Wilde wilde Wesen (Really wild beings) is the first collaboration between Alessandro Maggioni and theater director Magali Tosato and her company mikro-kit. In this object theater performance they work almost entirely without the means of language to explore the possibilities of combining play, music and digital/analog projections.
“Sometimes you just want to leave your own skin in the cloakroom and be someone else. How must we appear in order to belong? What stories would our wounds, scars and traits tell? What memories have our bodies collected?”- Wilde wilde Wesen Press Kit
In an expressive, visual experimental performance, a wild being (Gonzalo Barahona) meets the audience, but also himself. His attempt to communicate, to tell his own story, meets with animated projections (Alessandro Maggioni), that sometimes put themselves in the service of their own narrative, sometimes exposing what lies beneath the surface.
Can we really control how we affect others? Can we hide what grows inside of us? How much do the experiences we make shape our bodies? Based on a collective autobiographical research (which also becomes audible in the piece), the team explored the question of how injuries, which not least also arise through social structures, work in us and how we become who we are.
Concept: Alessandro Maggioni and Magali Tosato
Direction: Magali Tosato
Dramaturgy: Lydia Dimitrow
Play: Gonzalo Barahona, Alessandro Maggioni
Scenography and Projections: Alessandro Maggioni
Costumes: Gonzalo Barahona
Technical production, light design, voice collages: Benjamin Dimitrow
Music: Oleg Hollmann
Direction assistent: Katharina Diestel
Production management: Tine Elbel
Trailer: Alexander Hector
Technical advice: Daniel Huber
Pictures: Holger Diedrich
In coproduction with: T-Werk Potsdam, Figurentheater Osnabrück
Supported by SchaubudeBerlin
The project is funded by HaupstadtKulturFonds Berlin
“Das Potential der Puppe liegt in den komplizierten Schichten der Verbindungen zwischen Subjekt und Objekt und in der paradoxen Natur der Transformation. Die interaktive Technologie wird die alte Weisheit des Rituals stützen, sie wird die transformativen Beziehungen zwischen der Puppe und dem Puppenspieler, die sich in begeisternden Aufführungen, dem öffentlichen Engagement und den Reflexionen der Gemeinschaft zeigen, abdecken und stärken.“
Ryu, Semi, Redefining Puppet: paradoxical relationship between human and object, 2009