Bitef

CREDITS:

12+

Conceived and Directed by:

Pavol Liska & Kelly Copper

From a telephone conversation with:

Kristin Worrall

Original music by:

Robert M. Johanson

Design by:

Peter Nigrini

Featuring:

Anne Gridley, Julie Lamendola, Alison

Weisgall

Musicians:

Daniel Gower, Robert M. Johanson,

Kristin Worrall

Prompter:

Elisabeth Conner

Dramaturg:

Florian Malzacher

Production manager:

Dany Naierman

Co-commission, co-producers, supporters, etc.:

A production of Nature Theater of Oklahoma and Burgtheater Wien in coproduction with Internationales Sommerfestival Hamburg, Kaaitheater Brussel, Théâtre de la Ville Paris, Internationale Keuze Festival Rotterdamse Schouwburg, and the Wexner Center for the Arts at The Ohio State University.

BITEF THEATRE

The MAP Fund, a program of Creative Capital, supported by the Rockefeller Foundation

Personnel is being hired for the Theater in Oklahoma! The Great Nature Theater of Oklahoma is calling you! It’s calling you today only! If you miss this opportunity, there mill never be another! Anyone thinking of his future, your place is with usi All welcome! Anyone who wants to be an artist, step forward! We are the theater that has a place for everyone, everyone in his place! If you decide to join us, we congratulate you here and now! But hurry, be sure not to miss the midnight deadline! We shut down at midnight, never to reopen! Accursed be anyone who doesn't believe us! Franz Kafka, Amerika

NATURE THEATER OF OKLAHOMA

is an OBIE-Award winning New York performance group under the direction of Pavol Liska and Kelly Copper. Since Poetics: a ballet brut, our first dance piece created as an ensemble, Nature Theater of Oklahoma has been devoted to making the work we don't know how to make, putting ourselves in impossible situations, and working from out of our own ignorance and unease. We strive to

create an unsettling live situation that demands total presence from everyone in the room. We use the readymade material around us, found space, overheard speech, and observed gesture, and through extreme formal manipulation, and superhuman effort, we affect in our work a shift in the perception of everyday reality that extends beyond the site of performance and into the world in which we live.