Hopeless. © Philip Ingman
Pastoral poetry from Greek and Roman antiquity is at the base of Sergiu Matis’s performance "Hopeless." In an unceasingly warming world, what is left of the idyllic, cultivated nature described in the poems of Theocritus and Virgil? Are the poets perhaps themselves responsible for setting it on fire with their trivial erotic turbulence, and their politicising of landscape? In "Hopeless.", we forge our own pastoral settings out of shreds, fragments and remains, like data from a library of sounds of extinct animals, or old and new translations of the Idylls. A desperate act of putting back together, or franticly trying to conserve what's left, all the while mourning the losses yet to come.
A general sensation of powerlessness transforms us into spectators at a festival of catastrophes and ruination. The performers in "Hopeless." are technologically enhanced mermaids, nymphs and shepherds that desperately compete to see who can make the audience cry the loudest. The ecology between poetic language and choreography enables words to collide woefully with flesh, and vocal cords to give the tone to motion so that we can shout out loudly, and exorcise all possible dystopian scenarios. Hopelessness is not a state of a paralysis, but a powerful force that moves us to act.
- Konzept und Choreographie Sergiu Matis
- Performance Martin Hansen, Sergiu Matis und Manon Parent
- Text Sergiu Matis und Mila Pavicevic, basierend auf Übersetzungen von Theokrit und Vergil
- Komposition AGF aka Antye Greie
- Dramaturgie Mila Pavicevic
- Ausstattung Dan Lancea
- Kostüm Philip Ingman
- Lichtdesign Sandra Blatterer
- Produktion Dag Lohde
- Choreographieassistenz Orlando Rodriguez
A Sergiu Matis production. Funded by the Capital Cultural Fund and the Berlin Senate Department for Culture and Europe. Coproduced by Tanzfabrik Berlin in the frame of Open Spaces #1 2019 and in cooperation with Radialsystem. Animal recordings used from the Macaulay Library at the Cornell Lab of Ornithology and the Xeno-canto Foundation.