by CONSTANZA MACRAS | DorkyPark
A production by CONSTANZA MACRAS | DorkyPark and Goethe Institut. In co-production with Wiener Festwochen (AT) , New Stage of National Theatre Prague (CZ) , Trafó House of Contemporary Arts Budapest (RO), International Theatre Festival Divadelná Nitra (SK) , HAU Hebbel am Ufer (DE) , Kampnagel Hamburg (DE), HELLERAU – European Center for the Arts Dresden (DE), Dansens Hus Stockholm (SE) and Zürcher Theater Spektakel (CH). Funded by the Capital Cultural Fund and the Governing Mayor of Berlin – Department for Cultural Affairs, Open Society Foundation - with contribution of the Arts and Culture Program of Budapest.
OPEN FOR EVERYTHING is a travel through the stagnation of Roma communities in Europe to whom chances to work like any other citizen are rather low, where itinerant traditions have been replaced by sedentary life beside the uprootedness of the group of dancers that move around the world following working opportunities.
Since 2010 Macras has been researching the different ways of life, dance styles and music of the Roma in Hungary, the Czech Republic and Slovakia. In the course of this work she has brought together a large ensemble comprising Roma musicians and performers, amateurs of different ages, and dancers from her company DorkyPark to perform in her new show OPEN FOR EVERYTHING. It is with great aplomb that these very different people recount their lives and their dreams, their despair and their passions. This journey uses music and dance to lead us through the lives of the European Roma of today, seizing upon, playing with, and depicting with humour the prejudices, clichés, misunderstandings, similarities, traditions, discrimination, poverty and violence. Who is making use of whose prejudices? And just who are the true nomads of the 21st century?
Direction and Choreography: Constanza Macras
Dramaturgy: Carmen Mehnert
From and With: Emil Bordás, Hilde Elbers, Anouk Froidevaux, Fatima Hegedüs, Ádám Horváth, László Horváth, Hyoung-Min Kim, Denis Kuhnert, Viktória Lakatos, Zoltán Lakatos, Iveta Millerová, Elik Niv, János Norbert Orsós, Monika Peterová, Rebeka Rédai, Marketa Richterová, Ivan Rostás, Magdolna Rostás, Viktor Rostás
Musicians: Marek Balog / Gitans: Milan Demeter, Milan Kroka, Jan Surmaj, Radek Sivak
Stage Design: Tal Shacham
Costume Design: Gilvan Coêlho de Oliveira
Photos: Manuel Osterholt
Light: Sergio de Carvalho Pessanha
Sound: Mattef Kuhlmey, Stephan Wöhrmann
Musical Consultant: Kristina Lösche-Löwensen
Folklore Teacher: Monika Balogová, Vladimír Balog
Stage Technician: Welko Funke
Photo Technician: Tobias Götz
Costume and Props Technician: Marcus Barros Cardoso
Assistant Direction: Annika Kuhlmann, Joao Victor Toledo
Assistant Stage Design: Juliette Collas
Assistant Costume Design: Magdalena Emmerig
Direction Trainee: Fernando Balsera, Lucila Piffer
Stage Trainee: Angela Ribera
Costume Trainee: Florentine Helene Gerstenberg
Interpreter: Zsuzsa Berecz, Melinda Časná, Kata Kovács, Ármin Szabó-Székely
Interpreter Trainee: Franziska Doffin
Production Manager : Katharina Wallisch
Production Assistance: Sophia Roma Weyringer
Production Trainee : Judith Bodenstein
Administration: Aminata Oelßner
Tour Management: Ricardo Frayha
Tour Assistance: Josephine Reinisch
Project Coordination Goethe-Institut: Marta Lajnerová
Funded by the Capital Cultural Fund and the Governing Mayor of Berlin – Department for Cultural Affairs and the Open Society Foundation – with contribution of the Arts and Culture Program of Budapest.
In collaboration with Workshop Foundation. Folklore skirts by Romani Design.
“[Macras] refuses to exclude ambivalence in favour of a linear message. Her performers are not your nice and average sort, but real characters: there is Rajmund, who underwent a sex change to become a Fatima; a dancer whose appeal lies in his corpulence; a couple of cheerful machos and a few women who manage to elude the macho system. The music does away with folkloristic cliché and shows its true identity, as does the dancing, which blends the contemporary with tradition. And the fact that all this seems like the most natural thing in the world is testament to the work and trust involved.” Der Standard, 12.05.2012
“In the show’s programme, Macras claims to hate the “theatre of commiseration”, and she manages to tread the fine line between being deeply moved and falling into commiseration without ever stepping over it. Her two years of research have resulted in an evening full of lust for life and music, a Roma revue that nonetheless refers to poverty and dearth of opportunity in powerful images and with a sense of self-irony. Wiener Zeitung, 12.05.2012
“Rather than [...] over-simplifying discourse, the show presents a series of stories, almost always bitter ones, told by young women who have to bring up their children alone and fight for education, by young men who can’t escape the cycle of drugs and prison, and by Raimund, who became Fatima.” taz.de, 25.05.2012
“A disparate, non-folkloristic picture of life emerges, one that is full of difficulty and yet life-affirming. Macras looks at her subject head on – she doesn’t want victim art or romanticising, what she wants is for all performers on the stage to be equal, and this she achieves.”dradio Kultur, 19.05.2012
“The incredible amount of preparatory work that Macras carried out with her team can been seen in the piece. On a journey across Hungary, Slovakia and the Czech Republic, she sought out the 17 Roma musicians, dancers and amateur performers who along with five dancers from her own company (from Israel, Germany, the Netherlands, Canada and South Korea) have managed to make a rare, wild and wonderful show.” tanz.at 12.05.2012