Teatro, Storia e Media
“Mai prima d’ora ho sentito la storia arrivare così vicino … Se hai mai avuto la possibilità di partecipare a uno degli spettacoli di Milo Rau, ti consiglio caldamente di farlo.” [De Correspondent]
Nel 2006 Milo Rau iniziò a occuparsi di quanto accaduto in Rwanda, per sei mesi fece ricerche approfondite e scrisse dozzine di inizi, ma alla fine si arrese nell’incapacità di tradurre in performance un avvenimento così violento e incomprensibile. Solo nel 2010 – mentre stava terminando il film The Last Days of the Ceausescous – individuò nello studio della Radio-Télévision Libre des Mille Collines (RTML) il luogo dal quale raccontare la verità sul genocidio. Basato su trasmissioni in tempo reale e su racconti autentici, Milo Rau porta la storia molto vicino a noi.
Se ne discute con Milena Kipfmüller e Diogène Ntarindwa, drammaturga e attore di Hate Radio, Roberta Carpani, docente di Storia del Teatro Università Cattolica di Milano, Danilo De Biasio, giornalista e direttore Festival dei Diritti Umani, Lapsus, laboratorio di analisi storica del mondo contemporaneo.
Incontro realizzato con il sostegno dell’Istituto Svizzero.
Ingresso libero c/o ZONA K
“The fundamental tool for the manipulation of reality is the manipulation of words.”
(Philip K. Dick)
A reflection on the relationship between the means of communication and power, and on the power of communication to condition society’s thinking, to distort the past, to read a single present and imagine incredible futures.
Are we victims of communication, enslaved to the manipulation strategies of economic and political powers, according to the formula communication=power=social control? Or are there still margins for using the media as a positive force, a tool and a road to change?
Looking at the onslaught of electronic devices that now accompany our lives as indispensable prostheses, it seems clear that the use of new tools offers us a different way of perceiving reality, increasingly poised between direct, honest information and a falsification of the same, without control.
Once again, we cast a glance at the positive force of communication, which is not only “fourth power” or “power 4.0”, but is also the force of the different languages that compose it and offer us different looks and readings.
17 October h. 21.o0, 18 – 20 October 2018 h. 19.30 and h. 21.o0
PERHAPS ALL THE DRAGONS
18 – 19 October h. 9.30, 20 October 2018 h. 16.00
REMEMBER THE DRAGONS
A project by ZONA K and Triennale Teatro dell’Arte
[performance for ages 11 and up]
15 – 17 November . 20.00, 18 November 2018 h. 17.00
Circolo Bergman (IT)
20 November 2018 h. 17.00
Lola Arias (AR)
THEATRE AS A REMAKE OF THE PAST
20 – 23 November 2018 h. 17.00 – 21.00
Lola Arias (AR)
24 November 2018 h. 20.00
Lola Arias (AR)
1 – 2 December 2018 h. 20.00
Milo Rau/IIPM (CH)
In collaboration with Olinda / TeatroLaCucina
IIPM/Milo Rau (CH)
‘High-calibre political theatre’.
★★★★★’ De Theaterkrant
Hate Radio tells the story of RTLM/Radio-Télévision Libre des Mille Collines, a Rwandan radio station that played a crucial role in the genocide of the Tutsi minority in 1994, in which around 1 million people died.
The radio was the most powerful tool for violent propaganda. The operators of the radio station prepared for the genocide for months by integrating music, sports, political communiqués and outright incitements to murder into their programming.
Hate Radio focuses on the staging of an RTLM show by three ethnic Hutu extremists and the Belgian-Italian Georges Ruggiu, reconstructing the context philologically and staging survivors of the genocide itself. How does the process of affirming racist ideology work? How is it possible to purge the individual of his humanity?
Director Milo Rau’s work uses documents and direct testimony to answer these questions, letting people experience what happened in history first-hand.
c/o and in collaboration with
Olinda/TeatroLaCucina – Ex O.P. Paolo Pini – via Ippocrate, 45
Played in French and Kinyarwanda with Italian surtitles
a production of THE INTERNATIONAL INSTITUTE OF POLITICAL MURDER – IIPM
text and direction Milo Rau dramaturgy and conception Jens Dietrich scenes and costumes Anton Lukas
video Marcel Bächtiger sound Jens Baudisch with (live) Afazali Dewaele, Sébastien Foucault, Diogène Ntarindwa, Bwanga Pilipili; (video) Estelle Marion, Nancy Nkusi assistant director Mascha Euchner-Martinez executive production and dramaturgy assistant Milena Kipfmüller public-relation Yven Augustin documentation collaboration Eva-Maria Bertschy corporate design Nina Wolters web design Jonas Weissbrodt academic counselling Marie-Soleil Frère, Assumpta Mugiraneza & Simone Schlindwein Casting Bruxells/Geneva: Sebastiâo Tadzio Casting Kigali: Didacienne Nibagwire
HATE RADIO is a production by IIPM Berlin/Zürich with Migros-Kulturprozent Schweiz, Kunsthaus Bregenz, Hebbel am Ufer (HAU) Berlin, Schlachthaus Theater Bern, Beursschouwburg Brüssel, migros museum für gegenwartskunst Zürich, Kaserne Basel, Südpol Luzern, Verbrecher Verlag Berlin, Kigali Genocide Memorial Centre and Ishyo Arts Centre Kigali. Supported by von Hauptstadtkulturfonds (HKF), Migros-Kulturprozent Schweiz, Pro Helvetia – Schweizer Kultur-stiftung, Kulturelles.bl (Basel), Bildungs- und Kulturdepartement des Kantons Luzern, Amt für Kultur St. Gallen, Ernst Göhner Stiftung, Stanley Thomas Johnson Stiftung, Alfred Toepfer Stiftung F. V. S., GGG Basel, Goethe- Institut Brüssel, Goethe-Institut Johannesburg, Brussels Airlines, Spacial Solutions, Commission Nationale de Lutte contre le Génocide (CNLG), Deutscher Entwicklungsdienst (DED), Contact FM Kigali, IBUKA Rwanda (Dachorganisation der Opferverbände des Genozids in Rwanda) and the Hochschule der Künste Bern (HKB), Friede Springer Stiftung.
Milo Rau is a theatre and film director, journalist and essayist. He studied sociology, philology and Romance and Germanic literature in Paris, Berlin and Zurich, with mentors such as sociologist Pierre Bourdieu and philosopher Tzvetan Todorov. In 2007 he founded the production company International Institute of Political Murder (IIPM). His shows and films have been presented in over twenty countries. In 2014 he received the Swiss Theatre Prize, the Hörspielpreis der Kriegsblinden award for best radio drama (with “Hate Radio”), the jury prize at the Festival Politik im Freien Theater (with “The Civil Wars”) and the special jury prize at the German Film Festival (with “The Moscow Trials”). In 2015 he was awarded the important Konstanzer Konzilspreis prize and in 2016 the International Theatre Institute prize as part of World Theatre Day. His most performed works include “Last Days of the Ceausescus” (2009), a play/film tracing the farcical trial against dictator Nicolae Ceausescu and his wife, “Hate Radio” (2011), about the role of the radio station RTLM in the 1994 Rwandan genocide, “The Civil Wars” (2014), which analyses the assumptions of insurgency and political engagement through the lived experience of actors on stage, “The Moscow Trials” and “The Zurich Trials” (2013), in which he experiments with the format of theatrical processes. Since 2017 he has been the artistic director of the NTGent theatre centre.
Milo Rau e CAMPO (CH/BE)
A project by ZONA K and Triennale Teatro dell’Arte
Milo Rau, one of the most popular and controversial directors of contemporary theatre, arrives for the first time in Milan with an ambitious project that starts from a cruel news story – linked to the figure of the paedophile and murderer Marc Dutroux – and comes to reflect on the materialisation of feelings on stage.
Milo Rau and the International Institute of Political Murder (IIPM) have conquered the biggest theatres in Europe in recent years with their uncompromising political theatre. Their work is based on first-hand accounts and reconstructions of real events that mercilessly tackle the great taboos of our time.
In collaboration with the Belgian production centre CAMPO, they have created Five simple scenes to recount a tragic episode in Belgian history. Five simple scenes, interpreted by children between the ages of 9 and 13, to show a disturbing image of contemporary society and reveal the limits of what children know, feel and do.
How can they really understand the meaning of manipulation, empathy, loss, subjugation, disappointment or rebellion? What does it mean to involve children in adult theatre? What happens when we watch them act? What does it reveal about our fears and desires?
In Flemish with Italian subtitles.
Due to the theme, the show is intended for an adult audience.
c/o TRIENNALE TEATRO DELL’ARTE – viale Alemagna, 6
Concept, text and direction Milo Rau text and performance Aimone De Zordo, Fons Dumont, Arno John Keys, Blanche Ghyssaert, Lucia Redondo, Pepijn Siddiki, Hendrik Van Doorn, Eva Luna Van Hijfte performance film Sara De Bosschere, Pieter-Jan De Wyngaert, Johan Leysen, Peter Seynaeve, Jan Steen, Ans Van den Eede, Hendrik Van Doorn & Annabelle Van Nieuwenhuyse dramaturgy Stefan Bläske assistant director and performance coach Peter Seynaevec childcare and production assistant Ted Oonk research Mirjam Knapp & Dries Douibi scenes and costumes Anton Lukas video and sound design Sam Verhaert production CAMPO & IIPM co-production Kunstenfestivaldesarts Brussels, Münchner Kammerspiele, La Bâtie – Festival de Genève, Kaserne Basel, Gessnerallee Zürich, Singapore International Festival of Arts (SIFA), SICK! Festival UK, Sophiensaele Berlin & Le phénix scène nationale Valenciennes pôle européen de création photo Phile Deprez
With obstinacy and enthusiasm, the fourth season of ZONA K once again uses the formula of thematic FOCUSes, reaffirming our desire to create opportunities for tout court cultural dissemination.
With shows, debates, conversations with cultural figures, workshops for children and young people, photographic exhibitions and films, the FOCUS allows us to make our space, above all, a place for meeting and reflection for a public that we would like to see become ever wider.
It also gives us the opportunity to address current and urgent issues in the reality that surrounds us, both in relation to the micro universe of our city district, and in a macro perspective open to the national and European situation.
The fourth edition of PLAY-K(ei) opens with the FOCUS SWITZERLAND (23 November – 20 December 2015), a survey of a country that is at the centre of Europe even though it is not part of it. The relationship that Europe has with it is emblematic and ambiguous, central to its economic policies, even though it is not involved in the Union’s conflicts and contradictions. As happened in the last edition and again last September/October with the Remote Milano by Rimini Protokoll (with an English version for the international EXPO audience), we would like to revive the public, ordinary people, as protagonists, so that theatre can once again become part of a shared language and, above all, a necessary part of a community.
This is the direction of Yan Duyvendak & Roger Bernat‘s work, Please, continue (Hamlet) (29 – 30 November 2015) in which a host of eminent lawyers and magistrates, Umberto Ambrosoli, Alessandro Bastianello, Gherardo Colombo, Oscar Magi, Ilio Mannucci Pacini, Mario Mantero, Isabella Marenghi, Adriano Scudieri, Salvatore Scuto, together with other members of the Milan criminal court, lend themselves to the game of theatre by acting themselves through a full-blown trial. Three actors are involved: Francesca Cuttica, Francesca Mazza and Benno Steinegger. The operation also inaugurates the collaboration with the Unicredit Pavillion space that hosts the show and in doing so opens its doors to the theatre for the first time.
The Switzerland Focus continues at ZONA K with the viewing of Milo Rau‘s films The Moscow Trials (27 November 2015) and Hate Radio (29 November 2015) and the participation of a young and talented company, Collettivo Ingwer, which brings to Milan the photographic and video restitution of an investigation between art and contemporary anthropology, carried out with the women of Milan’s Isola district last September. The installation entitled Io sono un’altra (2 – 20 December 2015) is based on the themes of female identity and ideality. This will be followed by the Milan premiere of Still Leben, also by the Ingwer Collective (2 December 2015).
Focus Switzerland also includes two opportunities for reflection and debate: the meeting of the Centro Studi di Politica Estera e Opinione Pubblica of the University of Milan, organised in collaboration with the Centro Svizzero, with the participation of Sergio Romano, Lino Terlizzi and Alfredo Canavero (23 November 2015); and conversations with an aperitif on the theme of theatre poised between Realtà e Finzione (27 November 2015), with the participation of director and performer Yan Duyvendak, director and author Boris Nikitin (creator and curator of the ITS THE REAL THING festival in Basel), and critic and expert Oliviero Ponte di Pino.
For young people, the PLAY-K(ids) programme offers the science workshop Einstein’s Box at Ascona’s Science Garden and the screening of the documentary film The Children of Mount Napf by Alice Schmid (29 November 2015).
On the occasion of this FOCUS SWITZERLAND, the collaboration between the FIT Festival Lugano and ZONA K began. In addition to providing information and contacts for the focus programming, for its 24th edition the FIT Festival has offered reductions to ZONA K members. ZONA K offers reduced rates (upon reservation) to all FIT subscribers and residents of Lugano who will cross the Lugano/Milan border to participate in ZONA K’s Focus Svizzera. The FOCUS will also include the research work of Officina Orsi, Swiss Label and resident artist Rubidori Manshaft on the Isola district and its inhabitants, who will be the stage and protagonists of the Milanese version of his project Sull’umano sentire which, after its debut in Lugano in summer 2016 (of its Swiss version), will be presented by ZONA K in the next edition of the Isola Kult festival, in autumn 2016.
It continues with the FOCUS GENERE (8 – 20 March 2016), dedicated to gender identity. The FOCUS opens the reflection on the new representations of identity, understood in its different meanings, from gender to national identity. Personal and exemplary stories, theoretical hints and philosophical questions, always on the borderline between fiction and reality, questioning masculinity and femininity, boundaries and definitions, categories and memberships, for a hymn to the freedom to become, to openness to multiplicities. A thought, above all, directed towards future scenarios, where gender identity announces unpredictable developments.
It will be an honour for us to have as our travelling companions in this exploration, the Motus Company with their latest production, MDLSX, at ZONA K in its Milan premiere (8 – 12 March 2016). MDLSX is a sound bomb, a lysergic and solitary hymn to the freedom of becoming, to gender b(l)ending, to being other than the borders of the body, the colour of the skin, the imposed nationality, the forced territoriality, the belonging to a Country. It is a “scandalous” theatrical journey by Silvia Calderoni who – after 10 years with Motus – ventures into this experiment with the apparent format of the D-j/Vj Set, to begin an exploration of boundaries that will be catalysed, in 2017, in Black Drama (a tragic musical).
This will be followed by the young artists of Dehors/Audelà, with their careful and meticulous search for an original artistic language that mixes dance, theatre and video processing in a performance focused on the resistance to inhabiting and wearing one’s own identity, in Perfetto Indefinito (14 – 15 March 2016). Dehors/Audelà is one of the young companies already presented at ZONA K that we are trying to bring to the public’s attention, noting the progressive artistic maturity and originality of their work. In this season of PLAY-K(ei) we wish to inaugurate the support and care towards those artistic realities discovered in the “cellars” of the national programming, and perhaps already hosted at ZONA K, to which we would like to give more space and artistic recognition.
To complete the Focus the evening promoted by the associations Alilò futuro anteriore, Famiglie Arcobaleno, l’Ombelico LE OMBRE DEL BUIO: origini (quasi) nascoste della violenza di genere (25 February 2016), an event that originates from a sociological reflection on the relationship between socialisation and gender stereotypes, initiated at the University of Bergamo and published in the essay by C. Ottaviano and L. Mentasti, Oltre i destini. Attraversamenti del femminile e del maschile, Ediesse, Rome 2015.
From the open dialogue with the artistic direction of the Gender-Bender Festival in Bologna, the exhibition of original illustrations by Luca Di Sciullo, Viola Niccolai, Lisa Passaniti and Cristina Portolano and photographs by Elisa D’Errico FINGERPRINTS / Performing Gender (8 – 25 March 2016) accompanies the entire FOCUS GENRE.
The FOCUS closes with the show INDOMADOR by the Catalan company Animal Religion, in the ZONA K season presented by C.L.A.P.Spettacolodalvivo, in collaboration with Fira Tàrrega (24 – 25 March 2016), followed by a meeting with the artist Quim Girón.
For young people, the PLAY-K(ids) programme proposes the workshop on gender differences THE REAL ENCYCLOPEDIA OF PRINCESSES AND WARRIORS by Paola Gaggiotti and the screening of the documentary film GAYBY BABY by Maya Newell (13 March 2016).
The FOCUS IDENTITÁ (3 – 10 May 2016) is dedicated to the cultural aspects of identity definition. We are spectators of an unprecedented migratory flow. On the one hand, we see Europe increasingly defining itself and its borders becoming more rigid through nationalistic legacies. On the other hand, a kind of cultural contamination is spreading uncontrollably. Is it still worth talking about ‘nation’ or ‘dominant culture’? We have come up with a Focus where the colours of cultural and national identities mix as in a card game, where chance and necessity determine the construction of new and unexpected communities: a reflection on cultural and national identity, or rather “Against identity”, to quote the famous text by Francesco Remotti.
This is followed by the play Sotto un cielo straniero by Teatro Utile /Mascherenere (4 – 6 May 2016), in which the actors are mainly immigrants, lost in the urban geography of a city such as Milan. In order to continue the FOCUS journey, we have called upon young artists who, by means of innovative theatrical languages, are able to address the themes revolving around the construction of an identity in a broad and philosophical sense, so as to return to the public the contradictions of the chosen theme: TeatrInGestAzione, a young company from Naples with the show Absolute Beginners (9 – 10 May 2016) seemed emblematic in this regard, both for its content and its original language.
With regard to the theme in which the identity of peoples and cultures is brought into play, it seemed natural and at the same time a conscious gamble to try to mix the paths of different artistic identities. As in the reality of the contamination of peoples, so in the artistic reality we are trying to bring together diametrically opposed companies such as Arosio/Boscaro, dedicated to experimentation between dance and video-mapping, and Teatro Utile/Mascherenere more inclined to the discovery of an original dramaturgy that draws on the resources of the individual members of its inter-ethnic working group, in a path of meetings (which will take place between January and May 2016) where the exchange of experiences and artistic visions can create a significant return for the public on the theme of FOCUS (6 May).
FOCUS IDENTITA’ is also a debate on FLUSSI MIGRATORI: IDENTITA’ E CONNESSIONI led by De Biasio with two leading experts on the subject: Maurizio Ambrosini and Francesco Remotti, followed by a screening of ZaLab’s short films I LIVE IN MELBOURNE NOW (10 May 2016).
There are the Extra Events of PLAY-K(ei), or those events that, for the sake of consistency, we have not included in the Thematic Focuses but that indicate ZONA K’s desire to bring to light interesting and unique artistic experiments. Thus, we would like to highlight the participation in the ZONA K season of Dario Buccino, musician and performer who will bring to ZONA K a singular live performance for four sheet music players and a clarinet entitled “Ma vero!” (18 – 19 March 2016).
After the summer break, PLAY-K(ei) resumes with the URBAN FOCUS (23 September – 27 November 2016) to give space to ZONA K’s desire to talk, reflect and act on reality, especially the urban reality that surrounds us. Established and emerging artists steal fragments of reality and rework them according to their own poetics, mixing scenic creation and everyday elements, blurring the boundary between public and private, to lead us to consider ourselves and what surrounds us with a renewed look and attitude, to imagine and, why not, build new realities.
Shakespeare’s Hamlet and his inability to act give life to ScarlattineTeatro‘s Hamlet Private: a confidential Hamlet, close, which abandons the traditional theatrical context and welcomes every single spectator in the intimacy of a coffee shop to give shape to a confidential relationship between spectator and performer. (23 – 25 September; 23 October; 13 November; 27 November 2016 @ Type Bistrot in via Borsieri).
PLAY-K(ei) le STRASSE come to PLAY-K(ei) with SOLO, a site-specific project that works on complex urban spaces, such as large train stations, and the people who populate them, a humanity in transit and circulation, with its own peculiar rhythms and travel times. (23 – 25 September; 30 September – 2 October 2016 @ Stazione FS Garibaldi).
From Bologna to FOCUS URBAN SPRAY LEXICON by Ateliersi, a dramaturgical and performative research on the writings that appear and disappear from the walls of the city. Ateliersi focuses its gaze on the inhabited street, on the engravings of anonymous authors, where the border between public and private emerges mobile and undefined. (23 – 25 September 2016 @Key Gallery, Via Borsieri)
Framing the whole FOCUS, the exhibition that brings together in a series of animated postcards, portraits inspired by the characters we see every day in our neighbourhood, the Isola district of Milan, conceived by BoomBangDesign: #POSTCARDSFROMISOLA (23 September – 28 October 2016 @ZONA K).
The season closes with FOCUS CATALOGNA: Catalan Avant-Garde on Stage, another European event, this time dedicated to CATALOGNA. A rich and lively cultural panorama, a multiform theatrical scene, with peaks of excellence in very different disciplines, from contemporary circus to urban performance. ZONA K chooses some of the most representative and innovative artists, able with their work to talk about contemporary reality and the contemporary world. At the same time, in a parallelism between the actuality of the present and the avant-garde of the past, it investigates the Spanish Civil War in its 80th anniversary, through the eyes of artists who told their present.
DOMINI PÚBLIC by Roger Bernat opens, a game about life, almost a life-size box game where the spectators are not mere pawns but become the protagonists of a story that director Bernat skilfully orchestrates. A sociological investigation in three dimensions on themes that are close to our hearts and in which we are protagonists, without constraints and prefixed roles. For the first time in Milan, Domini Públic has toured the world and is a true classic of urban performance (26 – 27 November 2016 at the Castello Sforzesco).
The leading group of the Catalan scene, winner of the Silver Lion at the 2015 Venice Biennale, Agrupación Señor Serrano, brings to the stage two multimedia performances.
BIRDIE, compares two mirages. On the one hand, welfare, respect for human rights, prosperity, ease of movement for information and capital. On the other, wars, exploitation, persecution, obstacles for migrants.
Milo Rau / IIPM
In the summer of 2012, the sentencing of Pussy Riot to two years’ imprisonment meant, according to many, the end of democracy in Russia.
In March 2013, Milo Rau set up a courtroom at Moscow’s Sakharov Center and staged a “trial” of Putin’s political system’s culture war, which for a decade has persecuted artists and dissidents to prevent any form of democratic change.
The performance was seized upon by the Russian authorities and caused an international scandal. The Moscow Trials (Switzerland/Germany 2014) documents the realisation of the project and the events of those days.
Russian with Italian subtitles, running time 86 min.
Admission: € 5,00
Screenplay and direction: Milo Rau; producer: Arne Birkenstock; IIPM co-producer: Jens Dietrich, Milo Rau; executive producer: Kirsten Schuaries; executive producer in Moscow: Jens Dietrich, Milena Kipfmüller; filming: Markus Tomsche; sound: Jens Baudisch; assistant director: Yanina Kochtova; editing: Lena Rem; assistant editor: Malte Wirtz. In collaboration with: Deutsches Nationaltheater and Staatskapelle Weimar, Institute for the Performing Arts and Film / Zürcher Hochschule der Künste, Konzert Theater Bern, Gessnerallee Zürich, Stiftung Gedenkstätten Buchenwald and Mittelbau-Dora, Memorial Russland, Sacharow-Zentrum Moskau, Wiener Festwochen, Kunstenfestivaldesarts Brüssel, Goethe-Institut Moskau, Fruitmarket Kultur und Medien GmbH. Produced with the support of: Film- und Medienstiftung NRW, Beauftragter der Bundesregierung für Kultur und Medien.
Milo Rau – 1977, Bern, Switzerland. Director and playwright, he studied sociology, Germanistics and Romanistics in Paris, Zurich and Berlin, attending lectures by Tzvetan Todorov and Pierre Bourdieu, among others. He began writing international reportage in 1997, travelling to Ciapas and Cuba. From 2000 he worked for the Neue Zürcher Zeitung, and from 2003 he began his career as a director and author in Switzerland and abroad. In 2007 Rau founded the IIPM (International Institute of Political Murder), the theatre and film production centre with which he still produces all his work today. In addition to his theatre and film work, Milo Rau lectures on directing and cultural theory at several universities. His theatre and film works are based on long and meticulous research in the field, sometimes they are full-fledged cultural and social campaigns (e.g. “Montana”, “The Last Hours of Elena and Nicolae Ceausescu”, “Hate Radio”, “City of Change”, “Breivik’s Statement”, “The Moscow Trials”, “The Zurich Trials”, “The Civil Wars”, “The Dark Ages” and “The Congo Tribunal”). They have been invited to more than thirty different countries around the world and hosted by some of the most important festivals and centres worldwide, including Berliner Theatertreffen, Avignon Festival, Theaterspektakel Zürich, Noorderzon Performing Arts Festival Groningen, Festival TransAmeriques, Wiener Festwochen, Kunstenfestival Brussels, Santarcangelo Festival, Terni Festival, Venice Biennale. He is the recipient of numerous prizes and awards, including the Swiss Theatre Price, the Best Radio Drama Award of the Association of the War Blind (for “Hate Radio”), the Special Jury Prize of the German Film Festival (for “The Moscow Trials”) and the Grand Jury Prize of the Triennial German Theatre Festival “Politik im Freien Theater” (for “The Civil Wars”). His philosophical essay “What is to be done. Critique of the Postmodern Reason” (2013) became a bestseller and was named “Best Political Essay of 2013” by the prestigious German newspaper ‘Die Tageszeitung’, while his play “The Civil Wars” was selected as one of the “Best 5 plays of 2014” by the expert commission of Swiss State Television. “The Civil Wars” was named as “one of the best plays in the Netherlands and Flanders of the 2014/2015 season”. The Belgian newspaper ‘La Libre Belgique’ recently called Milo Rau ‘the most in-demand director in Europe’, while the German weekly ‘Der Freiteg’ called him ‘the most controversial theatre director of his generation’.
Milo Rau / IIPM
Hate Radio (Switzerland/Germany 2011) tells the story of RTLM/Radio-Télévision Libre des Mille Collines, a Rwandan radio station that played a crucial role in Rwanda’s genocide of the Tutsi minority in 1994.
On 6 April 1994, Rwandan President Habyaruman’s plane was hit by two missiles during take-off. This event marked the beginning of the most brutal genocide since the end of the Cold War.
In the months of April, May and June 1994, the estimated death toll in Rwanda among the Tutsi minority ranged from 800,000 to 1,000,000, and thousands were killed among the moderate Hutus.
The most powerful weapon used during the genocide was the “Radio-Télévision Libre des Mille Col-lines” (RTLM). With inexplicable cynicism, the operators of the radio station cultivated and prepared for the genocide for months, integrating music, sports, political communiqués and genuine incitements to murder into their programming.
How does the process of establishing racist ideology work? How is it possible to purge the individual of his humanity?
Director Milo Rau’s work uses documents and direct testimony from members of the Hutu ethnic group and survivors of the genocide itself to answer these questions, letting people experience first-hand what happened in the history of Rwanda.
French with Italian subtitles, duration 65 min.
Admission: € 5,00
Screenplay and direction: Milo Rau; dramaturgy and conceptual management: Jens Dietrich; set design and costumes: Anton Lukas; video: Marcel Bächtiger; sound: Jens Baudisch; video cast: Estelle Marion, Nancy Nkusi; assistant director: Mascha Euchner-Martinez; production and dramaturgy manager: Milena Kipfmüller; public relations: Yven Augustin; scientific collaboration: Eva-Maria Bertschy. “Hate Radio” is a production of IIPM – International Institut for Political Murder Berlin/Zürich with Migros-Kulturprozent Schweiz, Kunsthaus Bregenz, Hebbel am Ufer (HAU) Berlin, Schlachthaus Theater Bern, Beursschouwburg Brüssel, migros museum für gegenwartskunst Zürich, Kaserne Basel, Südpol Luzern, Verbrecher Verlag Berlin, Kigali Genocide Memorial Centre and Ishyo Arts Centre Kigali. Supported by: Hauptstadtkulturfonds (HKF), Migros-Kulturprozent Schweiz, Pro Helvetia – Schweizer Kulturstiftung, Kulturelles.bl (Basel), Bildungs- und Kulturdepartement des Kantons Luzern, Amt für Kultur St. Gallen, Ernst Göhner Stiftung, Stanley Thomas Johnson Stiftung, Alfred Toepfer Stiftung F. V. S., GGG Basel, Goethe- Institut Brüssel, Goethe-Institut Johannesburg, Brussels Airlines, Spacial Solutions, Commission Nationale de Lutte contre le Génocide (CNLG), Deutscher Entwicklungsdienst (DED), Contact FM Kigali, IBUKA Rwanda (Dachorganisation der Opferverbände des Genozids in Rwanda) and the Hochschule der Künste Bern (HKB), Friede Springer Stiftung.
Milo Rau – 1977, Bern, Switzerland. Director and playwright, he studied sociology, Germanistics and Romanistics in Paris, Zurich and Berlin, attending lectures by, among others, Tzvetan Todorov and Pierre Bourdieu. He began writing international reportage in 1997, travelling to Ciapas and Cuba. From 2000 he worked for the Neue Zürcher Zeitung, and from 2003 he began his career as a director and author in Switzerland and abroad. In 2007 Rau founded the IIPM (International Institute of Political Murder), the theatre and film production centre with which he still produces all his work today. In addition to his theatre and film work, Milo Rau lectures on directing and cultural theory at several universities. His theatre and film works are based on long and meticulous research in the field, sometimes they are full-fledged cultural and social campaigns (e.g. “Montana”, “The Last Hours of Elena and Nicolae Ceausescu”, “Hate Radio”, “City of Change”, “Breivik’s Statement”, “The Moscow Trials”, “The Zurich Trials”, “The Civil Wars”, “The Dark Ages” and “The Congo Tribunal”). They have been invited to more than thirty different countries around the world and hosted by some of the most important festivals and centres worldwide, including Berliner Theatertreffen, Avignon Festival, Theaterspektakel Zürich, Noorderzon Performing Arts Festival Groningen, Festival TransAmeriques, Wiener Festwochen, Kunstenfestival Brussels, Santarcangelo Festival, Terni Festival, Venice Biennale. He is the recipient of numerous prizes and awards, including the Swiss Theatre Price, the Best Radio Drama Award of the Association of the War Blind (for “Hate Radio”), the Special Jury Prize of the German Film Festival (for “The Moscow Trials”) and the Grand Jury Prize of the Triennial German Theatre Festival “Politik im Freien Theater” (for “The Civil Wars”). His philosophical essay “What is to be done. Critique of the Postmodern Reason” (2013) became a bestseller and was nominated “Best Political Essay of the Year”.