[…] Nettles harmoniously and surprisingly combines a discourse on childhood and memory with a reflection on death and its almost complete “absence” in contemporary society. Beyond the dramaturgical aspect, however, Nettles is also, and above all, a “device” that must function perfectly in every technical and technological detail, in order for the spectator to live this unique experience in the best possible way. In this respect, what is particularly striking is the abstractness, or perhaps better the sharpness, of the different settings that suggest references that are never explicit to the text, thus leaving each person to bring their own mental images to life. Lights, sets, colours, textiles, and scents are an essential dimension of the experience, on a par with the sound space masterfully occupied by “music that doesn’t sound like music”.
Nettles thus constitutes another chapter, perfectly successful, in the highly original artistic journey of Trickster-p, a company now firmly integrated in the international network of contemporary theatre, whose peculiar characteristics it has been able to grasp while nevertheless preserving the centrality of a personal and affective dimension which is stronger than any technological apparatus.

BZ (Switzerland)

Trickster-p

The game

The world as we have created it is a process of our thinking. It cannot be changed without changing our thinking.

Eutopia

The stories of the Earth have changed in nature and scale: we do not write stories to tell about the creation or the course of the world, but to avert its end.

Book is a Book is a Book

Ts'ui Pen must have said once: I am withdrawing to write a book. And another time: I am withdrawing to construct a labyrinth. Every one imagined two works; to no one did it occurred that the book and the maze were one and the same thing.

Nettles

At what age does one stop being an orphan? Who loses the father, let’s say at sixty, can he be defined an orphan? At ten yes – but at forty? (...)

Twilight

Choreography for the dying light

Sights

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

B

Room by room audio journey around the fairytale Snow White

.h.g.

Installation in 9 rooms, one prologue and one epilogue

Mapping the invisible

Trickster-p — Projects — Mapping the invisible

«I walk ten steps and the horizon moves ten steps further. No matter how far I walk, I will never reach it. What is utopia for? It is precisely for this: to walk» (Eduardo Galeano)

 

Throughout history, the mapping of territories has often told of spaces to be conquered and colonised, tracing ends and beginnings, boundaries and limits. Maps as we know them tell of empty, silent spaces. Conceived by Trickster-p for Finisterre Festival Rümlingen 2023, Mapping the invisible plays on reversing this logic, in an attempt to highlight new possible dimensions and keys to interpreting the territory. What is a map? What can be mapped? What is the gap between a map and experiencing a place? Is it possible to generate maps starting from the perception of what is not visible, rather than from surveys, borders and limits of a territory? Mapping the invisible wants to be an invitation to travel through landscapes by opening up one's perceptive spaces in order to bring out things that are less visible and leave space for the unexpected. No longer a fixed design then, but a provisional condition in continuous transformation.

Credits

Concept and realisation

Cristina Galbiati & Ilija Luginbühl

Production

Trickster-p

Co-production

Neue Musik Rümlingen