Beards I - Daemonie
direction, music and libretto Stefan Oertli
traslation of the text in italian Anna Romano
collaborator music composition and transcription of scores Hidehiko Hinohara
set Marcos Viñals Bassols
sound-designer Jean-Christophe Potvin
video Monica Petracci
light and technical director Nicolas Bovey
costumes Isabelle Suran
with Monica Benvenuti, Alessandro Damerini, Bénédicte Davin, Jean Fürst, Anna Romano, Natalie Royer, Gabriella Rusticali
assitant direction (Belgium) Isabelle de Valensart, (Italy) Benedetta Frigerio
assistant light and technical direction Riccardo Clementi
programmer Max/MSP/Jitter Roald Baudoux
programmer Isadora Lorenzo Pazzi
construction and coaching of marionettes Paulo Duarte
stage director Irene Maccagnani
a project FRACTION
production Théâtre del la Place-Centre dramatique de la Communauté française – Centre Européen de création théâtrale & chorégraphique- Liège and Fraction
co-production with Emilia Romagna Teatro Fondazione e Théâtre National de Bretagne-Rennes
with the contribute of Ministère de la Culture de la Communauté francaise de Belgique– Service du Théâtre, de la Musique et de la Cellules des Arts Numériques,
with the help of DaFact and CGRI
with the support of Ars Musica et D’Europalia.Europa and Palais des Beaux-Arts de Bruxelles
thaks for the precious collaboration of La Corte Ospitale Rubiera, Théâtre National- Bruxelles, Théâtre Varia-Bruxelles, Teatro Putrella-Longiano,Teatro Regina Margherita-Marcialla, Teatro dell’Elfo-Milano, Gianfranco Martinelli e Sara, Bruno Van Moer, Alessandro Paliaga, Alberto Corrado
RUNNING TIME 2hr 20mins with entr'acte
BEARS I- Daemonie is the first spectacular issue of the Bears Trilogy, that rewrite three big myths of literature: Barbablù, Otello anf Faust. The trilogy aim to approach the problem of the manipulation of the sense by the use of images.
The representation of the reality, compromised an changed in information, is the heart of the project.
BEARS I- Daemonie retain the structure of the Charles Perrault’s fairy tales and use it as like a fertile breeding ground for become a contemporary tale. This tale is an account about the crime news that fill our daily, and it represent the bewitching/repulsion that this type of news provoked.
On the one hand the need/desire to know and to test the dark side that could be present in anybody, on the other hand the need of sacrifice as a fatal mistake that is necessary to pay.
The dramaturgy is developed in two levels: on the one hand the fairy tale, deals with the point of view of the main characters, on the other hand the dead women.
The overlap of this two structures disturb the codification of the images and move it away from the morality that is general agreement.
The victim, confronted with the freak, reveal its potential of monstrosity, while the killer is taped from the television cameras and presented as a nice and inoffensive person.