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Close Your Eyes Wide Shut by Patrizia Zappa Mulas, Teatro di Roma, Rome, Italy In Teheran, a student throws a bottle of sulphuric acid in the face of one of his university friends after refusing his marriage proposal. We are left to digest this violent scene as best we can. The blinded and disfigured girl appeals to the Shari’a law. “An eye for an eye”, as the Islamic holy law dictates. The victim wins the lawsuit and she obtains the right to pour forty drops of acid into her attacker’s eyes. The punishment established is torture, yet Islamic law has taken a step forward: acid throwing was previously a minor offence, now it is considered a serious crime. The principle of justice has won the day. It is up to the victim to either carry out the punishment or to pardon her aggressor. The girl decides to carry out the punishment and shatters our certainties: we have rejoiced with her and yet we have been dragged back centuries, into a torture chamber. “Close Your Eyes Wide Shut” forces us to play the part of the jury in an uncontrolled court case that gradually makes us lose the ability to pass a verdict.

Crime and Punishment by Fyodor Dostoyevsky, directed by Michal Dočekal, Vígszínház Budapest, Hungary Dostoyevsky depicts the human soul like no other. His famous crime novel tells the story of a brutal murder and the investigation that follows. Is there a situation that allows, even demands, the killing of a human? This question not only fascinates Raskolnikov, but is equally important to us in a world wounded by raging wars and terrorism. Michal Dočekal, artistic director of the Czech National Theatre, and dramaturg Iva Klestilová produced this new stage version of the novel especially for the Vígszínház. The Hungarian text is the work of the brilliant writer János Térey.

GENERAL ASSEMBLY IN BOCHUM Schauspielhaus Bochum

Germany, 2016

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This general assembly brought together all members to discuss the network’s topic of conflict zones through the Schauspielhaus Bochum’s themed month “The Own & The Foreign”, which allowed UTE members to attend the opening night of “The Suppliants / Appendix / Coda / Epilogue on the Ground” by Elfriede Jelinek, directed by Hermann Schmidt-Rahmer, as well as three performances of the Schauspielhaus’ repertoire: “Job” directed by Lisa Nielebock; “Stiller” directed by Eric de Vroedt (future artistic director of the National Theatre The Hague and familiar to the UTE in his function as director of the UTE masterclass “The European of the Year” in the summer of 2015); and finally, the performance “Lampedusa”

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UTE - Conflict Zones - Zones de Conflit  

Three Years of Battle Union des Théâtres de l'Europe

UTE - Conflict Zones - Zones de Conflit  

Three Years of Battle Union des Théâtres de l'Europe

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