinzona, Theater Chur, ROXY Birsfelden, TAK Theater Liechtenstein, FOG Triennale Milano Performing Arts

Supported by

Pro Helvetia – Swiss arts council
DECS Repubblica e Cantone Ticino – Fondo Swisslos
Municipality of Novazzano
Fachausschuss Tanz & Theater BS/BL
Percento culturale Migros
Göhner Stiftung
Landis & Gyr Stiftung
Fondazione Winterhalter

Twilight

Choreography for the dying light

Twilight is an architectural space where action, sound and transformation can occur. A symphony of space in which the spectator is the only human presence in a room that continuously mutates its visuals and sounds. It is an invitation for the spectators to open up their perceptive space and create their own reality on the boundaries between inner vision and outer sight. Without the mediation of any performer, the audience approaches the work directly and becomes integral part of the dramaturgy.
Twilight is the threshold between day and night, when shadows lengthen and darkness looms. From the light we move into the darkness, beauty is eroded, we face the transience of it all. Twilight is the rhythm of breath, of electrical shocks, of light impressions switching on and off, of shadows shifting, of the ferocious explosion of water, of falling and plunging. It is the action articulated by sound, the silences generated by actions, gloomy notes, indistinct voices and violent ruptures Twilight is the embodiment of metaphorical images witnessed by the audience.
With Twilight Trickster-p renews its research on the interconnection of sound environments, spaces and spectators’ experience. By breaking the barrier between stage and visual arts, it creates a microcosm with rules contrasting those of the common space-time perception to create an experience both aesthetic and emotional.

Concept and realisation
Cristina Galbiati & Ilija Luginbühl
Dramaturg
Simona Gonella
Interactive light design
Paolo Solcia
Original soundscape
Luis Fernandez Diaz
Collaboration in the development of the concept
Joke Laureyns, Kwint Manshoven
Production
Trickster-p
Co-production
Teatro Sociale Bellinzona, LuganoInScena, Theater Chur, Roxy Birsfelden, TAK Theater Liechtenstein

Supported by

Pro Helvetia – Swiss arts council
DECS Repubblica e Cantone Ticino – Fondo Swisslos
Municipio di Novazzano
Migros-Kulturprozent
Ernst Göhner Stiftung
Doron Stiftung
Oertli Stiftung
Bürki Stiftung

Sights

We met blind people. Some were born blind, others lost their sight over time. We asked them to tell us how they see

One city, nine talking machines, nine witnesses: blind people who tell what it means for them “to see”.
Sights is an ever-evolving project which penetrates urban spaces and the daily lives of those who inhabit them, to reflect on the centrality of the eye and on the primacy of seeing.
How do we experience when sight is missing? What is the role of imagination and memory? What is the point of intersection or breakage between the visual and the imagery?
Map in hand, audiences are invited to walk the city in search for sound spots: voices and words of witnesses rendered by the talking machines, make public spaces intimate and personal, andthe city becomes a domain we walk also through our imagination.
The emerging sensory and emotional mapping invites the spectator to experience subjectively spaces that the artistic intervention has endowed with new meanings.
In every city the project will be devised and set upin collaboration with local participants: it is an ever-developing process feeding on the sites and their specific traits.

Concept and realization
Cristina Galbiati & Ilija Luginbühl
Artistic collaboration
Riccardo Fazi, Claudia Sorace (Muta Imago)
Maps, concept and graphic design
CCRZ
Editing supervisor
Lara Persia
Production of audio devices
D’Uva Workshop
Production
Trickster-p
Co-production
Teatro Sociale Bellinzona
Dicastero Turismo ed Eventi – Città di Lugano
Theater Chur
Auawirleben Theaterfestival Bern
far° festival des arts vivants – Nyon
TAK Theater Liechtenstein – Schaan

Supported by

Pro Helvetia – Swiss arts council
DECS Repubblica e Cantone Ticino – Fondo Swisslos
Migros-Kulturprozent
Ernst Göhner Stiftung
Bürki Stiftung

B

Room by room audio journey around the fairy tale Snow White

B, the second episode of a trilogy dedicated to fairy tales, has been created as a rereading of the classic fairy tale Snow White.  It is the end result of research focusing on contamination between different art forms.
B has been developed similarly to .h.g. (dedicated to the fairy tale of Hansel and Gretel) as a room by room installation in which the spectator is invited to travel through the spaces in solitude accompanied with headphones. But if Hansel and Gretel was the fairy tale of infancy, Snow White is the fairy tale of the passage from infancy to adulthood in which the infantile brutality of the anthropophagous witch leaves space for internal strife and for loneliness.
As in a recurring dream with undefined borders, Snow White lives in a kind of suspended world in which death is an ever present counterpoint:  immense deserted rooms, the darkness of the forest, the dirty and worn beds of the dwarfs.  These create the background of her loneliness.
In the fairy tale Snow White there appears to be something which is constantly in the balance between two opposites:  life/death, luxury/poverty, immaculate/impure.  These are the binomials upon which the narrative framework is grafted.
The rereading created by Trickster-p doesn’t want to be a typical museum-like path which slavishly reproduces the ambiances of the story, but rather a sort of trip through the most intimate and hidden aspects of the fairy tale itself.  These create shared and shareable steps in which each singular spectator can interact through their own personal imagery.
Far from the pin ups of our days, Snow White has something diaphanous about her.  She has a sort of fragile beauty; a bit emaciated – a perfect body, but already a predestined corpse.  But it is precisely in her desperate perfection, in her silent immobility that the fairy tale is – and remains – one of disarming modernity.

Concept and realisation
Cristina Galbiati & Ilija Luginbühl
Dramaturg
Simona Gonella
Design
Mike Brookes, Trickster-p
Soundscape
Luis Fernandez, Trickster-p
Editing
Davide Perucconi
Production
Trickster-p
Co-production
Migros-Kulturprozent
Teatro Sociale Bellinzona
far° festival des arts vivants, Nyon
Theater Chur
Schlachthaus Bern
TAK Theater Liechtenstein, Schaan

Supported by

Pro Helvetia – Swiss arts council
DECS Repubblica e Cantone Ticino – Fondo Swisslos
Migros-Kulturprozent
Ernst Göhner Stiftung
Fondation Nestlé pour l’Art
Landis & Gyr Stiftung
Oertli Stiftung
Bürki Stiftung

.h.g.

Installation in 9 rooms, one prologue and one epilogue

Fairytales belong to a deeply intimate and personal territory that defies age. Trickster-p again takes a fairytale as a theme, in order to work on a subject that belongs to the collective imaginary, disregarding facts to dive into a universe of images, memories and sensations evoked by the story.
.h.g. is a reading – and revision – of the classical fairy tale of Hänsel and Gretel, in the shape of an installation where theatre and visual arts merge. The spectator walks through 9 different physical-sensory rooms accompanied and guided by earphones. Each room is a world on its own, a passage into universes suspended halfway between reality and dream: here the mind slips into the imaginary and the external spectator becomes integral part of the experience. The installation evolves along the points of rupture and intersection of the story, in search of the links between the world of childhood and the world of adulthood.
Hänsel and Gretel is a beastly, cruel and merciless story
It is a story made of sounds and silences
It is a story of bones and flesh, of food and hunger
It is a story about home, then about forest, then again home
It is the story of two children who go into the thick of the forest holding hands
It is a story with both a clean and ferocious smell.
Suspended between ferocity and childlike lightness, .h.g. strives to be an experience both aesthetical and sensorial.

Concept and realization
Cristina Galbiati & Ilija Luginbühl
Artistic collaboration
Simona Gonella
Sound space technical production
Area Drama RSI
Audio recording
Lara Persia, Angelo Sanvido
Editing and mix
Lara Persia
Production
Trickster-p
Co-production
Cinema Teatro Chiasso
Teatro Pan Lugano
Teatro Sociale As.Li.Co. Como
In collaboration with
Radiotelevisione svizzera-Rete Due

Supported by

Pro Helvetia – Swiss arts council
DECS Repubblica e Cantone Ticino – Fondo Swisslos
Migros-Kulturprozent
Fondation Nestlé pour l’Art
Ernst Göhner Stiftung
Stanley Thomas Johnson Foundation