Can art be a way to revive the past? How do reality and fiction overlap? What does the expression documentary art imply? What kind of writing processes allow for this kind of project?


Through videos and materials from her works, Argentinean director Lola Arias talks about her experience in the field of documentary art and interdisciplinary projects using theatre, cinema and visual arts over the last decade. Arias addresses different aspects of the genesis and development of her works, where she problematises the relationship between aesthetics and politics, reality and fiction, artwork and social experiment.



The power of people, of ordinary people. The authentic strength and drive that comes from below. “People have the power”, “Power to the people”, songs and slogans from the 1970s that still endure in a world so different from that time. And yet, in spite of everything, people still think that they have the power to change the world.

PEOPLE tells of the strengths and contradictions that permeate our society: the strength of feelings, the exchange between generations, the relationships of solidarity; but also the relationships between individuals where power games become more ambiguous and sometimes ruthless. Above all, it talks about people: young people, teenagers, curious women, independent, aggressive but always and in any case topical.


26 April – 19 May 2018
Mammalian Diving Reflex / Darren O’Donnell (CA)
TEENTALITARIANISM with 3 dates + 1

23 – 24 May 2018 h. 20.00
Guinea Pigs (IT)

25 May – 10 June 2018 h. 10.00 – 19.00
Barbara Miele (IT)
[photo exhibition]
In collaboration with PHOTO FESTIVAL MILANO

30 – 31 May 2018 h. 20.00
Marta Dalla Via (IT)
POLITICAL PENTOTHAL – Rap opera for Andrea Pazienza

5 – 6 June 2018 h. 20.00
She She Pop (DE)
A project ZONA K and Teatro Franco Parenti



What role do cities play today? Open, cosmopolitan, incubators of better tomorrows, memories of past cultures, grounds for ecological and social challenges? Or chaotic, closed, provincial even if European, an example of non-integration, uniform and without poetry? The roads are different, they overlap, they run parallel to remind us that it is we who determine the places we live.

And so we are returning to focus on cities, not only as symbols of economic and political power but above all as examples of the richness of Italy’s cultural heritage and the diversity of its urban fabric. And we want to re-appropriate this heritage: by invading spaces, marking landscape maps, building connections, and inhabiting places that are often unknown. Let us once again come out into the open in an unusual and necessary way.



5 – 7 October 2018 h. 20.00
PROJECT MERCURY – Performance n°3

9 October 2018 h. 18.30
Biscardini, Pertot, Rollo and Scirocco
[meeting with projection]

14 October 2018 h. 20.00
GIRLS IN MILAN ARE LOSING CONTROL. Society fears them. The end is blue.

20 – 21 and 24 – 28 October 2018 h. 16.00
DOM – (IT)
[urban walk]
A project ZONA K and Danae Festival

24 – 25 November 2018 h. 11.30 and h. 15.00
LONG-LASTING LANDSCAPES – Itineraries of urban choreography
A project ZONA K and Stanze



Eleonora Pippo (IT)



“We are not girls.
We are silver bullets for your middle-class brains!”


The friendship between Motta and Castracani – two middle-class girls with a shared passion for medical analysis – tells of the loss of control, the confused search for an identity, the recklessness, the challenge to themselves and the world, the investigation of their own bodies, common to many teenagers.

Inspired by Ratigher’s teen drama of the same name, Eleonora Pippo’s work enriches the plot with the experiences of the girls on stage. A parallel narrative made up of short interviews, live songs chosen by the girls themselves and letters addressed to a self from the future reveals the resources of the Post-Millennial Girls, interweaving fiction and reality that reinforce each other.

The theatre project is based on the formation of a temporary local company made up of girls between 13 and 18 years old, who – in the record time of seven days – work together with the director to create an original performance.

The performance, enriched by the installation La fine azzurra (The blue end), by Eleonora Pippo herself, is staged only once with active participation of the audience.

c/o ZONA K
People-specific creation for girls under 18 and their community – Duration 60 min.

In each square where the show is programmed, a temporary local troupe of non-professional teenage girls is formed.  The production takes place in seven days. The show is staged only once with active audience participation. @le_ragazzine_project by Eleonora Pippo is co-produced by Teatro della Tosse in Genoa and Eleonora Pippo with the support of Coconino Press FANDANGO EDITORE + Kilowatt Festival press office Antonella Bartoli

The bravest girls in Milan are 
Camilla Bonati, Clara Topputo, Elena Rieux, J. Gilda Pucci, Matilde Rosati, Paola Ricchiuto, Sara Guttadauro

Eleonora Pippo (Pordenone, 1976). A pupil of Giancarlo Cobelli and Marisa Fabbri at the Scuola del Teatro Stabile di Torino, actress with Valerio Binasco, Tim Stark, Claudio Longhi, Elio De Capitani and Franco Branciaroli, she is the director of “Cinque allegri ragazzi morti IL MUSICAL LO-FI”, the independent experimental musical based on the homonymous comic strip saga by Davide Toffolo, which has conquered the most prestigious Italian stages. He works on the break of the traditional theatrical language, he avoids the scenic illusion, to enter a territory of intimate sharing with the inner world of the characters and of the audience to whom he recognizes the role of protagonist. He directed Cinque allegri ragazzi morti IL MUSICAL LO-FI L’alternativa, La festa dei morti and #tuttonuovo, Marburg, Save your wish, Come fu che in Italia scoppiò la rivoluzione ma nessuno se ne accorse by Davide Carnevali, Ulisse chatta con gli dei Amleto gioca alla playstation, Raskolnikov legge fumetti, Sotterraneo), Cinque donne con lo stesso vestito Yumiura. He won the Premio Scintille at Asti Teatro Festival (2010). She perfected her training at the ViaNegativa company in Ljubljana, with Thomas Ostermeier, Agrupación Señor Serrano and with Richard Maxwell/ New York City Players.

OHT | Office for a Human Theatre (IT)



“Lo spazio siderale per indagare lo spazio dei desideri”


Fiora and Chiara are training to become astronauts and face what is, to all intents and purposes, a space odyssey. The inability to assert themselves is latent in their every gesture and word, yet they do not give up and fight to conquer their portion of space.
It is their total lack of cynicism that turns an aseptic photographic studio into sidereal space.

Starting with Mercury 13, the failed American plan to send thirteen women into space, the show investigates the emotional consequences of not having the opportunity to do what you want to do. Oscillating in this impasse, the show puts the two would-be astronauts in dialogue with John Fitzgerald Kennedy, Jerrie Cobb (the first failed astronaut) and the only strike that took place in space.

With Project Mercury, OHT continues its Performance Series inspired by Richard Sennett’s sociological research on the emotional waste caused by one’s working condition. The first performance (Self-Portrait with Two Friends) deals with failure in a private space. The second (Weaknesses) turns on the exposure of one’s weaknesses in a public place. Finally, the third (Project Mercury) revolves around the absence of privilege in sidereal space.

c/o ZONA K
In Italian – Duration 50 min.


Idea, regia, scenografia Filippo Andreatta di e con Chiara Caimmi, Fiora Blasi drammaturgia Filippo Andreatta e Charles Adrian Gillott esperto spaziale Paolo Giuseppe Bianchi costumi Andrea Ravieli  direttore palcoscenico Massimiliano Rassu costruzione pedana Giovanni Marocco produzione Laura Marinelli una produzione OHT con il supporto di Fondazione Caritro, PAT residenza artistica Centrale Fies, Residenze IDRA, Teatro Cantiere Florida


OHT | Office for a Human Theatre was born in 2008, after winning Nuove Sensibilità, national award for young directors at Napoli Teatro Festival Italia, it has obtained Italian and international collaborations with the most prestigious European cultural institutes and important cultural institutions in the world. Finally, Centrale Fies and MART museum of modern and contemporary art of Trento and Rovereto are frequent partners.

DOM– con Antonio Moresco (IT)


“follow the man as he walks / match your step to his
keep a certain distance / sink into the landscape you cross”.


A man – shadowy and elusive – walks through the city. He walks through a variety of urban and suburban spaces – a station, an uncultivated field, an occupied house, a monastery, a recreational club and in between streets, squares, tracks. The audience follows him at a distance, almost spying on him, poised between identification and detachment.

“The man who walks” in Milan is Antonio Moresco, writer, author of narrative, theatrical and non-fiction works. It will be him that participants will have to follow from the centre to the periphery, from open spaces to closed ones. A wonderful experience for spectators/walkers, a rare opportunity to look at one’s own city with other eyes.

Starting from the graphic novel L’uomo che cammina (The Walking Man) by Jiro Taniguchi, DOM- builds a dramaturgy of spaces in which to explore the boundary between urban and third landscape, those abandoned areas at the edge of the inhabited reality. Going deeper and deeper into the substance of the places, the living experience of walking becomes the pretext for an ineliminable tension with reality and the presence of the spectator becomes the very centre of the performance.

A project by ZONA K and DANAE Festival
Urban walk for 18 spectators per performance.
In Italian – Duration 4h and 30 min.

The place of departure will be communicated by text message to each participant the day before the booked performance, so a phone contact will be requested. The performance involves a walk of about 4 hours, comfortable clothing and shoes are recommended. It is not suitable for people with reduced mobility.


creation, spatial dramaturgy and direction DOM- Leonardo Delogu, Valerio Sirna with Antonio Moresco and with Paola Galassi, Isabella Macchi with the participation of the students of ITAS Giulio Natta thanks to Studio Azzurro produced by Teatro Stabile dell’Umbria, Danae Festival, Zona K organisation Francesca Agabiti freely inspired by the comic strip by Jiro Taniguchi – L’uomo che cammina audiovisual documentation Studio Azzurro original music Fabio Zuffanti sound processing Lorenzo Danesin
Special thanks to the association Terzo Paesaggio


DOM- is a project born in 2013 from the collaboration between the artists Leonardo Delogu, Valerio Sirna and Hélène Gautier. It investigates the language of performing arts, with particular attention to the relationship between body and landscape, and is committed to the transmission of peculiar practices of dwelling, linked to the space and time of artistic creation. DOM- builds performance events, seminars, walks, writings, gardens, installations, videos, photographic reportages.

Antonio Moresco, Italian writer [Mantua, born 1947]. After completing a difficult apprenticeship, which he recounts in Letters to No One (1997), critically documenting the difficulty of emerging from the condition of being a writer.
After completing a difficult apprenticeship, which he describes in Lettere a nessuno (1997), critically documenting the difficulty of emerging from the condition of being an underground writer rejected by the Italian publishing world, in 1993 he published the collection of short stories Clandestinità (Clandestinity), in which the themes that underpin his work are already present, rendered in a dry and hyper-realistic style that increases its dramatic impact: loneliness, first and foremost, crossed by a dimension of dreaming as estrangement from the self, which is accompanied by the recurring motif of a frantic search for meaning that unravels through oblique and unstable paths. The fulcrum of Moresco’s work revolves around the vast work Giochi dell’eternità (Games of Eternity), written over a period of 35 years, consisting of Gli esordi (1998), Canti del caos (published in two volumes in 2001 and 2003) and Gli increati (2015). His other works include: La cipolla (1995), Lo sbrego (2005), Scritti di viaggio, di combattimento e di sogno (2005), Merda e luce (2007), La lucina (2013), Fiaba d’amore (2014), I randagi (2014), Piccola fiaba un po’ da ridere e un po’ da piangere (2015), L’addio (2016), Fiabe da Antonio Moresco (2017) and, both in 2018, L’adorazione e la lotta and Il grido.
Founder in 2003 of the blog Nazione indiana, in 2005 he created the online and print magazine Il primo amore.


“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
Berlin (BE)

18 – 19 October h. 9.30, 20 October 2018 h. 16.00
Berlin (BE)
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)

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





Berlin (BE)

“In our lives there are princesses who wait for nothing more
but to see us act, just once, with beauty and courage…” 


30 fascinating stories, told by children from 21 different countries and in 15 languages. A diverse group that meets the audience sitting at a large table.

Also in Remember the dragons … BERLIN they plunge us into a sea of stories that seem too absurd to be true. A girl from Morocco who is never hungry, feels no pain and hardly feels the need to sleep. A Danish boy who already on his fourth birthday would have liked to become a girl. A South African boy of the same age who made dozens of crop circles with his grandfather. One night, in secret.

True or false? And where did this little spaceman suddenly come from? Remember the dragons… is a performance suitable for children aged 11 and over. A big table with 30 screens and 30 seats for the audience. Each little spectator will bring an adult with whom they can share the adventures. Remember the dragons… shows the same stories to both children and adults from different perspectives, making them experience shared memories and giving them a beautiful glittering moonstone as a gift.

The languages to be heard are: Dutch, Ukrainian, German, Spanish, English, Russian, Arabic, Gujarati, French, Croatian, Chinese, Danish, Italian, Hebrew, Romanian.


A project by  ZONA K and Triennale Teatro dell’Arte 


c/o  Triennale Teatro dell’Arte – viale Alemagna, 6
Perfomance from 11 years old – Running time: 55 min.



conception and creation: BERLIN (Bart Baele, Yves Degryse, Tom Struyf) a production by BERLIN, HETPALEIS, Kopergietery research Frien Leysen music Eric Thielemans video Geert De Vleesschauwer set design BERLIN, Manu Siebens room Geert De Vleesschauwer production Celeste Driesen, Jelte Van Roy set construction Manu Siebens, Robrecht Ghesquière, Bregt Janssens, Koen Ghesquière construction filmset HETPALEIS in co-production with Rotondes, Tweetakt festival with the support of Flemish Government


Founders of BERLIN in 2003, filmmakers Bart Baele and Yves Degryse decided not to choose a particular genre, but to venture into the realm of documentary and let the places of their forays guide their inspiration. This philosophy gave rise to two project cycles: Holocene (the current geological era) where the starting point is always a city or other place on the planet, and Horror Vacui (fear of the void) in which true and touching stories are delicately unravelled around a table. The Holocene cycle includes Jerusalem, Iqaluit, Bonanza, Moscow and Zvizdal. The first three episodes of Horror Vacui are Tagfish, Land’s end and Perhaps all the dragons. BERLIN are still working on both cycles. Holocene will end in the city of Berlin (hence the group’s name) with the creation of a docu-fiction project involving the inhabitants of the cities featured in the previous episodes. The company has worked in 27 different countries in recent years, within various circuits: from theatres to exhibition spaces, from festivals to special locations.

Berlin (BE)

“Breathtaking! And exciting, because each of the characters
tells a true story.  A collection of collective stories.
This work is a descent into the heart of humanity.” Le Figaro


For the first time in Milan, the Belgian company acclaimed throughout Europe with an aesthetically irresistible theatrical installation with intelligent content.

A famous pianist realises on stage that she has studied the wrong concerto – A neurosurgeon swaps the head and body of two monkeys, they survive – In Japan there are 700,000 people who live as hikikomori, locked in their bedrooms for at least a year, completely detached from social life – Six degrees of separation, a theory that states that each individual can connect with another through no more than 6 intermediaries in the world.

Thirty stories, transformed into as many video monologues with a dramaturgical construction that creates coherence between them. The duration of each intervention will be exactly the same. Different interactions will take place at different times. Directors Bart Baele and Yves Degryse have encountered interesting people, facts, anecdotes, adventures, intrigues and thoughts. The themes that emerged from these stories are eclectic: from philosophical hypotheses to scientific detail to anecdotes, etc. A large oval structure on the perimeter of which 30 screens/stories are mounted, accommodates 30 spectators


A project by ZONA K e Triennale Teatro dell’Arte 

c/o  Triennale Teatro dell’Arte – viale Alemagna, 6
30 spectators for each performance

Performance surtitled in Italian and English



Concept BERLIN (Bart Baele, Yves Degryse) Set design BERLIN, Manu Siebens Text Kirsten Roosendaal, Yves Degryse, Bart Baele Editing Bart Baele, Geert De Vleesschauwer, Yves Degryse Soundtrack and mixing Peter Van Laerhoven Camera Geert De Vleesschauwer Technical direction Robrecht Ghesquière Research and dramaturgy Natalie Schrauwen with Derek Blyth, Sergey Glushkov, François Pierron, Juan Albeiro Serrato Torres, Rinat Shaham, Shizuka Hariu, Shlomi Krichely, Jonas Jonsson, Nirman Arora, Suneet Chhabra, Luci Comincioli, Roger Christmann, Regina Vilaça, Pat Butler, Walter Müller, Adela Efendieva, Andrew Mugisha, Ramesh Parekh, Nico Mäkel, Wim Mäkel, Tamas Sandor, Philippe Cappelle, Romik Rai, Brecht Ghijselinck, Vladimir Bondarev, Andrei Tarasov, Matsumoto Kazushi, Bob Turner, Geert-Jan Jansen, Kurt Lannoye, Robrecht Ghesquière, Laura Fierens, Patryk Wezowski, Hilde Verhelst, Christina Davidsen production BERLIN in co-production with Deutsches Schauspielhaus Hamburg [DE], KunstenfestivaldesArts [Brussels – BE], le CENTQUATRE [Paris – FR], Dublin Theatre Festival [IE], Centrale Fies [Dro – IT], Noorderzon Performing Arts Festival [Groningen – NL], La Bâtie – Festival de Genève [CH], Zomer van Antwerpen [BE]. project co-produced by NXTSTP, with the support of the Culture Programme of the European Union and ONDA – Office national de diffusion artistique BERLIN is associated artist with CENTQUATRE [Paris – FR] with the support of the Flemish Government

Lola Arias (AR)

“Incredibly powerful” Independent

In this 2014 project Lola Arias explores the question of what it means to be a war veteran of the Malvinas/Falkland conflict.

The video installation is made up of five videos that tell the story of how those who became soldiers in 1982 at the age of 18 remember the conflict and how they feel like veterans today at the age of 50. Each of them reconstructs their experience in a place they live every day: a psychologist relives the explosion of a bomb in the psychiatric hospital where he works, a triathlon champion relives the death of his partner in a swimming pool where he trains every day…

All of them will relive their memories as if a time machine had brought their past back to the present day.


Concept and direction: Lola Arias With Argentine veterans of the Falklands War: Guillermo Dellepiane, Daniel Terzano, Marcelo Vallejo, Dario Volonté, Fabián Volonté Staging: Nele Wohlatz, Ignacio Masllorens Filming: Manuel Abramovich Camera: Manuel Abramovich, Ignacio Masllorens Sound: Francisco Pedemonte, Facundo Moreno Production: Sofía Medici, Luz Algranti Editing: Alejo Moguillansky Editing assistant: Nele Wohlatz Translation: Daniel Tunnard

Lola Arias (AR)

“My Documents is a work on failure” Lola Arias


My Documents is the result of the workshop conducted by Lola Arias with a group of Italian artists, which takes its cue from the cycle of conference-shows of the same name where artists from different fields talk about their research, an experience they have lived in a radical way and a story that haunts them.

On stage there will only be the artist with his notes: a way of bringing to light the kind of research that is often lost in an unnamed folder in a computer.

This kind of lecture-performance was created in the 1960s by Joseph Beuys and Robert Smithson, a way of turning a speech into a work of art. In recent years, this format has proliferated in theatre, dance and visual arts, becoming one of the modes of conceptual theatre. Artists such as Rabih Mroué, Tim Etchells and Jérôme Bel have reinvented the genre, making these non-academic lectures a way to present and talk about research and experience.


Conceived and edited by Lola Arias Production by Luz Algranti Technical direction by Marcos Medici

Circolo Bergman (IT)

What is at stake when we put an image of ourselves into circulation? What is this gesture deeply connected with?

Every day, in the open space of the Web, millions of photos are posted through which people attempt to compose an image of their own identity. Places, portraits, selfies create an endless Atlas of the contemporary, almost a modern-day version of the unfinished Atlas of Memory, composed by art historian Aby Warburg at the beginning of the 20th century. Warburg was convinced that archetypes traversed history by embodying themselves in images and, in images, he sought that formula of pathos that would reveal to him the profound spirit that connects our imagination to its origins.

The plates of Bilderatlas Mnemosyne resemble an analogue version of an Instagram profile, in which a constant is sought that connects them together: the photo of a young girl in a club brings the archetype of the Nymph to our day; the analogue photos of a young actor try to recompose the archetype of the Hero.

Circolo Bergman, starting from the personal images of its performers, questions – like Warburg – the presence of archetypes in our time. A modular scenic action, divided into autonomous and interdependent tables, which can be assembled, disassembled and reconstructed in theatrical and non-theatrical spaces, in search of a pervasive Atlas in which the spectator can mirror and multiply himself.


In Italian


concept Paolo Giorgio a project by Sarah Chiarcos Paolo Giorgio Marcello Gori direction Paolo Giorgio original music Marcello Gori staging Circolo Bergman lights Sarah Chiarcos scenographic consultancy Erika Sambiase visual Dario Serio stage photos Jo Fenz production Circolo Bergman texts intimately shared with Sarah Ātman and Alberto Baraghini – first study: IT Festival 2017 – second study: Hors, Teatro Litta, 6-8 October 2017 – third study: Teatro Magro 6 January 2018


Circolo Bergman is a collective composed by: Paolo Giorgio, director and dramaturge; Sarah Chiarcos, dramaturge and responsible for the productions; Marcello Gori, musician, dramaturge, responsible for the sound. It moves between the creation of a repertoire of contemporary dramaturgy and the experimentation in the performative area, declining new writing formats through different media, with a particular interest in site-specific projects. He operates in different territories, starting from live performances and embracing curatorial, exhibition or editorial paths. Depending on the specific nature of each project, the collective is open to collaboration with other professionals (videomakers, curators, artists, critics, actors, performers, dancers), as well as non-professionals. It produced the shows: Werther, o dell’assoluto (2014), La cosa peggiore che possa capitare a un cane (2015), Fondamenta (Teatro Ringhiera, 2015), Calcografia (2016), Macinante (commissioned by Festival Pergine Spettacolo Aperto, 2016), Pergine, via San Pietro 4 (commissioned by Festival Pergine Spettacolo Aperto, 2017).

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 


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, (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.

Roger Bernat/FFF (ES)

“A show that should be mandatory for all MBA’s and the party congress” [Bernat Puigtobella, Nuvol]


The THEATRE is transformed in a PARLIAMENT with political colors that are still undefined, whilst the spectators, equipped with a remote with which they can vote, become the representatives. What will happen if suddenly, in absence of an effective power, the role of speech goes back to being political.

Maybe the last resort of real politics is that of a total absence of power. Pendiente de voto is a show that tries to be that last resort. It is not a false version of a parliamentary debate, but a real version of the actual false debate. Not a fictitious politics but a make-believe politics: authentic politicians against real politicians or true politics against every form of realpolitik. Immersive theatre? Or maybe more emergency theatre…

A political humoristic reflection that faces the mechanisms of power in democracies and the totalitarian thinking in communities. A reflection on the word ‘citizenship’ and on participatory democracy, that can only make us think of the next political elections.



In italian – Duration 140 min. ca.



di Roger Bernat. Drammaturgia: RobertoFratini. Dati visuals: Mar Canet. Dati dispositivi and software: Jaume Nualart. Musica: “The Sinking of the Titanic” di Gavin Bryars, PatchWorks, etc. Sound design: Juan Cristobal Saavedra. Luci: Ana Rovira. Assistente e direzione tecnica: Txalo Toloza. Stagegraphic design: Marie-Klara González. Effetti speciali: Programming assistants: Pablo Argüello, David Galligani e Chris Hager. Consulenti ai contenuti: Oscar Abril Ascaso e Sonia Andolz. Producer: Helena Febrés Fraylich.  Ringraziamenti: David Cauquill, Raquél Gomes, Marcela Prado e Magda Socias. Coordinamento: Helena Febres. Una coproduzione di Centro Dramático Nacional (Madrid), FundacióTeatre Lliure/Festival NEO and Elèctrica Produccions (Barcelona) with Manège de Reims-Scène Nationale/Reims Scènes d’Europe, Manège de Mons/CECN, TechnocITé in the Transdigital project supported by the european program Interreg IV. Foto: BLENDA

Roger Bernat –