Bitef

samo od Afrikanaca. Čini se da je obred posvećen nepoznatoj beloj ženi, čiji se poslednji sati života prate preko video-rada u pozadini. lako je red o intimnoj, nežnoj i dirljivoj priči o umiranju, predstava Rekvijem za L. poprima, budući da je namerno odredena da zatvori festival, političko značenje: u kontekstu 52, Bitefa ona postaje „crno opelo" za „beli svet", čiji demo raspad, uzrokovan novim desnidarskim pokretima, autoritarnim režimima, ugrožavanjem demokratskih vrednosti i ljudskih prava, pratiti u predstavama koje de na programu biti pre nje.

O PREDSTAVI

Cetrnaest muzidara iz celog sveta okupilo se oko Mocartovog Rekvijema. Rekonstruišudi ga, oni stapaju sopstvene muzidke uticaje sa žanrovima poput džeza, opere i popularne afridke muzike. U svojstvu muzidkog reditelja, kompozitor Fabricio Kasol nastavlja da piše umetnidku autobiografiju u kojoj okojedne feme plete razlidite muzidke kulture. On uvek iznova traga za nadinima da ispiše nove pride putem usmenih i pisanih tradicija. Za potrebe Rekvijema, Kasol povezuje muzidare sa kojima je ranije saradivao (na predstavama Magbet i Fatalni udarac, na primer) sa umetnicima sa kojima radi prvi put. Na teatarskom nivou, reditelj Alen Platel i grupa muzidara tragaju za nadinima na koji de prizore i asocijacije koje Rekvijem izaziva da transponuju u vizuelnu i fizidku formu: od rekvijemske mise do masovne grobnice u koju je i sam Mocart baden.

The ritual seems to be dedicated to an unknown white woman whose last hours were recorded and are screened in the background. Although this is an intimate, tender and poignant story of dying, the performance Requiem for L. assumes - given the fact that it has been deliberately chosen to close the festival - a political connotation. In the context of 52 nd Bitef it becomes a "black requiem” for the “white world”, whose destruction, caused by right-wing movements, authoritarian regimes, the suppression of democratic values and human rights, we will have followed in the preceding performances.

ABOUT THE PRODUCTION

Fourteen musicians from across the world come together around Mozart’s Requiem. In reconstructing that Requiem, they merge their own musical influences with genres including jazz, opera and popular African music. Appointed musical director and composer, Fabrizio Cassol, continues to write a personal artistic history in which he brings together different musical cultures around a theme. Again and again, he looks for ways to write new stories with existing work, with oral and written traditions. For the Requiem, he brings together musicians with whom he previously worked (in Macbeth and Coup Fatal, among others) and with artists for whom this is their first collaboration. On a theatrical level, director Alain Platel and the group look for a visual and physical translation of the images and associations that a Requiem conjures up: from the requiem mass to the mass grave into which Mozart was himself dumped.

THE AUTHORS

FABRIZIO CASSOL (1964), for twenty five years, is the composer and saxophonist of the band Aka Moon. He has often worked with choreographers such as Alain Platel (les ballets C de la B - vsprs, pitiel. Coup Fata/j, Anne Teresa De Keersmaeker (Rosas), the Samoan Lemi Ponifasio (Mao Company), and the Congolese Faustin Linye (studio Kaboka). In opera, he already worked with Philippe Boesman and Luc Bondy and in theatre with Tg Stan. His close collaboration with KVS, the Flemish Royal Theatre, when led by Jan Goossens, was followed by an artistic residence in the

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