The Venice Theatre Biennale, under the artistic direction of Willem Dafoe, has undergone a remarkable transformation. Last year's program, while influenced by Dafoe's passions, felt somewhat nostalgic and inward-looking. However, this year's 54th edition marks a refreshing shift, showcasing a diverse and outward-facing lineup that truly celebrates cultural exchange and the fusion of theatrical traditions.
A Global Perspective
Dafoe's vision for this year's Biennale is evident in the diverse range of productions, from Europe to Indonesia and India. The title, "Alter Native," reflects his intention to create encounters between cultures, fostering dialogue and transformation. This theme is exemplified by Satoshi Miyagi's "Mugen Noh Othello," a unique blend of Noh and Shakespeare, and Christos Stergioglou and Alex Drakos Ktistakis' "Cries," which combines physical theatre with musical storytelling, exploring contemporary themes through ancient Greek drama.
Giving Voice to the Marginalized
A recurring focus of Dafoe's program is the amplification of marginalized voices and the centering of lesser-heard stories. This is exemplified by the work of Davide Iodice, an Italian playwright who has consistently created shows in unconventional spaces, including a psychiatric hospital and a women's prison. His latest production, "Promemoria," takes audiences inside a care home for the elderly in Venice, where they interact with residents living with cognitive decline and Alzheimer's. It is a project of extreme tenderness, allowing audiences to witness the beauty and strength of humanity in vulnerable states.
The Power of Storytelling
The Biennale also features productions that explore the power of storytelling to give voice to the dead and those who have been silenced. Dorcy Rugamba's "Letter to the Absent" is an adaptation of his book, dedicated to his family who perished in the Rwandan genocide. Rugamba believes that theatre can bring the dead back to life, offering a way to tell their stories beyond the lens of their tragic deaths. Similarly, Satoshi Miyagi's "Mugen Noh Othello" reconfigures Shakespeare's play, giving the ghost of Desdemona, Othello's murdered wife, a central role. Miyagi explains that the Mugen-Noh tradition aims to release suffering characters from their purgatory through the act of storytelling, a concept that resonates with Shakespeare's ghosts.
Immersive Experiences
Several productions at the Biennale offer immersive experiences, inviting audiences to actively participate and engage with the stories and spaces. Iodice's "Promemoria" limits audience members to 30 per performance, taking them through the rooms and gardens of the care home, where they interact with residents and engage in art workshops. Mario Banushi's "Ragada," a wordless trilogy exploring family bereavement and memory, takes place in a family living room, with audience members sitting close to the actors, enveloped by the intimate and emotional drama.
Beyond the Official Lineup
The Biennale also features an intriguing six-hour durational production of Samuel Beckett's "How It Is," offering audiences the choice to watch it continuously or with breaks. This "live art event" is a collaboration between Gare St Lazare Ireland and Berggruen Arts & Culture, directed by Judy Hegarty Lovett, and stars Stephen Dillane and Conor Lovett. It aligns with the experiential and immersive nature of Dafoe's program, pushing the boundaries of traditional theatre.
As Dafoe concludes his minimum two-year tenure, the question arises whether he will continue as artistic director. Given the success of this year's offerings, it seems he has found his stride, and the future of the Venice Theatre Biennale looks bright and innovative.
