IIPM (Switzerland / Germany) & Création Studio Théâtre National Wallonie-Bruxelles (Belgium)

La Reprise

Histoire(s) du théâtre (I)


 

It is an extraordinarily mature, crystalline, engaging and compelling piece of theatre.
– Andrew Todd, The Guardian

Milo Rau, one of Europe’s premier theatre directors, brings us La Reprise. Histoire(s) du théâtre (I), a work that challenges the distinction between performance and reality.

A crime story in five acts, La Reprise is based on actual events that took place in Liège, Belgium, one night in April 2012. A man named Ihsane Jarfi was talking with a group of young men sitting in a car near a club. Later that night he was brutally murdered.

Using multiple points of view, Rau performs a meticulous autopsy not only on a heinous crime but also on the current state of Europe. A shocking declaration of democratic reality theatre, La Reprise presents us with a startling emotional spectrum that mirrors cruelty and terror, loss and grief, fear and love.

What precedes a crime? An intention, a coincidence or a plan? What role does the audience play? Can we place guilt on society also?

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It's not about portraying the world anymore. It's about changing it. The aim is not to depict the real, but to make the representation itself real. – Ghent Manifesto, rule one

La Reprise is the first installment in the series Histoire(s) du théâtre, which explores the oldest form of art in human history, theatre, and examines the theatrical representations of violence and traumatic events. It is also the first production during Milo Rau’s tenure as artistic director of NTGent that adheres to the ten-point Ghent manifesto.

The purpose of the manifesto is to make theatremakers aware of the institutionalized and usually implicit rules that restrict artistic freedom and the diversity of both the artists and their work. Read the full manifesto here.

More information about the IIPM – International Institute of Political Murder and Milo Rau here.

"Where understanding ends is where Milo Rau's theatre work begins."

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Press comments:
"A masterful demonstration of what theatre can archive.” Libération
“A theatrical masterpiece.” De Standaard
“Nothing short than a shocking success.” Broadway World
“A grandiose reconstruction of glistening beauty.” Die Zeit

One of the best productions of 2018. The New York Times

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Supported by Capital Cultural Fund Berlin, Pro Helvetia, Ernst Göhner Stiftung, Kulturförderung Kanton St. Gallen

In coproduction with Kunstenfesti-valdesarts, NTGent, Théâtre Vidy-Lausanne, Théâtre Nanterre-Amandiers, Tandem Scène Nationale Arras Douai, Schaubühne am Lehniner Platz Berlin, Théâtre de Liège, Münchner Kammerspiele, Künstlerhaus Mousonturm Frankfurt a. M., Theater Chur, Gessnerallee Zürich & Romaeuropa Festival

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