In OHT's new work the stage strips bare. A show that disappears, subtracts itself and tells nothing. At the centre of the work there is a void, an absence that allows emerging something we know but can no longer see. By depriving the stage and the material that inhabits it of pre-constituted meanings, OHT pays homage to the theatre for what it is:

a theatre is a theatre is a theatre is a theatre.

Resuming the musical form of solfeggio, the show returns to the fundamentals of the scene by rediscovering the elements of the stage. Legs, skies, backdrops, lights, pipelines, counterweights; each element becomes a voice to be listened to in purity. Voices without words and therefore, finally, audible. Exactly as in solfeggio where the notes materialise to the ear in themselves: A-B-C-D-E-F-G.

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Due to the empty stage, every element shows itself and becomes a melodic line. A monody follows the other interacting without hierarchies, without a pre-established order. Pure movement and sound. Voices usually inaudible and invisible to the audience materialise as an efflorescence of the stage which, stripped of its secondary role, becomes increasingly baroque. An exceeding baroque that opens up the stage to its fleeting and metamorphic nature. An incessant transformation in which the scene is articulated in relationships of insistence rather than consistency; the sense is jagged, the centre whirls, and the synchrony between the scenic elements emerges by shaping a peripheral narrative.

The void appears as a mutable state animated by contrasting forces and exuberant forms that cannot be grasped in their entirety. Stretching to infinity, the Baroque earthquakes the strictly central and anthropocentric posture of the Renaissance in favour of a more universal dimension in which mankind is a part of the whole. A visual earthquake that exaggerates the political nuances of OHT's artistic research which, in this latest production, dramatizes the stage as a complex ecosystem with human and more-than-human forms of life. A super theatre; a vital place in itself, where drama returns to its purest etymology: that of being movement and mutation.


Sound       The sound is a journey inside the theatre, in its complexity and comprehensibility. It is a set of relations between visual, non-visual and sound objects that try to move away from the conceptual trap of wanting to find an ultimate foundation. Emptying itself of the need to seek certainties, sound creates a world of perspectives, of manifestations rather than univocal facts or defined entities. Articulating itself as the breath of the manifestation of the relationships on stage, the world that emerges is a rarefied one, a tenuous and fragile veil, beyond which there is nothing.



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by OHT | Office for a Human Theatre

> directing and set Filippo Andreatta
> sound and music Davide Tomat
> assistant director Veronica Franchi
> voice Dania Tosi
> song "Beata Viscera" by Perotin
> light Andrea Sanson
> sound design Claudio Tortorici
> stage manager Ronni Bernardi / Andrea Colò
> assistant stage manager Cosimo Ferrigolo
> super-butterfly Alberto Favretto
> painted backdrop Paolino Libralato
> graphics bruno, Venezia
> promotion and curating Laura Artoni
> administration Laura Marinelli
> in co-realization with technical team of CSC Trento

> production OHT, Centro Santa Chiara di Trento
> co- production la Biennale di Venezia, fondazione i Teatri di Reggio Emilia
> supported by Provincia Autonoma di Trento, Fondazione Caritro

production history

05.VII.21 > premiere > Teatro Goldoni - la Biennale di Venezia
25.IX.21 > Teatro Ariosto - festival Aperto - i Teatri di Reggio Emilia
23-24.XI.21 > Teatro Sociale Trento - CSC S.Chiara