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Š Amedeo Novelli

the theatre of daria deflorian and antonio tagliarini

Rewind homage to Cafè Müller by Pina Bausch by and with Daria Deflorian and Antonio Tagliarini co-produced by Planet 3 + Dreamachine supports Imaie Area 06-Roma, Rialto Santambrogio, Roma, Florian TSI, Pescara Centro Artistico Grattacielo, Livorno, Armunia-Catiglioncello

1978. Café Müller by Pina Bausch. A theatrical heart-attack. An artistic event, a piece of twentieth-century art history. For all of us - too young at the time - Café Müller was a touchstone, a myth, a cliché. Thirty years later we take up Café Müller as a starting point. Today, it is inevitably something else; time has changed it, erased, confused and idolized it; something untouchable and mythical has shattered leaving only sacred ruins. Just ruins, in the end. So now, one can walk among this rubble, pick up and handle it, look at it up close and splinter it further. And finally, it’s possible to laugh. It’s possible to do every and anything with what remains. “Every man kills what he loves”, sang Jeanne Moreau in a Fassbinder film. Therefore, the work is about memory’s betrayals, an attempt at reinvention made up of continuous interruptions and a myriad of little tales on the side, bordering on the autobiographical and total reverie. Thus rewind: an improbable rewinding of time. The chairs, the space, the bodies, the dancing and ourselves today. Far from the redemptive dramatic force of that time. Distant from us, who are weary from having seen too much - a new form of blindness. Daria Deflorian and Antonio Tagliarini

© Amedeo Novelli

Perhaps no other recent performance better expresses the complete shattering of the concept of “work of art” as much as Daria Deflorian and Antonio Tagliarini Rewind does: the rewinding itself of Cafè Müller, a monumental work of art of the twentieth century by Pina Bausch, generates a distracting effect without remedy, not even that of the Calderlike lightness of the precarious chair sculptures which take the place of the bodies and drama on stage (…) At the end, the two actors in this melancholy talk show of citations, where even the irony comes and goes following the lulls of expressive energy that assails the show from outside weakening the rhythm and uncovering the tomb of the real hidden cadaver: time – they confess to one another that they’ve never seen a live performance of Cafè Müller. The sole instrument of their failure of recognition – aside from the show’s “original” chairs bought on E-bay (which obviously are not original at all) – is the video. (...) Rewind of Post-modernism Pina Bausch seen from behind her back, forty-five years after Kennedy’s death by Attilio Scarpellini 20 March 2008

The chairs and the presences that danced in that Cafè Müller, the storic Bausch artists, the sudden lights and the lacks of memory(“maybe I haven’t seen it live”) the storic misics of the show that mark now the personal and private memories of the two on stage, the presence of a totem dancer in tutu, together with so many other moments, draw a sincere, poignant, ambiguous and disturbing. collective memory. As it is often in theatre and in particolar in that one of the biggest master of all times, Saint Pina of Wupertal. The Manifesto, September 21 2008 Gianfranco Capitta

The game is obviously that one, a bit voyeuristic for us spectators that are prived from the images, to make us see, or imagine, or dream, or rave Cafè Müller thanks to the original sounds, the footsteps, the chairs that hit other chairs in the show and, above all, through the in-love words of the two protagonists, that chatter very freely about their lives, about them selves, with unpure divagations about their own family memories, first erotic experiences, about their beginning as artists. From Daria’s childhood in snowy Trentino to Tagliarini’s desire of becoming a dancer not having any reference in his personal or family horizon. Daria, then , felt strange in her family, so creates an ideal ‘all-stars’ family with Pina Bausch as her mother, Pasolini her father, Marilyn Monroe as a sister and Johny Depp as her brother. Daria, in fact with her bony long face, blond pony tali hair, thin nervous body, the hands always moving fluants in a fetishist similarità with Bausch.

© Amedeo Novelli, January 2009 Marco Palladini

They influenced their own choices not only the artistic ones, and tell you also with the help of one of the ‘original’ chairs bought online, talking between each other like in a rehearsel that never starts. La Repubblica 17/11/2008 di Nico Garrone

There are choreographies that belong to a common imaginary and don’t need their real presence for us to remind it. And when we remind that memory, what is left of her belongs to another territory, which seems almost invented. “REWIND – homage to Café Müller by Pina Bausch” is a piece about that kind of memory signed by who imaginarily inherited it. Tiago Bartolomeu Costa in Ípsilon / Público 22/09/2010

On stage Daria and Antonio achieved with Rewind the recreation of a passed moment, the moment that is the reproduction of one sensation, and it is much better to see the photo of a painting, because even not being in front of an original, you feel something so authentic that no one can come and tell you that you are only watching a copy.

© Amedeo Novelli

Celia Díez march 2011

from a to d and back again inspired by From a to b and back again - the philosophy of Andy Warhol

A bitter stupidity crosses Warhol’s philosophy and dialogues with ours. a and d talk, in front of an imaginary interviewer or at the telephone, anyway with another, they talk about nothing, they talk about everything through nothing, alone and always present, always public. Serial loneliness, exposed, that doesn’t want to be solved,that kind of loneliness that wants to be among the others but doesn’t want to be touched. The show goes on in a entertaining way, everything is clear, obvious. But slowly comes a subtle suspicion: what are we watching? Where are we? Where is the show? Is it here on this stage or is it in the world outside? Reality isn’t more than a chat, isn’t more than images from the last movie watched on TV. Daria Deflorian & Antonio Tagliarini “ I don’t know where the artificial stops and the real starts” (A.W.)

by and with Daria Deflorian and Antonio Tagliarini inspired by From a to b

and back again - the philosophy of Andy Warhol music precessed, mixed and ricomposed live Fabrizio Spera lights Gianni Staropoli artistic collaboration Fabrizio Bianchi pruduction Filipe Viegas co production Planet 3, Dreamachine e ZTL-pro supports Rialto Santambrogio, Teatro Furio Camillo, Associazione Demetra – Centro La Palmetta, Casale de Merode Premiere: Teatro Palladium, Roma, 2010 Presented at: Festival Teatro Civile, Puglia, 2010 || Angelo Mai, Roma, 2010

Couple of artists already known with REWIND, Deflorian and Tagliarini leave the dialog fluxus of the previous work in favour to caustic monologues that design two characters go down in a inhumane, false metropolitan landscape, ruled by the mass communication media that reduce every identity to an insignificant object. Every emotion seems lost in this little theatre of the world that Deflorian and Tagliarini build in radical ‘Debordian’ way, clear and corroborant of his thesis. 20 - 4 - 2009 Maria Teresa Surianello

Identity is nothing. Or is an empty Pop explosion in which theatre stops existing and the show could be more real than reality itself, because it reduces into a chat, into the last telefilm we watched on TV. Antonio and Daria talk about life and death like they talk about food, in between dildos and wigs, products and markets, becoming themselves into a product by the evocation of watches, time that passes and death that arrives like a plastic toaster that melts in an orange acrylic table-cloth. 01-04-2009 Matteo Antonaci

A refined and clear performance, where everything is due to a rich, controlled and ductile interpretation. (‌) Drawing, funny and merciless, the portrait of human stupidity that, in the emptiness of their words, shows the pathetic features of a dreamy inconsistence of being. Antonella Mellili Hystrio ottobre dicembre 4/2009

new piece 2012 by Daria Deflorian and Antonio Tagliarini


Reality is only a possibility, weak and fragile as all possibilities. (William Burroughs)

Reality, reality without show, without audience. To be anonymous and unique. Special and trivial. To have the daily as a horizon. Like Janina Turek, polish woman that for 50 years wrote, in a detailed way, the facts of her life: how many phone calls she got at home and who had called her (38.196); where and who she met by chance and to whom she said “Good-morning� (23.397); how many meeting she had (1.922); how many presents she gave, to whom and what kind (5.817); how many time she played domino (19); how many times she went to the theatre (110); how many TV shows she had seen (70.042). 748 notebooks found after she died in 2000 by her unaware and shocked daughter.

Mariusz Szczygieł (author of one of the most surprising history books in the last years, “Gottland”) writes in the reportage where we got to discover this story ”Always something happens in the daily routine. We hurry in endless litle tasks without expect it to leave traces in our memory and even less in the memory of the others. Our actions are not in fact made to be remembered but by need. Over time, any effort undertaken in our daily chores is destined to oblivion. Janina Turek chose the daily, everything that is unnoticed, as her object of observation.” It would not be a surprise if this would be the choice of a visual artist like Sophie Calle, or there is nothing different from the works of art imagined by Michel Houellbecq in his last book “ La Carte et le Territoire” where the main character spends 15 years filming casual details of the foliage around his house. What gives a strange thrill in the flow of life of this anonymous housewife of Krakow is that is not a work of art, it is not an intellectual paradox and it was not destined to an audience. From her own personal choice she had intuitively started to ennoble the daily tam tam itself. Why? In 2008 for Rewind, homage to Cafè Müller by Pina Bausch” we had

as an object the show of the german choreographer, in the next year we focussed the work “From a to d and back again” around “The philosophy of Andy Warhol”. For us to start from this colossal and mestirious work that are the notebooks of Janina Turek is a natural step to make. It is not about doing a mise-enscene or a theatrical story about her, but to dialogue between what we know and not know about Janina and to create a series of short-circuits between us and her and between us and the audiance around the preception of what is reality. Reality Project by Daria Deflorian e Antonio Tagliarini Inspired by the article by Mariusz Szczygieł in ‘Kaprysik, damskie historie’, Biblioteka Gazety Wyborczej 2010 Polish consultant Stefano Deflorian and Marzena Borejczuk Executive production Filipe Viegas Production Planet3/Dreamachine 2011/2012 Co-production and Residency Armunia/Festival Inequilibrio Sponsor: Instituto Polacco/Roma Artistic Residenze: Ruota Libera/Roma Premiere: summer 2012

BIO Daria Deflorian e Antonio Tagliarini dal 2008 iniziano a firmare insieme alcune creazioni: Rewind, omaggio a Cafè Müller di Pina Bausch (Festival Short Theatre di Roma, Festival Vie di Modena, Festival Autunno Italiano di Berlino), Blackbird, lettura scenica dal testo di David Harrower (Festival Trend, Roma) e ora from a to d and back again liberamente ispirato a 'la filosofia di Andy Warhol. Antonio Tagliarini. Performer, autore e regista. Ultime creazioni presentate in Italia e in Europa: Trilogia sulla rappresentazione: Freezy (2003), titolo provvisorio:senza titolo (2005) e Show (2007). L’ottavo giorno (2008/Festival Esterni), creato con Ambra Senatore. Rewind – omaggio a Caffe Muller di Pina Bausch (2008) creato con Daria Deflorian. From a to d and back again (2009) creato con Daria Deflorian Invitato come creatore in vari progetti performativi internazionali: APAP 2007, “Sites of Immagination” 2008 e “Pointe to Point” Asia-Europe Dance Forum 2009. Lavora e collabora con vari artisti tra cui: Miguel Pereira, Raffaella Giordano, Giorgio Rossi, Massimiliano Civica, Fabrizio Arcuri, Idoia Zapaleta, Daria Deflorian e Ambra Senatore.  Daria Deflorian. Attrice, autrice e regista di spettacoli teatrali. Le sue ultime produzioni sono state: Manovre di volo (2001) da Daniele Del Giudice in collaborazione con Leonardo Filastò, Torpignattara (2004) da P.P.Pasolini, Corpo a Corpo (2007) da Dorothy Porter in collaborazione con Alessandra Cristiani, Bianco (2008), testo di Azzurra D'Agostino in collaborazione con ArgheTeatro. Ha lavorato come attrice tra gli altri con Marcello Sambati, Fabrizio Crisafulli, Remondi e Caporossi, Mario Martone, Martha Clarke (New York), Accademia degli Artefatti. E' stata assistente alla regia per Mario Martone, Pippo Delbono e per Anna Karenina di Eimuntas Nekrosius.

videos online . links and passwords

Rewind homage to Cafè Mßller by Pina Bausch in english password: rewind interview in english in italian subtitles in spanish password: rewind

from a to d and back again in italian with english subtitles password: warhol

contact Filipe Viegas +39 3284259527