Memoria deals with the burden of remembering and the commitment not to forget, with the challenges of returning home after deportation, and with a stranger singing under a tree.
The performance is dedicated to the writers Primo Levi and Jean Améry who survived Auschwitz only to commit suicide later.
The true stories about Moshe and Stella come from the book by Yaffa Eliach: Hasidic Tales of the Holocaust. In the performance there is a quotation from the poem by Paul Celan: Death Fugue.
Actress: Else Marie Laukvik
Musician: Frans Winther
Text: Else Marie Laukvik in collaboration with Eugenio Barba and Frans Winther.
Music: Frans Winther, and Yiddish songs.
Directed by Eugenio Barba
A co-production: Teatro Tascabile di Bergamo and Nordisk Teaterlaboratorium
Odin Teatret was created in Oslo, Norway, in 1964, and moved to Holstebro (Denmark) in 1966. Today, its 33 members come from eleven countries and four continents.
Odin Teatret’s 53 years as a laboratory have resulted in the growth of a professional and scholarly milieu characterised by cross-disciplinary endeavours and international collaboration. One field of research is ISTA (International School of Theatre Anthropology) which since 1979 has become a performers’ village where actors and dancers meet with scholars to compare and scrutinise the technical foundations of their scenic presence. Another field of action is the Theatrum Mundi Ensemble which, since the early 1980s, presents performances with a permanent core of artists from many professional traditions. Under the name of Nordisk Teaterlaboratorium, younger artists and groups that are closely connected to Odin Teatret’s history and experience develop their artistic autonomy in the form of residencies, co-productions and local activities.
Odin Teatret has so far created 77 performances, performed in 66 countries and different social contexts. In the course of these experiences, a specific Odin culture has grown, founded on cultural diversity and the practice of “barter”: Odin actors present themselves through their work to a particular milieu which, in return, replies with songs, music and dances from its own local culture. The barter is an exchange of cultural manifestations and offers not only an insight into the other’s forms of expression, but is equally a social interaction which defies prejudices, linguistic difficulties and differences in thinking, judging and behaving.
Performed in Norwegian