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Democracy in America (La Democrazia in America)

Romeo Castellucci, Socìetas

One of the most influential and controversial theatre directors in Europe is back at the Holland Festival. Romeo Castellucci is known for his radical visual language and his performances’ grand decors. Democracy in America is inspired by Alexis de Tocqueville's treatise (1835), in which the French philosopher examined America's vibrant young democracy. Castellucci places his work in the time that precedes politics. He traces the origin of a forgotten rite, of theatre’s primary function: to be the necessary and obscure mirror image of the arena for political struggle, and reflect all layers and forms of society. A performance that is not intended to be political, but polemic. Programme book

One of the most influential and controversial theatre directors in Europe is back at the Holland Festival. Romeo Castellucci is known for his radical visual language and his performances’ grand decors. Democracy in America is inspired by Alexis de Tocqueville's treatise (1835), in which the French philosopher examined America's vibrant young democracy. Castellucci places his work in the time that precedes politics. He traces the origin of a forgotten rite, of theatre’s primary function: to be the necessary and obscure mirror image of the arena for political struggle, and reflect all layers and forms of society. A performance that is not intended to be political, but polemic. Programme book

(1835). In The Gabriels director Richard Nelson reflects on the recent American election year through the eyes of an ordinary family. Other artists focus on controversies in democracies, such as the issue of refugees in directors Dieudonné Niangouna and Thomas Bellinck’s performances. Others address the threat of violence (Demolishing Everything with Amazing Speed), tyranny (Octavia), or shaping activism (The Tempest Society). In Manifesto the film director Julian Rosefeldt examines the relation between art and society. 

 

We are presenting two national theatre production companies, each with its own state of the nation: My Country by the National Theatre in London, and The Nation by the Dutch National Theatre in The Hague. Both performances show divided countries in which no one, from politicians to citizens, seems to dare to take responsibility. We also believe that it is important to explore democracy of form. Members of the audience can get actively involved as a passer-by, participant, or activist, if they so wish. Our artists encourage you to question the old hierarchy between the audience and the artists.

 

This year several festival artists are looking at the problems faced by Western democracies. The French philosopher Alexis de Tocqueville admired democracy for its social equality. He saw its dangers too. Director Romeo Castellucci is making Democracy in America, based on De Tocqueville’s eponymous book

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dates

Sun June 4 2017 8:00 PM

Mon June 5 2017 8:00 PM

Tue June 6 2017 8:00 PM

information

  • Italian

  • Duration of performance unknown (geen pauze)

related

Democracy in America is a new production by the Italian theatre maker Romeo Castellucci. It was inspired by the influential essay Democracy in America (1835), by the French philosopher Alexis de Tocqueville (1805-1859). De Tocqueville is seen as the inventor of

Democracy in America is a new production by the Italian theatre maker Romeo Castellucci. It was inspired by the influential essay Democracy in America (1835), by the French philosopher Alexis de Tocqueville (1805-1859). De Tocqueville is seen as the inventor of

modern political liberalism. In his two-part treatise, De Tocqueville looks on in awe at the young democratic society that blossomed out of a radical-evangelical ideal of equality following American Independence. At the same time, he had already warned against the dark sides to democracy that can lead to violence, such as the tyranny of the majority, populist rhetoric that threatens individual freedom, the danger of blind conformism and the tension between community interests and individual ambitions. Even in the New World there was the risk that democracy could undo itself.

With Democracy in America, Castellucci looks at the moment when a political system has run its course and a new form of representation needs to be found. According to Castellucci, his production is not a reflection on contemporary politics. Instead, it focuses on the failure of politics at a time when mankind is forced to change.

Castellucci is known around the world as a creator of a special form of intense theatre. In the subtle and complex theatre created by his ensemble Socìetas Raffaello Sanzio, music, lighting, projections, sculptures, machines, paintings and architecture dominate. Castellucci's ideas are based on ‘the poetry of cruelty’ whereby – in the spirit of Antonin Artaud (1896-1948) – indescribable horror is used as a transforming power. In addition, he focuses on the classical Greek tragedies.

‘In classical Greece, the tragedy and theatre served as an alter-ego and shadow of Athenian democracy,’ Castellucci explains. ‘In Ancient Greece, theatre offered the audience the chance to remove themselves from the limits of democracy during the production and to listen time and again to the disharmony of life: the lamentations of those who were sacrificed and could not be saved by politics.’

Democracy in America is the fifth production by Castellucci to be performed at the Holland Festival, following his Shakespeare adaptation Giulio Cesare (1998), the family play Genesi, from the museum of sleep (1999), based on the book of Genesis from the Bible, the musical theatre piece Il combattimento (2000), and On the Concept of the Face, Regarding the Son of God (2011), theatre based on Renaissance painting.

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credits

freely inspired on Romeo Castellucci direction, set design, light, costume Alexis de Tocqueville, De la démocratie en Amérique text Claudia Castellucci, Romeo Castellucci music Scott Gibbons cast Olivia Corsini, Gloria Dorliguzzo, Evelin Facchini, Giulia Perelli, Stefania Tansini, Sofia Danae Vorvila and with Lois Alexander, Sofie Roels, Cecile Lassonde, Michele Even, Libby Ward, Audrey Aspers, Camilla Monga, Jeanne Collin, Elise Moreau, Viràg Arany, Roberta Ruggiero, Veroa Verbakel, Anna Heuer-Hansen choreography inspired by Evelin Facchini, Gloria Dorliguzzo, Stefania Tansini, Sophia Danae Vorvila assistant director Maria Vittoria Bellingeri rehearsal director Evelin Facchini, Istvan Zimmermann, Giovanna Amoroso stage sculptures and mechanisms Grazia Bagnaresi costume realisation Grazia Bagnaresi stage manager Pierantonio Bragagnolo stage-hands Andrei Benchea, Giuliana Rienzi lighting board technician Andrea Sanson direction technique Eugenio Resta costumes keeper Carmen Castellucci, Francesca Di Serio, Gionni Gardini, Daniele Magnani photographer Guido Mencari technical direction de folk tradities uit Albanië, Griekenland, Botswana, Engeland, Hongarije, Sardinië technical production staff Andrea Sanson decorator Silvano Santinelli production supervisor Benedetta Briglia head of production Benedetta Briglia promotion and distribution Valentina Bertolino, Gilda Biasini with the support of Michela Medri, Elisa Bruno, Simona Barducci production assistance Giulia Colla administration Michela Medri, Elisa Bruno, Simona Barducci coproduction Massimiliano Coli, deSingel International Artcampus, Wiener Festwochen, Festival Printemps des Comédiens à Montpellier, National Taichung Theatre in Taichung, Holland Festival, Schaubühne-Berlin, Teatro Arriaga Antzokia de Bilbao, São Luiz Teatro Municipal, Peak Performances Montclair State University (NJ-USA), Le Manège, Ateliers du Festival d'Avignon, MC93 — maison de la culture de Seine-Saint-Denis Bobigny production Socìetas footwear Théâtre de Vidy-Lausanne, Athene en Epidaurus Festival

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