THE ORESTEA # 2 LATTE

L’Orestea è una trilogia formata dalle tragedie Agamennone, The Choephores, Le Eumenidi e seguita dal dramma satiresco Proteo, andato perduto, con cui Eschilo vinse nel 458 a.C. le Grandi Dionisie. Delle trilogie di tutto il teatro greco classico, è l’unica che sia sopravvissuta per intero.
Le tragedie che la compongono rappresentano un’unica storia suddivisa in tre episodi, whose roots lie in the mythical tradition of ancient Greece: l’assassinio di Agamennone da parte della moglie Clitennestra, la vendetta del loro figlio Oreste che uccide la madre, the persecution of the matricide by the Erinyes and his final acquittal by the Areopagus tribunal.
Innestando la propria poetica visionaria sulla tragedia classica Lenz restituisce la saga degli Atridi alla dismisura estetica della patologia psichica dei protagonisti. Realizzata per la parte visuale nei paesaggi mitici attraversati da Oreste, luoghi di detenzione e di coercizione, la creazione assume come oggetto d’indagine scenica l’iconologia dell’eccesso e della violenza. For a contemporary rereading of the origins of the tragic, si confronteranno in un dialogo scenico serrato gli attori storici e gli attori sensibili dell’ensemble di Lenz.

Dopo diverse partecipazioni al festival Natura Dèi Teatri e la composizone originale per il capitolo #1 del progetto Aeneis – La corsa del cinghiale (2011), il musicista elettronico internazionale Lillevan è stato richiamato da Lenz per una collaborazione artistica volta all’elaborazione della componente sonora della trilogia.

Lillevan è un video-artista berlinese, co-founder of the audiovisual group Rechenzentrum (1997-2008), which had a pioneering role in proposing the union between music and moving images. The group's performances and Lillevan's collaborations with some of the most important musicians in electronic music (You're up, Vladislav Delay just to name a few) have been acclaimed by audiences and critics around the world, from Brazil to Siberia, from Canada to Korea, da Cuba a Belgrado e Detroit, per la loro capacità di portare l’immagine, music and animation towards new and unprecedented levels of experimentation. Parallel to the work with the Rechenzentrum, Lillevan has collaborated with many artists of different genres, from the work to the installations, from minimalist electronics to dance and classical music. He has created performances and exhibitions all over the world, participating in major international festivals. 
Dopo aver studiato cinema, writing and staging several films in the 1980s and early 1990s, he gradually abandoned this discipline, disappointed by the limited possibilities for experimentation with cinematographic language. New impulses, together with the accessibility of new technologies, they bring him back into the world of moving images, with a new perspective and motivation: searches for moving images, which he believes have disappeared in cinema, in world art and popular culture. 
Lillevan ricontestualizza e combina immagini e frammenti di film già esistenti. Interferences and interrupted images constitute a central dramaturgical element in creation and performance. Images produce music, and push the viewer into a psycho-visual composition. For Lillevan the creative process starts from a research modeled on that of Jean-Luc Godard for the relationship between images, intensity and consistency. Lillevan sees his work as a multi-layered process that gives each viewer the opportunity to focus on different details of the performance. Human perception remains the final interactive element of live video composition, while the images return to their original ambiguity, moving away from the imperative nature of traditional editing. Lillevan delivered, among others, i DVD Silence, Director’s Cut (con Mille Plateaux), Emperor Remixed Beethoven’s 5th Piano Concert (commissioned by the Goethe Institut in Tokyo), IBM (made with Rechenzentrum), Bioskop installations, multiple projection that explores the conventions of early cinema (1900-1917), Sound X Vision. He took care of the artistic direction of Expo2000 Video-Robot installation. He cooperated, among others, con Tetsuo Furudate (in Berlin and Tokyo), Ueli Wiget of the Ensemble Modern, Christian Fennesz (in Berlin, Hong Kong e Canada), Vladislav Delay, Christine Hill. Inside Natura Dèi Teatri 2009 he presented, for the first time, la performance sonoro-visuale Fixation Fields, realizzata ad hoc per il Festival, collaborating again with Lenz in 2011 nella composizione delle musiche del capitolo primo del progetto Aeneis. #1 The wild boar race. The artist's last presence in Parma dates back to 2016, once again guest of the Natura Dèi Teatri Festival.

THE ORESTEA # 2 LATTE
from the Choephores of Aeschylus
Dramaturgy | Francesco Pititto
Installation, costumes and direction | Maria Federica Masters
Interpreters | Valentina Barbarini, Lara Bonvini, Sandra Soncini, Carlotta spaggiari, Barbara Voghera
Musica | Lillevan
Treatment | Elena Sorbi
Organization | Ilaria Stocchi
Production assistant | Loredana Scianna
Press and communication office | Michele Pascarella
Technical care | Alice Scartapacchio
Production | Lenz Foundation

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