Willem Dafoe's tenure as the artistic director of the Venice theatre biennale has been a thrilling and adventurous journey, marked by a deep passion for experimental theatre and a commitment to giving voice to the marginalised. This year's edition, titled 'Alter Native', showcases a diverse range of productions that stretch from Europe to Indonesia and India, blending theatrical traditions in fascinating ways. The programme is a testament to Dafoe's ability to curate a broad and outward-looking selection that challenges and inspires audiences.
One of the standout productions is Davide Iodice's 'Promemoria', which takes audiences inside a care home for the elderly in Venice. Through a year-long workshop process, Iodice and his team interact with residents, some of whom have cognitive decline or Alzheimer's, to create a poignant and tender piece. The play highlights the beauty and resilience of humanity, even in the face of fragility, pain, and illness. Iodice's work is a powerful reminder of the importance of giving voice to the marginalised and centring lesser-heard stories.
Another notable production is Satoshi Miyagi's 'Mugen Noh Othello', which reconfigures Shakespeare's tragedy to put Desdemona, the murdered wife of Othello, at its centre. Miyagi employs the ritual of Mugen-Noh theatre, which dates back to the 13th century, to release the ghost of Desdemona from her purgatory. The play challenges the traditional axis of the story, shifting the focus from Othello's warring heroism to the tragic heart of a faithful wife and aggrieved spirit. This production is a testament to the power of storytelling to resolve anguish and connect with audiences on a deeper level.
Christos Stergioglou and Alex Drakos Ktistakis's 'Cries' is another standout piece, which distils the voices of migrants and those enslaved or displaced across time. The play is presented through song and staged by a six-piece band of performers at the open-air Teatro Verde. The production comes alive in its angry song about the experience of migrants who flee their homes, only to be met with hostility and prejudice in the west. The performers' powerful delivery drives home the message that no one puts their children on a boat unless the water is safer than the land.
The biennale also features immersive and experimental works, such as Mario Banushi's 'Ragada', which is the first part of a wordless trilogy that deals with family bereavement, memory, and burial rites. The play takes place in a family living room, with audience members sitting in a space that hugs the room, enveloped by the intensely emotional drama. The trilogy, entitled 'Romance Familiare', is shown concurrently for the first time at the festival, offering a unique and intimate experience for audiences.
Beyond the official lineup, the biennale includes a six-hour durational production of Samuel Beckett's 'How It Is', which is a word-for-word staging of his three-part novel. The play is a collaboration between Gare St Lazare Ireland and Berggruen Arts & Culture, and it takes place along the top floor of Palazzo Diedo. The production is a testament to the power of oral storytelling and the immersive nature of theatre, as audiences can watch it either in a continuous form or with breaks in between over the course of a day.
Dafoe's tenure as artistic director has been a success, and the question now is whether he will sign up for another two or more years. The biennale has showcased his ability to curate a diverse and inspiring programme, and the question of his future is one that many in the theatre world are eagerly awaiting. With this biennale, Dafoe has entered his stride, and the future of the Venice theatre biennale looks bright.
