Sales of tickets are to be opened on the website of the Theatre Olympics 2019 on April 22. Sales will be opened with Bosch Dreams, The Revenger's Tragedy and The Land of Nod.
Bosch Dreams, a performance of the Canadian Seven Fingers Theatre and Circus, will be presented in St. Petersburg on June 21-22 (twice) on the stage of the Baltic House Theatre-Festival. Author of the idea and Director is Samuel Tetreault.
The performance presents a fantastic journey across the universe of Jheronimus Bosch. The Seven Fingers Theatre and Circus, in cooperation with Theatre Republique, the Jheronimus Bosch Foundation, and the Circolo Festival, has created a new circus and acrobat show. Against the background of magic projections, strange creatures and fairy tale animals come to life. In the supernatural Universe, episodes of the artist’s life and plots of its pictures get mixed together. The show is a part of the Bosch-500 International Project. The world premiere of the show took place in Copenhagen in September 2016.
On June 29-30, Piccolo Teatro di Milano — Theatre of Europe (Italy) will present Declan Donnellan’s The Revenger's Tragedy on the Main Stage of the Alexandrinsky Theatre.
The Revenger's Tragedy is the first performance with Italian actors in Italian produced by Declan Donnellan, an internationally famous British director. A literary foundation is a Jacobean tragedy of the same name of Thomas Middleton, a younger contemporary of Shakespeare. The action takes place in the Italian court. Vindice broods over killing the Duke for poisoning his fiancée Castiza who rejected the nobleman’s pressure.
The Land of Nod by FC Bergman, a Belgian theatre company, will be presented in the Artplay Design Centre (St. Petersburg) on June 28, 29 and 30.
FC Bergman theatre-makers drew inspiration for The Land of Nod in a fact of contemporary social life. Due to the massive renovation of the Royal Museum of Fine Arts in Antwerp, the Rubens’ Gallery — one of the sacred places for the cultural code — had to be closed for several years. The stage design of the performance is built to let the audience in the museum hall prepared for renovation: all paintings are removed but the one, Christ on the Cross. The spectators become witnesses to the absurd, funny, mysterious and even catastrophic events taking place in the museum. The performance is virtually wordless. The action progresses from ironic pantomime, which might as well occur in the reality, to the phantasmagoria. Biblical associations form a meaningful part of the performance which itself bears the name of the land of vagrancy where to Cain was banished after he had committed his fratricide. The museum as a metaphor of culture and as physical place becomes a shelter where a small human being seeks solace.
After its premiere in Antwerp and a series of performances in Belgium and Netherlands, The Land of Nod was presented within the program of Festival of Avignon and participated in theatre festivals in Switzerland and Spain.
FC Bergman Company draws the spectator’s attention to the fact that the production belongs to the site-specific theatre genre.