The Hollywood actor Willem Dafoe reflects on the experimental performances that influenced him during the opening weekend of the Venice Theater Biennale, which he now directs.
The event raises the question of what happens when avant-garde art transitions into historical significance. This year marks the 50th anniversary of a pivotal edition of the Theater Biennale, which began in 1975 under Italian director Luca Ronconi. The event featured revolutionary American and European theater companies, including La MaMa and the Living Theater.
Only Odin Teatret has returned this year, while others are honored through talks and exhibitions. The Wooster Group, co-founded by Dafoe in 1980, opened the festival, and its longtime director, Elizabeth LeCompte, received the Golden Lion for Lifetime Achievement award the following morning.
This edition of the Biennale includes both established and emerging artists, yet its historical focus is notable. Unlike typical theater festivals that prioritize new voices, this event revisits the work of artists who significantly impacted 20th-century theater.
The Wooster Group's production, “Symphony of Rats,” directed by LeCompte and Kate Valk, showcases the company's innovative use of technology. The surreal play, written by Richard Foreman in 1988, features a fictional U.S. president experiencing a mental breakdown, believing he receives messages from outer space, which are visually represented onstage.
Despite the relevance of its themes, the play's non sequiturs may alienate those unfamiliar with the Wooster Group or Foreman's work. The contemporary context of a president immersed in a digital landscape resonates, yet the execution may feel outdated.
Similarly, “Hamlet’s Clouds” from Odin Teatret presents challenges for audiences. Directed by 88-year-old Eugenio Barba, the performance lacks subtitles, making it less accessible. While the cast's energetic retelling of “Hamlet” is meaningful, it may not engage viewers unfamiliar with the company's style.
In contrast, younger directors like Yana Eva Thönnes are redefining narrative structure. Her premiere, “Call Me Paris,” intertwines her own story with that of Paris Hilton, exploring the impact of misogynistic culture on both their lives. The production effectively utilizes visual simplicity to convey its themes.
Romeo Castellucci's installation, “The Potato Eaters,” delivered a striking experience during the weekend. Set in a former quarantine station, the audience navigates through unsettling scenes, culminating in a powerful visual display that leaves a lasting impression.
Overall, the Venice Theater Biennale presents a blend of historical reflection and contemporary exploration, showcasing the evolution of theater and its impact on audiences.