la Biennale di Venezia
Main Visual Sezione Teatro EN (new)




The Seagull
For 15 actors and 5 auditors
“Working with the material of The Seagull we stress the search for reality and try to answer the basic questions as to who (what) we are, who (what) are the actors and the director, and who (what) is the audience, with the help of our profession. We appeal to the Hamletian principle of performing the play for that most important member of the audience, which is, most likely, ourselves. Only then can it have an effect on others” Oskaras Koršunovas.
Oskaras Koršunovas (Vilnius, 1969) he graduated from the Vilnius Music with a Master’s degree in Theatre Directing. Already at that time the young director stood out for his unusual theatrical language. Although the first performances were created under the aegis of the Lithuanian State Academic Drama Theatre (now called Lithuanian National Drama Theatre), they were often referred to as a separate body, a theatre within a theatre. Contemporary theatre critics, titling their articles simply: “Oskaras Koršunovas Theatre?” envisaged the inevitable emergence of a new theatre.
In 1998 founded an independent theatre, called Oskaras Koršunovas Theatre, shortened to just OKT. Koršunovas, assisted by guest directors, has built a solid repertoire, which encompasses both contemporary drama and classic staging. In his opinion, contemporary theatre must reflect the present day and sometimes even be ahead of the time, predict the future and act as a warning.
William Shakespeare’s “Hamlet” (2008) and the play’s work-in-progress marked the beginning of a new phase in Oskaras Koršunovas’ biography. The director discovered a new work space, the OKT studio, and turned in the direction of laboratory explorations. During the work on “Hamlet” the director and the actors were more concerned with the creative process itself than the play.
Along these years he has gathered multiple prizes and international recognition. The tours in international festivals, performances and projects in foreign theatres encompass the United States, South Korea, Australia, Argentina, and the territory in between. Each year, the OKT theatre appears on more than ten different stages in different parts of the world. Hence, the motto of the director and his theatre: only being “there” can we stay “here.”
Koršunovas also teaches acting at the Lithuanian Music and Theatre Academy and, from 2012, together with the actors Darius Meškauskas and Nele Savicenko gathered a course of future actors.

Backstage memories
English/ Italian
For 15 singers, acrobats, musicians, performers, video and visual art artists, and 5 auditors
Candidates are asked to send 10 pictures of any kind, while visual artists must submit 10 images of their work.
My desire is to put the spotlight on humans. Four individuals, with a biographical precise relationship with a work of their own creation, or interpretation, at a specific time in their lives. The idea is to ensure that the works and the stories of these individuals, such as paths give the answers. For my part, my story in the telling of stories and the mechanics of storytelling that I use is strongly linked to my belonging, my identity and my lineage. I am fascinated by the contrast that can exist between an individual and the path he has chosen.Above all, I'll try to immerse solo artists in visual worlds that correspond to their history. Last year in the United States, I saw two brethren, about 50 years old, performing a number of breathtaking skill. This number had staged thousands of times and I have been very impressed with this idea: they had lived most of their brotherhood through this play, a way of being on stage, to represent themselves. What did they share? And at what price?
In practice I I’ll work on three aspects:
- The staging and deformation of the work as such. How has availed itself of life? How did the story of its interpreter change it?
- The technique: how the video, transferring us the individuals can help us to participate in the effort of the performer to understand the story he went through?
- Documentary screenwriting: a visual response through the intimate and autobiographical exploration of soloists. To be presented as projected text or voiceover.
Fabrice Murgia (Verviers, 1983) trained by Jacques Delcuvellerie at the Liège Drama Academy (ESACT - Ecole supérieure d'acteurs Higher School for Actors) he works as an actor for theatre, film and television. Today, he is mainly active as a playwright and director. Moreover, he manages the Artara Company, a group of performers, video directors, plastic artists, musicians - gathered around his creations - anxious to be witness of the world with the eye and the language of their generation.  In 2009, he writes and directs his first production, Le Chagrin des Ogres (The Sorrow of the Ogres) for the Liège Festival and then becomes an associated artist at the Théâtre National-Brussels. Within this framework he creates his next two productions: LIFE: RESET / Chronique d'une ville épuisée (LIFE:RESET / Chronicle of an exhausted town), a silent play, and Dieu est un DJ (God is a DJ) adapted from the text by Falk Richter. Both these creations reveal a generational discourse, a singular relation to the world, a standpoint about the actuality of a youth the young director is born from.
In 2012, Fabrice Murgia revealed his new creation, Exils, a play initiating the ambitious European project, Villes en scène / Cities on stage that gathers seven European directors around the question of "living together" and the multiculturalism in the European cities. Exils is, beyond the political dimension, an attempt to portray the feeling of exile in our lives, of self-erasing behind a system. Same year he created Les enfants de Jéhovah (Children of Jéhovah) at the Théâtre Vidy-Lausanne and made Ghost Road with the composer Dominique Pauwels. Fabrice Murgia undertook a trip along Route 66. He became fascinated by the desolate landscapes, ghost towns, depopulated villages, abandoned houses and rusty remnants of a once thriving community. Their desolation bore silent witness to the devastating effect of political and economic decisions on people’s private lives. 
Fabrice Murgia is currently working on a new play Notre peur de n’être (Our fear of (not)being) that will be presented in July 2014 at the Festival of Avignon.

Heritage, Gender and Identity: A complex sense of belonging
For 15 actors, dancers, art performers, musicians, singers and 5 auditors
Together with Berlin-based, Israeli choreographer Nir de Volff and Schaubühne Berlin dramaturg Nils Haarmann, Falk Richter invites performers, dancers and actors to join his Biennale di Venezia workshop "Heritage, Gender and Identity: A complex sense of belonging". At the beginning of the C21, the world has been losing its well-defined and stable models of life, relations, work, and lineages. Traditional, normative ways of "Belonging", nation, religion, ideology, language, culture, gender and sexual identity dissolve, get more fluid and flexible. Utopian freedom of choosing where to belong is one of this new world's promises, the struggle to find a place, a sense of belonging one of its shady sides. At the same time, reductionist senses of belonging continue to be misused for political purposes, to gather groups of people against others, to discriminate, exclude and kill.
Where do I fit in there? Where do I belong? Who do I refer to when I talk of “I”? Who am “I”? To whom or to what does this “I” belong? The workshop will question the complexity of belonging by taking the biographies, identities, lineages of the performers as a starting point: Performers will improvise new texts and work with existing texts, work with body movement and dance, try out different identities and narrations on stage. They must be enjoying experimental rehearsal processes. The stage becomes a laboratory, in which different languages, artistic disciplines and personalities constantly inspire each other. We encourage performers who do NOT identify 100% as white-heterosexual-male-of European-descent, who do NOT fit into norms to apply for the workshop, yet we welcome everybody who wants to tell the story of their belonging.
All of the participants should be able and willing to engage in very physical action as we are working with a choreographer.
Falk Richter (Hamburg, 1969) is one of the most important German playwrights and directors of his generation. His plays have been translated into more than 25 languages and are produced all over the world. Apart from writing and directing his own plays, Richter has directed Shakespeare, Tschechow, Schiller, Brecht, and a number of contemporary writers such as Caryll Churchill, Harold Pinter, Martin Crimp, Sarah Kane, Jon Fosse, Mark Ravenhill, Lars Noren, Roland Schimmelpfennig, and operas by Tschaikowsky, Strauss and Weber, as well as by Hans Werner Henze, Jörg Widmann and Jörn Arnecke.
Richter has been director in residence at the Schaubühne in Berlin since 2000, and has also worked freelance at theatres such as the Burgtheater in Vienna, Schauspielhaus Hamburg, Schauspielhaus Zurich, Salzburger Festspiele, Vienna States Opera, Ruhrtriennale, Theatre National Brussels, Royal National Theatre Oslo, Frankfurt Opera.
He began collaborating with choreographer Anouk van Dijk over ten years ago, creating the production "Nothing Hurts" (Kampnagel 1999, Berlin 2000). Their shared fascination for each other’s work, and multi layered way of working led to later collaborations in "TRUST" (2009) and "PROTECT ME" (2010) both currently touring internationally.

On Garcia Lorca: Impossible Theatre
For 15 actors and 5 auditors
The workshop will seek to explore the theatricality of Federico García Lorca through two of his works called Impossible Theatre and Anti-Theatre: THE PUBLIC and UNTITLED COMEDY. The author, as every artist must face the paradox of giving up the theater and make it express through theater. Lorca built a theater in the thirties with surrealism, but above all put questions and new ways that will see their development many years later. Many of these questions and forms belong to our contemporary thinking. We'll try to find out through the poetic word. Readings of "THE PUBLIC”,"UNTITLED COMEDY" and the third act of “Doña Rosita the Spinster”
Lluís Pasqual (Reus, 1951) graduated in Philosophy, specializing in Catalan Philology, for UAB, graduated in Dramatic Arts at the Institut del Teatre of Barcelona Provincial Council. He directed his first play, Roots, by Arnold Wesker, in 1968. He founded the Lliure Theatre of Barcelona in 1976, where he directed the first staging of Cami de nit. In 1983, he became director of the National Drama Centre - María Guerrero Theatre in Madrid.In 1990, he went to Paris to head for six years l'Odéon - Théâtre de l'Europe. He directed the theatre section of the Venice Biennale (1995 and 1996). From 1997 to 1999, on behalf of the City of Barcelona, he was the curator of the project Ciutat del Teatre. From 1998 to 2000, he codirected the Lliure Theatre. In April 2004 he joined the Teatro Arriaga in Bilbao, as artistic consultant, where he led the BAT project, a training workshop, educational programs, promotion and creation of contemporary performances
Throughout his career as stage director for which he received numerous awards, he made more than fifty theater and opera shows, standing out his productions on Lorca, Shakespeare and Goldoni. Since 2011 he has been the director of the Lliure Theatre for the period 2011-2015.

For 16 actors and 4 auditors
Workshop on acting and stage combat. Through 5 scenes between mother and son drawn from as many texts of theatrical literature, the work shall focus on dialogue as a duel and love, as a link and tear. The workshop will be assisted by Francesco Manetti, who teaches stage combat at the Silvio D'Amico Academy of Rome, as well as actor and partner of the stabilemobile Antonio Latella’s company.
"We know the mother who gives birth, we do not know child born. We know that the mother grows her baby; we know less about the child who grows and is nourished by the mother. Of the mother dying we cry what we know of her, of the son who remains we mourn what he will be”.
Love to be eternal, needs a tear, needs to be separated;
"The only love that organically undergoes this natural violence is the one between
mother and son. Such tensions are in the natural order of things.
There are duels, in the daily silent war of being in the world.
These are the themes that I wish tackle, through five great scenes of theatrical literature
and through the power of weapons that give the organic form to the word itself,
the word that becomes muscle and becomes a weapon thanks to the work of the Master
Francesco Manetti. Each duel is a dialogue; any such dialogue expresses a conflict.
The art of the duel is simple, made up of three factors: measure, time, speed,
In knowing how to manage these factors lies  the difference between living and dying. "Antonio Latella
Antonio Latella (Castellammare di Stabia, 1967) studied acting at the School of the Teatro Stabile di Torino, directed by Franco Passatore and at La Bottega Teatrale of Florence, directed by Vittorio Gassman. Between 1986 and 2000 he worked as an actor. In 1998, he signed his first direction and in 2004 he moved to Berlin. He became the Artistic Director of the Nuovo Teatro Nuovo in Naples for the 2010/2011 season.
In 2011 he founded stabilemobile - Antonio Latella company. His shows, winning numerous awards, have been produced and presented at major festivals and Italian and foreign theaters
Among the most significant staging: Othello (1999) and Romeo and Juliet (2000) by William Shakespeare (Ubu Prize 2001 for the project "Shakespeare and beyond"), Strict surveillance (2001), Negroes (2002, Award Girulà best dramaturgy) and Querelle (2002) by Jean Genet, the trilogy on Pier Paolo Pasolini which includes Pylades (2002), Pigpen (special Prize Vittorio Gassman and Prize "Teatro il Primo ") style and Bestia da stile (2004), La cena delle ceneri by Giordano Bruno (2005, winner of the 'National Association of Theatre Critics, Best Performance of the year), Waiting for Godot by Samuel Beckett (2007).
In 2004, he made his debut as opera director in Lyon for the Orpheus by Claudio Monteverdi; then followed by Orfeo ed Euridice by Gluck and Tosca by Giacomo Puccini. Among his most recent shows: Study on Medea (UBU Prize 2007 as the Entertainer of the Year), Frankly I do not care (Ubu Prize 2013 for Best Director and Best Actress), A Streetcar Named Desire (2012 Hystro and Ubu Prizes and Award as best Director), the Russian trilogy Electra - Orestes - Iphigenia in Tauris (winner of three categories within the Russian prize PARADISE: best theatrical project, Georgiy Bolonev best part, prize of audience). In 2013 he undertook a dramatic journey on lie that led to AH, Die Wohlgesinnten by Jonathan Littell and The Servant of Two Masters by Goldoni.

Laughing at Ibsen
For 20 screenwriters, directors and playwrights.
There is no need to send the link to a video.
“In my workshop, I will be using the ideas of Henri Bergson in his essay Le Rire and applying them to scenes from plays. How much can Bergson offer as a practical method for analyzing plays and making theatre? “The main play we will use will be Ghosts by Ibsen”.
Mark Ravenhill (1966) is a playwright. His plays include Shopping and Fucking, Product, The Cut, Pool No Water and Shoot/Get Treasure/Repeat.

The Spectators, the stage and the room. Contemporary theatre in other places
German / English
For set designers and architects with a passion for theater
It is not necessary to send a link to a video, but post photos of your work in high definition
The workshop has two main focuses. The first main focus is the concept, the basic order of an empty space for a theatrical performance. I’m an architect and always I’m interested in the relation of stage and spectators first. The form of the stage and the tribune is depending on the kind of the text and the historical time of the events on the stage. The Workshop develops different forms and looking for the consequences for the play of the actors and the authenticity of the performance.
The second main focus looks for a natural contemporary aesthetics for the stage design. We will go take photos and draw materials, places, figures and situations in the town. Afterwards we want to use the finds in the creation of our stage.
The result of the Workshops should be draughts for installations to the representation of a concrete situation.
Jan Pappelbaum (Dresden, 1966) after finishing school, he was first trained as a bricklayer and then studied architecture in Weimar. His work in theatre began as stage director and director of the student theatre at Weimar; during his studies he worked at the Weimar Art Festival as assistant stage designer to Dieter Klaß. Since 1995, he has been designing stages for Thomas Ostermeier, Tom Kühnel, Robert Schuster, Andrea Moses and other directors.
Pappelbaum is not a stage designer obsessed by detail, not a "painter" of finely wrought milieus, and therefore rejects the idea of a pictorial stage design. He demands three-dimensionality and he demands concentration. His platforms narrate spaces of reduction, of symbols. He sets the concrete - doors, tables, stairs - within a context of high-grade abstraction; and the resultant suggestions suffice to relate an entire cosmos. Aesthetically and in content, his productions of recent years at the Schaubühne have more and more landed in the middle-class milieu. According to him, a kind of "seduction" should take place, an identification of the audience with the world up there on the stage, a small longing that entangles the audience in the dramatic events and so really brings the presented critique of capitalism to its recipients; the theatre lives to a great extent from the imagination, from the immersion of the audience in the enacted world.
Influenced by the Bauhaus, understands his art more as a cog within the system "theatre" than as an impendent variable: "The construction of a stage is, first of all, a craft. Every evening at the theatre is a total work of art created through the work of diverse artists, presenting, thinking, forming, who collaborate in a definite hierarchy… In addition to the direction and dramaturgy, the stage has above all an ordering and structuring function. If collaboration is very good, a work of art can arise, in which the individual contribution transcends the part and radiates into a whole".
Currently he is in-house stage designer and head of the stage design department at the Schaubühne am LehninerPlatz.

Theatre Community: Biennale College – Theatre 2014 Social Blog

Italian / Spanish
For 5 under-30 editors / bloggers / videomakers  who wish to deal with communication and theater through social media; 2 auditors from UE countries

The workshop, led by Andrea Porcheddu and Anna Pérez Pagès with the collaboration of Roberta Ferraresi for editing and Futura Tittaferrante for photos and videos, is aimed at the realization of a Theatre Community. The Biennale Theatre daily blog will explore the use of social media (Facebook, Twitter, Instagram, Vine, Wordpress, etc.). In particular, the work is aimed at the creation of a virtual and real community between the participants in the Biennale Theatre 2014.
The editorial staff wil be entrusted the task of being witness of what happens during the activities and share it with the community of artists that once again will be in Venice for the Biennale College – Theatre workshops.
The materials developed will be used for the Biennale’s website and social media, as well as on social networks and other publications related to the Biennale Theatre.
The articles may also be published in the participant’s websites, blogs, and newspapers.
Texts will be in Italian or English.
A good knowledge of writing programs, good use of social media and the ability to make and edit short videos is required.
Subscribers should have their own laptop computer, digital recorder, photo or video camera.
Subscribers should provide CV,  motivation letter and two pictures.
The workshop coordinators will work on the selection.
Attendance to the activities for the creation of videos, reviews, articles, and interviews with the protagonists of Biennale Theatre 2014 is required. In the morning, an editorial meeting with discussion will take place; in the afternoon writing activities, analysis of the articles and videos, meetings with artists. The main working space will be at Ca’ Giustinian.
Participation is free, a paid accommodation in a double room in Venice will be guaranteed for the period from August 3rd to 11th.
Application Form >>