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  MAKING OF JUSTICE   “It is the first production of these dimensions in which Congo and Europe join hands. And it is also the first opera to deal with the subject of modern-day mining“, wrote the major German newspaper Süddeutsche Zeitung after the „brilliant“ (Neue Musik Zeitung) world premiere of Justice last week.   […]


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NO EXCUSES ANYMORE: Academy Second Modernism debuts in New York!

 

MAKING OF JUSTICE

 

“It is the first production of these dimensions in which Congo and Europe join hands. And it is also the first opera to deal with the subject of modern-day mining“, wrote the major German newspaper Süddeutsche Zeitung after the „brilliant“ (Neue Musik Zeitung) world premiere of Justice last week.

 

An opera like never before”, judged German television ARD after the premiere at the Grand Théâtre de Genève of this “reinvention of opera” (Tribune de Genève). “Opera has never been so radically decolonized,” reported the influential Deutschlandfunk, Swiss television SRF dedicated a whole documentary to Rau’s newest project. Parallel to the opera, Milo Rau launched the Justice for Kabwe crowdfunding campaign together with various NGOs.

 

Now Rau and Wiener Festwochen (Vienna Festival) – Europe’s largest crossover festival for performance, music, opera, art and discourse – are coming to New York to present their new initiative to change the music world from scratch: the Academy Second Modernism.

 

Did you know that only 2% of the works included in concert subscriptions hail from women? To change this, the Wiener Festwochen and many partner institutions all over the world are now launching a brand new global platform for female composers and presenting it in New York on February 6 and 7.

 

Together with Pulitzer Prize Winners and Academy Members Du Yun and Tania León, representatives from New York art institutions such as the Metropolitan Opera and under the patronage of music icon Nuria Nono-Schoenberg, we call for action to address the devastating current state of representation when it comes to female composers on the contemporary classical stage, opera, concerts, musical spaces and festivals. 

 

The aim of the Academy Second Modernism is the commitment of theatres, operas, festivals and ensembles to significantly increase the proportion of works by women composers in their programmes. Join us in New York to discuss and create a global manifesto demanding immediate change and decolonization in a still deeply entrenched field resisting to change!

 

“When someone is actually meaning to take action, there is a way. No excuses anymore.”

Nuria Nono-Schoenberg

 

ACADEMY SECOND MODERNISM

 

6 February 2024, 10:00
Austrian Cultural Forum
PRESS CONFERENCE

 

with Melina Tsiamos (Deputy Director ACF), Milo Rau (Artistic Director Wiener Festwochen), Jana Beckmann (Dramaturgy Wiener Festwochen), Du Yun (member Academy Second Modernism)
Register here.

 

7 February 2024, 18:30
Segal Center New York
BEYOND THE 2% – A MANIFESTO

 

with composers and Pulitzer Prize winners Tania León and Du Yun, Marcia Sells/Met Opera NYC, Kristin Marting/PROTOTYPE, Milo Rau and Jana Beckmann (Wiener Festwochen).
More info and live stream here.

 

7 February 2024
Segal Center New York
A DAY WITH MILO RAU

 

Join us for an afternoon with Milo Rau discussing his latest book Reclaiming the Future and the search for new forms of thinking, feeling, and collective action – plus an excerpt screening of Rau’s film work.
More info and live stream here.

 

 


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  OPER FÜR GERECHTIGKEIT Pressekonferenz & Premiere   „Die erste Oper über die kongolesische Minenindustrie, entwickelt mit den Betroffenen und aufgeführt in einem der größten Opernhäuser der Welt: für mich als kongolesischer Künstler ist das eine Revolution.“ Serge Kakudji   Mit der kongolesisch-europäischen Opernproduktion JUSTICE fordern Milo Rau, Fiston Mwanza Mujila, Hèctor Parra und ihr […]


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„Das ist eine Revolution“: Die erste Bergbauoper der Geschichte feiert Premiere!

 

OPER FÜR GERECHTIGKEIT

Pressekonferenz & Premiere

 

„Die erste Oper über die kongolesische Minenindustrie, entwickelt mit den Betroffenen und aufgeführt in einem der größten Opernhäuser der Welt: für mich als kongolesischer Künstler ist das eine Revolution.“
Serge Kakudji

 

Mit der kongolesisch-europäischen Opernproduktion JUSTICE fordern Milo Rau, Fiston Mwanza Mujila, Hèctor Parra und ihr Team das Opern-Genre heraus: JUSTICE ist nicht nur die erste kongolesische-europäische Musiktheater-Produktion dieser Grössenordnung – es ist die erste Oper über die Minenindustrie überhaupt, uraufgeführt in Genf, dem weltgrössten Umschlagplatz für Rohstoffe und einer der Geburtsorte der Internationalen Menschenrechte.

 

Aber mit JUSTICE setzen Mujila, Parra und Rau die Frage nach Gerechtigkeit nicht nur in Szene, sie setzen sie um: Zugleich zur Premiere startet, in Zusammenarbeit mit kongolesischen und schweizerischen NGOs und Anwält:innen, eine Crowdfundingkampagne, um den Betroffenen der porträtierten Verbrechen endlich Gerechtigkeit widerfahren zu lassen!

 

Die Premiere wird von über hundert Sänger:innen, Instrumentalist:innen und Schauspieler:innen live aufgeführt (Dirigat: Titus Engel), darunter der legendäre Bassbariton Willard White, der in Kolwezi geborene Countertenor Serge Kakudji, der kongolesische Gitarrist Kojack Kossakamvwe und der für den Booker-Preis nominierte Librettist Fiston Mwanza Mujila selbst.

 

„Diese Oper ist ein Akt gegen das Vergessen genauso wie eine Demonstration für die Wahrheit. Ein Ruf nach Gerechtigkeit und eine Brücke zwischen den Kontinenten.“
Fiston Mwanza Mujila

 

KAMPAGNE

 

22.1.2024 Grand Théâtre de Genève
18:00 Pressekonferenz
20:00 Premiere JUSTICE

 

Pressekonferenz mit Serge Kakudji (Sänger), Fiston Mwanza Mujila (Librettist), Hèctor Parra (Komponist), Milo Rau (Regisseur), Johannes Wendland (HEKS), Céline Tshizena (Afrewatch), Josue Kashal (CAJJ).

 

PROJEKT INFO


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  OPER FÜR GERECHTIGKEIT Pressekonferenz und Premiere   Mit der kongolesisch-europäischen Opernproduktion JUSTICE fordern Milo Rau, Fiston Mwanza Mujila, Hèctor Parra und ihr Team das Opern-Genre heraus: JUSTICE ist nicht nur die erste kongolesische-europäische Musiktheater-Produktion dieser Grössenordnung – es ist die erste Oper über die Minenindustrie überhaupt, uraufgeführt in Genf, dem weltgrössten Umschlagplatz für Rohstoffe […]


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Einladung Uraufführung: Oper „Justice“

 

OPER FÜR GERECHTIGKEIT
Pressekonferenz und Premiere

 

Mit der kongolesisch-europäischen Opernproduktion JUSTICE fordern Milo Rau, Fiston Mwanza Mujila, Hèctor Parra und ihr Team das Opern-Genre heraus: JUSTICE ist nicht nur die erste kongolesische-europäische Musiktheater-Produktion dieser Grössenordnung – es ist die erste Oper über die Minenindustrie überhaupt, uraufgeführt in Genf, dem weltgrössten Umschlagplatz für Rohstoffe und einer der Geburtsorte der Internationalen Menschenrechte.

 

Aber mit JUSTICE setzen Mujila, Parra und Rau die Frage nach Gerechtigkeit nicht nur in Szene, sie setzen sie um: Zugleich zur Premiere startet, in Zusammenarbeit mit kongolesischen und schweizerischen NGOs und Anwält:innen, eine Crowdfundingkampagne, um den Betroffenen der porträtierten Verbrechen endlich Gerechtigkeit widerfahren zu lassen!

 

Die Premiere wird von über Sänger:innen und Instrumentalist:innen live aufgeführt (Dirigat: Titus Engel), darunter der legendäre Bassbariton Willard White, der in Kolwezi geborene Countertenor Serge Kakudji, der kongolesische Gitarrist Kojack Kossakamvwe und der für den Booker-Preis nominierte Librettist Fiston Mwanza Mujila selbst.

 

„Diese Oper ist ein Akt gegen das Vergessen genauso wie eine Demonstration für die Wahrheit. Ein Ruf nach Gerechtigkeit und eine Brücke zwischen den Kontinenten.“
Fiston Mwanza Mujila

 

PROJEKT INFOS

 

22. 1. 2024 Grand Théâtre de Genève
18:00 Pressekonferenz
20:00 Premiere JUSTICE

 

Pressekonferenz mit Serge Kakudji (Sänger), Fiston Mwanza Mujila (Librettist), Milo Rau (Regisseur), Johannes Wendland (HEKS), Céline Tshizena (Afrewatch).

 

ANMELDUNG


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  WHAT A YEAR THIS WAS 2023   START OF 2024: FAMILY   What a year! According to the critics, Milo Rau and his team delivered their ”best” or “most significant” work of their career no fewer than three times in 2023 with Antigone in the Amazon, The Last Generation and The Interrogation – plus […]


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Far beyond bourgeois theatre: this was 2023

 

WHAT A YEAR
THIS WAS 2023

 

START OF 2024: FAMILY

 

What a year! According to the critics, Milo Rau and his team delivered their ”best” or “most significant” work of their career no fewer than three times in 2023 with Antigone in the Amazon, The Last Generation and The Interrogation – plus two brand-new books and a “revolutionary” opera production!

 

In January 2023 was the Belgian premiere of The Interrogation. “Milo Rau’s most austere performance in years was also his best performance in years”, wrote De Morgen about the show in its best of list 2023. Rau created this “profound meditation on the power of theater” together with the French writer Edouard Louis, the actor Arne De Tremerie and the dramaturgs Carmen Hornbostel and Giacomo Bisordi. After Holland, Croatia, Belgium and France, The Interrogation will continue its European tour in January at the Teatro di Napoli.

 

Four months later, in May 2023 premiered Milo Rau’s cooperation with the Brazilian Landless Movement. Antigone in the Amazon – the Swiss director’s “most significant play to date” – has since toured throughout Europe and has been showered with superlatives: “a total show, as militant as it is spellbinding“, wrote La Libération, for example.

 

No wonder the piece has appeared in numerous best of 2023 lists, including those of the iconic French magazine Les Inrockuptibles, Swiss national television SRF or the Portuguese magazine Publico: “The Milo Rau-MST alliance went far beyond the modus operandi of bourgeois theater, claiming, like the Greeks, to mirror the audience and the polis.” Next Stop: Thalia Theater Hamburg.

 

Rau’s third show of 2023, “the hellscape and pamphletThe Last Generation, a cooperation with Theater Stap, was declared  “Milo Rau’s best theater production in five years of NTGent”. “Everyone will remember this experience forever”, wrote Radio France Culture about the controversial production that sparked a debate in Belgium about disability on stage.

 

THE MAKING OF ANTIGONE

 

2023 also saw the publication of two new books, the “literary jewelWhat Theatre Can Do and the artistic-activist essay The Reconquest of the Future. „I have to shout it out: read this book!“ wrote the Frankfurter Rundschau about Rau’s The Reconquest, the second edition of which has already been printed.

 

But that’s not all: Milo Rau’s first opera staging La Clemenza di Tito at the Flemish Opera was met with rave reviews from critics and audiences alike. “The boundaries of opera have been pushed”, wrote f. e. the newspaper De Tijd, and the production was voted both in the Netherlands and in Belgium in the best of 2023 for its “overwhelming richness of images”.

 

The Viennese premiere of this “raw and magical” (NRC *****) interpretation of Mozart’s last opera, together with a cast of local citizens, will also mark Milo Rau’s start as the new Artistic Director of the Wiener Festwochen in spring, Europe’s largest performance festival alongside the Festival d’Avignon.

 

But the most important and at the same time saddest event of 2023 was certainly the farewell to our friend, the great actor Johan Leysen. Leysen performed in IIPM’s classics The Civil Wars (2014), Five Easy Pieces (2016) and La Reprise. Histoire(s) du Théâtre I (2018), among others, played Agamemnon in Orestes in Mosul (2019) and was one of the co-founders of the Film School for Mosul. We will always carry you in our hearts, Johan!

 

Oh, 2023! We are looking back on a year that will remain unforgettable forever – and forward to another year full of shared experiences and debates. Thank you for your support, cooperation, friendship, enthusiasm, solidarity and critical interest!

 

OBITUARY FOR JOHAN LEYSEN

 

 


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JUSTICE A MINING OPERA   Essay Fiston Mwanza Mujila   After his controversial take on Mozart (La Clemenza di Tito), Milo Rau’s new opera work Justice (libretto: Fiston Mwanza Mujila, music: Hèctor Parra) takes us to the heart of the Congolese mining industry. It is the first lyric work on the crimes of transnational companies […]


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Globalizing the Opera – Milo Rau, Fiston Mwanza Mujila and Hèctor Parra join forces for first Congolese-European mining opera

JUSTICE
A MINING OPERA

 

Essay Fiston Mwanza Mujila

 

After his controversial take on Mozart (La Clemenza di Tito), Milo Rau’s new opera work Justice (libretto: Fiston Mwanza Mujila, music: Hèctor Parra) takes us to the heart of the Congolese mining industry. It is the first lyric work on the crimes of transnational companies ever, developed with a Congolese-European artistic team: “How can we decolonize the gaze without taking such a situation into account?” (Mwanza Mujila)

 

At the center of Justice is a terrible accident: In 2019, an acid truck belonging to the Swiss company Glencore, one of the world’s biggest mining companies, crashed into a market place in South Congo near the city of Kolwezi. Dozens of people died in agony: a crime of “almost cosmic proportions” (Parra) for which there was never any justice.

 

Written together with the Congolese Man Booker Prize Nominee Fiston Mwanza Mujila (“Train 83”), set into music by Catalan composer Hèctor Parra (“The Kindly Ones”), with Congolese singer Serge Kakudji in one of the main roles and Congolese guitar player Kojack Kossakamvwe, it is the first Congolese-European opera collaboration of this size: “A requiem against forgetting as well as a manifestation of the truth.” (Mwanza Mujila)

 

Developed with the victims of the accident, Justice includes hundreds of instrumentalist and singers from all over the world, like the mythical baritone Sir Willard White or soprano Lauren Michelle. This “bridge between the continents” (Mwanza Mujila) will premiere 22 January 2024 in Geneva, performed by the choir and the orchestra of the Grand Théâtre de Genève – and open the Tangente St. Pölten Festival in April.

 

Interview Milo Rau

 

THE CONGO TRIBUNAL
A HISTORY OF SOLIDARITY

 

“Where politics fail only art can help,” wrote DIE ZEIT about Milo Rau’s first major Congo Tribunal in 2015 in the eastern Congolese city of Bukavu. A panel of Congolese and European lawyers had set itself the goal of finally ending the impunity of the large transnational mining corporations.

 

Further tribunals were held in Berlin, Zurich and the “world capital of cobalt” Kolwezi, and a cinema and television film were made. The opera Justice is based on this decades-long work, in particular the so-called Glencore Tribunal, which Rau and his team held in Kolwezi’s parliament in December 2021.

 

“Is it the most ambitious political theater ever staged?” asked THE GUARDIAN, Radio France Internationale saw the “craziest theatre project of our time”. Justice is the latest chapter in this attempt at transnational solidarity, a “completely new step in opera history” (Parra).

 

Or as singer Serge Kakudji, born in Kolwezi, puts it: “An opera about the Congo of today, developed with those affected and performed at one of the largest opera houses in the world, next to Glencore’s headquarters: that is an artistic revolution.”

 

Interview Serge Kakudji

 

NEWS

 


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MELANCHOLIC HUMANISM THE LAST GENERATION   “Rau may be called a scandal director who likes to dabble in riots and controversy, but there is a melancholic humanist in him above all,” wrote Belgium newspaper De Standaard after the long-awaited premiere of The Last Generation last week in Liège.   For the adaptation of Pasolini’s scandalous […]


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„A History of Theater“: Tim Etchell’s Takeover!

MELANCHOLIC HUMANISM
THE LAST GENERATION

 

“Rau may be called a scandal director who likes to dabble in riots and controversy, but there is a melancholic humanist in him above all,” wrote Belgium newspaper De Standaard after the long-awaited premiere of The Last Generation last week in Liège.

 

For the adaptation of Pasolini’s scandalous film Salò or The 120 Days of Sodom, Milo Rau worked together with Theater Stap, a company of actors with mental disabilities. “Rarely were they on such form as here,” wrote De Standaard, “how refreshing not to see them for once as the embodiment of good morals.”

 

The performance led to countless reactions, as varied as the evening itself. France Culture reported on the reactions: “Some leave shocked, others crushed by the weight of the evening. But everyone will remember the experience forever.”

 

Today The Last Generation celebrates its Flemish premiere in Turnhout, the headquarters of Theater Stap. Next stops: NTGent and National Theatre Brussels.

 

 

HISTORY OF THEATER
TIM ETCHELLS´ VERSION

 

In 2018, Milo Rau/IIPM started with the show La Reprise a series that he has curated since: Histoire(s) du Théâtre. Every year, a creator tells their own personal “history of theater” – sometimes funny, sometimes cruel, sometimes intimate, sometimes political.

 

After Milo Rau, Faustin Linyekula, Angelica Liddell and Miet Warlop, Tim Etchells (Forced Entertainment) is now adding episode No 5 to the series (dramaturgy: Matthias Lilienthal), using a fragmentary quotation from Shakespeare’s Macbeth as its title: “How goes the world, Sir.” Four performers enter an absurd orgy of entrances and exits, sound cues, and memories. A total theater, minimalistic, ironic, touching!

 

“Go see it,” Belgian newspaper De Standaard advised back in September, “because Tim Etchells himself is a bit of living history.” Today Thursday premiering at NTGent – go see it!

 

NEWS

 


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  THE LAST GENERATION RAU STAGES PASOLINI   The very announcement that Milo Rau would stage an adaptation of Pier Paolo Pasolini’s Salò o le 120 giornate di Sodoma together with actors with disabilities led to a broad debate in the Belgian media during the last weeks.   Skewing between a poetic interpretation and a […]


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ARE WE FASCISTS? Rau stages Pasolini

 

THE LAST GENERATION
RAU STAGES PASOLINI

 

The very announcement that Milo Rau would stage an adaptation of Pier Paolo Pasolini’s Salò o le 120 giornate di Sodoma together with actors with disabilities led to a broad debate in the Belgian media during the last weeks.

 

Skewing between a poetic interpretation and a disturbing appropriation of Pier Pasolini’s film and De Sade’s book, Milo Rau and Theater STAP hold up a mirror to modern society: Are we, apparently more tolerant and sensitive than all previous societies, perhaps the real fascists? Why do we preach diversity while eradicating all that is different?

 

The foundations for his new production were laid in 2017, when Milo Rau worked closely with Swiss theatre HORA to stage the play Die 120 Tage von Sodom. With The Last Generation, Milo Rau reworks this project, focusing on the socio-political context of Belgium.

 

Get tickets for the premiere at Théâtre de Liège on November 5, or the first tour locations in Brussels, Ghent and Turnhout.

 

HARD TO TAKE
RECLAIMING THE FUTURE

 

“You are not interested in theater? Because it’s theater? This is your book. Provided you love life.” This is how the Frankfurter Rundschau judges Milo Rau’s aesthetic autobiography The Reconquest of the Future (Die Rückeroberung der Zukunft), which already became a bestseller in Germany.

 

“Here writes an intellectual who has never lost his tenderness,” judges DIE ZEIT, and is impressed by the “utopias for the 21st century”, while Austria’s Falter reads “an honest, splendid, self-ironic and clever book.”

 

On the other hand, the Süddeutsche Zeitung finds Rau’s “revolutionary pathos” “hard to take”, and Tagesspiegel even suspects the director of playing at being a “prophet”: “For Rau, art is a grip on the mechanics of the world, so that it becomes a different one.”

 

Judge yourself: The Reconquest of the Future is available in all German-language bookstores. Translations into various languages are in preparation.

 

 


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  RAU MEETS MOZART ART OR ANTI-ART?   The live premiere of Milo Rau’s first opera direction, La Clemenza di Tito, at the Antwerp Opera delighted audiences and press. “Rau totally lives up to his reputation: he questions himself and, above all, delivers a very human piece,” wrote the critic of Het Nieuwsblad. “The boundaries […]


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„The boundaries of opera have been pushed“ – new opera, new book!

 

RAU MEETS MOZART
ART OR ANTI-ART?

 

The live premiere of Milo Rau’s first opera direction, La Clemenza di Tito, at the Antwerp Opera delighted audiences and press. “Rau totally lives up to his reputation: he questions himself and, above all, delivers a very human piece,” wrote the critic of Het Nieuwsblad.

“The boundaries of opera have been pushed a bit,” wrote De Tijd, NRC gave the “rough and magical” production 5 stars, and De Standaard emphasized: “The most creative and confrontational interpretation of La Clemenza in recent decades.”

But of course, Rau’s radical take on Mozart’s last opera shocked many lovers of the genre. „The most brutal form of director’s theater I have experienced to date,“ wrote a critic on a blog, another one complained: “No respect for tradition. Is Rau becoming a travesty of anti-art?”

Make your own judgment: after Antwerp, La Clemenza di Tito travels to Ghent and Luxembourg this autumn – and will be staged at the Vienna Festival 2024 in a completely new version!

 

More info

 

IN PRAISE OF EXTREMISM
NEW BOOK OUT

 

“The doors to the future must be opened again,” said Milo Rau last week in an interview. In his essay Die Rückeroberung der Zukunft (The Reconquest of the Future), which has just been published by Rowohlt Verlag, Rau now reveals the methods of his artistic work.

How can we break out of the “total present” and reclaim a human, solidary future? How do IIPM’s “poetics of the real” work? And what are its dangers – morally, politically and humanly?

In three parts – On the Total Present, In Praise of Extremism, and The Reconquest of the Future – Milo Rau outlines the aesthetics of his projects in film, theatre and institutional work. Now in all German-language bookstores – various translations are in preparation.

 

More info

 

NEWS

 


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  Trailer   On September 10, Milo Rau opens the season at the Opera Ballet Vlaanderen with his first opera work ever: La Clemenza di Tito. Rau places Mozart’s story around love, betrayal, the storming of the Capitol and the final forgiveness of the Roman Emperor Titus amidst a postmodern elite that uses art to […]


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“The End of Art”: Rau meets Mozart

 

Trailer

 

On September 10, Milo Rau opens the season at the Opera Ballet Vlaanderen with his first opera work ever: La Clemenza di Tito. Rau places Mozart’s story around love, betrayal, the storming of the Capitol and the final forgiveness of the Roman Emperor Titus amidst a postmodern elite that uses art to maintain its feudal power.

 

Just like in his theater work, Rau invites non-professional actors to participate: the fate of the “common man” takes center stage, and extends Mozart’s world into today. “An opera like a thriller” (France Musique), “raw, radical and critical” (Keystone), “heart-ripping” (The Stage), “Mozart put on trial” (Le Monde) or “a theatrical revolution” (Olyrix) wrote the press after a streaming of Rau’s take on Mozart during COVID.

 

Some others, however, were of the opinion that Rau was going too far: “The challenge is to know whether we are not on the threshold of Post-Opera. And therefore spectators of the end of our beloved art.” On 10 September, Rau’s controversial opera adaptation is performed live for the first time, conducted by Alejo Pérez, with a. o. Jeremy Ovenden, Anna Goryachova and Anna Malesza-Kutny.

 

What is Post-Opera

 

“I consider my version of Mozart to be a continuation of the activist manifesto I wrote for NTGent,” comments Rau in an essay. “My take on La Clemenza di Tito is a kind of ‘black mirror’ for engaged artists. Do we not only aestheticize the horrors of the world and thus make the real revolution impossible?”

 

Milo Rau’s first lyrical work opens a new cycle in his oeuvre: Can there be a right life in the wrong one? With the performances The Last Generation, Medea’s Children and the operatic Passion Play Justice, Rau and his collaborators will examine the neoliberal economy of life and death in three attempts during Season 23/24 – but also the vital forces of love and solidarity.

 

Have a great end of summer and see you in September!

 

Background Interview

 

NEWS

 


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  “What grows everywhere cannot be dissolved.” Les Soulèvements de la Terre   From this Sunday on, Milo Rau and his team come to the Festival d’Avignon with their newest show Antigone in the Amazon. Parallel to the play, the makers of Antigone in the Amazon and The Landless Worker’s Movement (MST) will present their […]


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THE RADICAL NO. Milo Rau, MST and Soulèvements de la Terre at Festival d’Avignon

 

“What grows everywhere cannot be dissolved.”

Les Soulèvements de la Terre

 

From this Sunday on, Milo Rau and his team come to the Festival d’Avignon with their newest show Antigone in the Amazon. Parallel to the play, the makers of Antigone in the Amazon and The Landless Worker’s Movement (MST) will present their “poetically and politically engaged theatre” in a whole series of discussions – in presence of Maria Raimunda Cesar, leader MST Pará, and Kananda Rocha Xavier, MST activist & choir leader of Antigone in the Amazon.

 

What do the art institutions of the future look like? How do theatre and activism go together? What is the place of the real in art? “The European artist who redefines political theatre” critically discusses the theory and practice of “global realism” in various debates and with various other artists and activists at the Avignon Festival – find a detailled list of all events at the end of this mail.

 

“I don’t want an electric car. I don’t want a car at all.”

Ailton Krenak / Milo Rau:  The Radical No

 

The highlight is The Radical No (The Making-of Antigone) on 18 July: MST and Milo Rau will present first sequences from the Antigone in the Amazon documentary (Fernando Nogari) and the Destroy What Destroys You videoclip (Pablo Casello & Elia Rediger) of their anti-greenwashing campaign Our Future is not for Sale – together with the philosopher Jerôme Baschet and representatives of the partner movement Soulèvements de la Terre (SDLT), which was recently dissolved by the French government.

 

The artists of Antigone in the Amazon and the members of MST will be available for interviews after the press conference of 16 July (10:30) and the The Radical No (The Making-of Antigone) event at 18 July (14:00).

 

Press contact here. Discover also our upcoming projects: All About Love, The Last Generation, The Seer & Medea’s Children.

 

“The beauty of the collective comes from the freedom of each individual.”

Transfuge Magazine

 

MEET MILO RAU

 

EVENTS