Memento mori - (france) - t2g theatre de gennevilliers centre

© Robert Colognoli
Memento mori
FRANCE - DANSE
Pascal Rambert / Yves Godin
Conception, direction Pascal Rambert
Artistic collaboration, stage device and light Yves Godin
Original Music Alexandre Meyer
With 5 performers Elmer Bäck, Rasmus Slatis, Anders Carlsson, Jakob Ohrman,
Lorenzo De Angelis
Assistant Thomas Bouvet
Creation February 24th 2013 at CDC les hivernales en Avignon, 35th Festival les
hivernales
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Memento mori
Pascal Rambert / Yves Godin
Duration : 1 hour
Conception, direction Pascal Rambert
Artistic collaboration, stage device and light Yves Godin
Original Music Alexandre Meyer
With 5 performers Elmer Bäck, Rasmus Slatis, Anders Carlsson, Jakob Ohrman & Lorenzo
De Angelis
Assistant Thomas Bouvet
Production Théâtre de Gennevilliers Centre Dramatique National de Création Contemporaine
Coproduction CDC – Les Hivernales en Avignon
Théâtre de Gennevilliers is subsidized by the Cultural and Communication government
department, the city of Gennevilliers and the Hauts-de-Seine general council.
Creation February 24th 2013 at CDC les hivernales en Avignon, 35th Festival les
hivernales
March, 23th 2013 Manège de Mons for Focus théâtre/fr
From March 26th to April 6th 2013 Théâtre de Gennevilliers, centre dramatique
national de creation contemporaine
April, 9th and 10th 2013 Théâtre Daniel Sorano, Toulouse
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Memento mori
Statement of intent
Memento mori has no other subject than movement in itself. Or more precisely the moment which precedes
movement. I mean the very start, the initial moment, just before any sign of something moving. One would listen; one
would hear some deep remote rumbling rising, drawing near, and they would appear: naked. One would conjure up all
the images one carries deep inside and which belong to each individual, but which also belong to the high Aurignacian
or even to earlier times?to a prelapsary world.Naked. Before the fall.Before the fault.Do the pictures on the cave walls
dance? Do the hands on the cave walls dance? Yes indeed. They dance under the light. What is movement but
substance changing from an former shape to a new one?and light allows this transformation. Yes, light allows this
when it enters into the cave. The obscure cave of the brain; disclosing primary forms of joy, of dazzling rapture, when
the Dionysian world of fruit! Grapes! Bananas! Tomatoes and garden come out and join the bodies! Dionysius
everywhere!... just before terror. Dead scared to be alive; or afraid of losing life. Before they start licking one another,
again and again; all of them; licking every single part of their bodies clean. And licking, licking endlessly, licking clean,
cleaning life, cleaning the pictures we have of ourselves
Pascal Rambert, paris, september 2011
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Memento mori
Interview of Pascal Rambert
You realize both drama plays and dance plays, which is rather rare, how do you decide to stage one or the
other?
After a period of a decade or so during which I made ‘mixed plays’ with more emphasis on body play than on text
and subject, I felt I needed To go back to the French language, to return to the spoken word again . Hence Clotûre de
l’amour and’ Avignon à vie’; Now I want to give energy to the spoken drama and power to the body. So, I am planning
separate projects at the moment, and before my next drama play to be presented in 2014, I am working on a dance
play for 2013, Memento Mori.
Is the creative process different between a drama play and a dance play?
These are quite different areas for me. In the elaboration of a drama play, there is a written structure beforehand.
whereas for dance plays what is exciting is to arrive in the studio without knowing what will come out of the work;
Even if I have in mind the different modules, I Prepare the minimum and enjoy inventing directly on the dancers’
bodies .
Memento Mori is your fourth dance play, you have had no training as a dancer, you are not a dancer, Do you
feel entitled to create a dance play?
I have no legitimacy and this precisely the reason why I like it. A kind of second life, as with my films. As I am
generally against all sorts of ‘specialists’, it suits me to be free enough to imagine I can tackle such new subjects.
There is no rule stipulating that you must have an experience as a dancer, anyone can do what suits them, so I am
part of this anonymous crowd and I choose to take the freedom to think about this field which is so far unknown to me.
You say that Memento Mori has no other subject than movement in itself, but there is always a starting point,
something which urges you to create a play. What is it this time?
There are two things. First, I have been feeling for some time that I need to evolve from a ‘space of slowliness’ to a
‘space of swiftliness’. Libido Sciendi was rather slow, I tried to accelerate with Tamara Bacci in ‘Knocking on heaven’s
door’, but it didn’t fit in with the state of extreme tension I expected her to play. I wanted to force myself to be faster,
but also to show what comes before movement, and the very start from stillness to movement. I am a young
choreographer, I am still in quest of what happens at the very beginning, even before bodies start moving.This is
hardly possible, you cannot ask a body which has been shaped to forget completely its corporeal imprint, you cannot
say”forget everything and move as if you had never moved before”, but I was dreaming of this moment every
choreographer is craving for at some stage, I am sure. As I am of a slow nature and find it hard to see what is
happening inside the bodies, I need to observe them calmly andat lenght to get to understand how they break into
movement.
Once I have understood, I can proceed to the next step, from balbutiating movement to a quicker pace. I have just
read again Nietzche and the pre-Socratic philosophers, I have seen Herzog’s documentary ‘la grotte des rêves’’(the
cave of dreams), I have studied to the most remotely old times. With Gilgamesh’s epic poem, I had gone back to
5000BC. For Memento Mori, I want to go back to even more remote times,even as far as the The Aurignacian period,
to the Paleolithic, and to conjure up naked bodies out of the light , as in Masaccio’s breathtaking fresco’ Adam and eve
expelled from Eden ‘. It is a wonderful period, I am just discovering it but I am fascinated. When I worked with Antoine
Vitez, I remember an exercise for which he said: ”Here, there is a bad king who says: since you are an actor, play
Hamlet for me” we answered that we didn’t know the text, but what Antoine meant was that we all have this faculty ,
deep inside , to say “To be or not to be”, and this inner power is what attracts me. With Memento Mori, I want to dig
up the ‘we’, our common roots dating back to 30or 40000 years , what our bodies and unconscious have retained of
those times . Once I heard that if you make old vases, vases dating back to the bronze age, ,if you turn very fast, as
on a record player, you can hear the potter’s hammer at work. It sounds mad, but it is like a record.sound particles are
preserved in the raw material, which means that one can hear a sound which has been here for 10000years. If this is
possible, I presume that I too, as an apprentice choreographer, can try to bring back this moment to life.
Memento Mori,’ remember that you will die’, why have you chosen this title?
Like everyone, I have my territory. Before, I was not aware of it, but I am starting to realize it. There remain blank
areas, I don’t understand everything yet, but I recently noticed that my plays are often related to time: After/before, ‘the
beginning of Love’,’ When we were punk,’ ‘first anniversary’… fifty minutes… and also the performance I will stage for
Kate Moran at the ‘hivernales’ and at ‘La menagerie de verre ‘ in 2012. All these titles are connected to important
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moments or in relation with an important moment. For Memento Mori, I want to focus on a time of Panick, the moment
when one loses one’s balance, firm soil vanishing under one’s feet; four recent events, among them Fukushima, have
made me feel the wing or the breath of death . It could have been me, and indeed this is something I have always
lived with: ”Do not forget that you will die”and this will be one of the developments of the play.
Concerning Memento Mori, you say: ”before the fault”, “prelapsary” it sounds like genesis, original sin. You
talk about Dionysus, the god of drink and excess. Will the play waver between the sacred and the pagan
world?
When I discovered the word prelapsary, which means before the fall, I said to myself: it is sublime, it is the perfect
word. But my subjet here is not the sacred. Before the fall is a time indication. Memento mori is a pagan play, a
dyonisiac play. I remember Nietzche’s “The birth of tragedy” a book I had loved so much when I was twenty and a
beginner in the drama field. Nietzsche emphasizes the fight between the Dyoinisiac and the Apollonian .On the one
hand the handsome body, on the other hand the grotesque, sperm, huge penises, fruit, wine. Contrary to the hyper
clean minimalist plays I have been doing for some time, I want to create an overflowing play, with each scene
overlapping on the next one. Nakedness, slowliness will generate pleasure, and pleasure will trigger a moment of
trouble, of worry, which will finally subside into a moment of serenity.
So this play is composed of three movements, isn’t it?
Yes, with three phases of approximately 20 minutes each. It will start with naked bodies partly visible, then completely
exposed, then in clusters which will start moving. Once the dancers have come out of the dark, the pagan festival will
start, with fruit in plenty, bananas as big as wart-hog getting in contact with the boby orifices, and grapes violently
crushed under buttocks. This oniric state of the body freed from cultural restraint will be followed by a phase of panick
which is at the core of Memento Mori. After the moment of wonderful grace, as often in life, there will be a sort of
panick, and I want to show this fear. What I want to do, actually, is to talk about the human condition, as in all my
plays. Panick will subside though, into a moment of soothing. It is the final part, which I call cleansing, care. The
dancers will come to a rest, tidying up and cleaning the stage and licking one another as a dog licks a bone clean.
This last picture will be like the closing of the iris .There stands the play.
In ‘The epic of Gilgamesh ’you address the subject of the origins of writing in an almost archeological way.
‘Memento Mori’ refers to an even older period, when there were gestures but no words yet. So, will it be a
silent play?
I have not decided yet. I would like all the dancers to sing. There must be some kind of presence of the spoken word,
but I don’t know yet how…
The players will be naked all along the play why have you made this choice?
For the feeling of human skin under the light. Nothing else. I really think there is nothing as beautiful. Everytime I
undress the bodies and put them under the light, it is splendid, and it is even more beautiful in daylight. In ‘Libido
sciendi’, the bodies were vanishing in the light of dusk, in ‘Memento mori ’it will be the opposite
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There will be five dancers on stage: how have you chosen them? For their temperaments, their technical
skills or for their physical appearance?
I have not chosen them yet, but I need performers who enjoy stillness, nakedness and,who will be,ready to create
movement with a taste for dionysiac joy and sensual fantasy, a taste for extreme physical performance , running ,
jumping, enduring, until they reach a state of real good tiredness , performers with a taste of one another’s skins,
who will not recoil from the taboo contact ,namely , licking each other.
You are working again with the Composer Alexandre Meyer. Have you already got a precise idea of the
musical atmosphere of the play?
I think it is the first time we will have music all along the play.I have said to Alexandre:”Here, we have 60 minutes, to
be organized in three sequences, 20 minutes each, with each sequence opening on to the next one, now you are free
to do what you want”
It is your first collaboration with Yves Godin, you are not used to working with light conceptors. The
technical entry mentions no scenographist; does it mean that the light will replace the scenography?
Exactly. I have said to Yves as to Alexandre:” Here you have a 10 over 10 meter space, go on, build something in it.
You know it must come out of the dark, you set up your appliances and I fill up the space”. I have already experienced
this principle, Starting from complete darkness and working on the retinian perception in’ De mes propres mains’. But
this time I really need the help of an artist because in this play the appearance of the bodies depends completely on
the quality of the light. The human skin coming out of the dark, the stillness and movement of the bodies, all is
conditioned by the light.
Memento Mori will be created for the Hivernales in January 2013, the theme will be The Mediterranean. What
links have you kept with the landscapes of your childhood? And what are the links between the theme and
this play?
The link is the solar world. Memento Mori is a solar play. In the art gallery of Antibes, there is a painting by Picasso
entitled ‘La joie de vivre’. This is it, this is the South, the body emerging from darkness to light, and a free body,
liberated from the original sin. It is what I am looking for in this play, a Mediterranean body, a body under the sun, the
body of a naturist, in the state of nature. Memento Mori stages an idyllic moment, rediscovering one’s genuine nature.
The paintings of the nineteenth century, in the Aesthetic movement, and Whistler particularly, present these Geek
bodies in long robes, and wearing laurel wreaths, under the sun, painted in a dream-like Athens. Naturally while
rediscovering ancient Greece, these painters were dreaming, recreating, reinventing a world gone. I am doing the
same, trying to bring back to life what I believe to be buried deep in ourselves, and which is at the core of our human
nature, and I say to myself: I am sure that there remains in you, in me, some lingering trace of these gestures, that
they are still present deep inside us. Nakedness, light, dancing, traces dating back to 30000 years and still present in
ourselves. This is what Memento Mori is about.
Interview by Mélanie Alves de Sousa
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Memento mori
Biographies of director and collaborating artists
Yves Godin, Artistic collaboration, stage device and light
Yves Godin collaborated as a stage-light creator to the projects of many choreographers in the early 90s (Hervé Robe,
Georges Appaix, Fattoumi and Lamoureux), discovering thus a large field of aesthetic experiments. Then he worked
with several musicians, visual artists and choreographers (particularly with Alain Chamard, Kasper Toeplitz, Rachid
Oumradane, Julie Nioche, Emmanuelle Huynh, Boris Charmatz, Claude Wampler, Christian Sebille, Maria Donata
d’Urso, Jennifer Lacey and Nadia Lauro, Alain Buffard, Vincent Dupont). He conceives the light as independent from
dance music or text and yet as a suitable complementary element to the other elements of the scenic art. His two
major work directions are the perception of space and time, weaving networks which can be more or less
anachronistic with the other elements (bodies, sounds, thought, time). Today he collaborates essentially with Vincent
Dupont and Boris Charmatz. Besides, Yves Godin created the lights for the ‘Legend’ exhibition in Domaine de
Chamarande, for the opening of LIFE (ST Nazaire, 2008) with “life light”, as well as for the happening étrangler le
temps (strangle time), a prefiguration of the Musée de la danse , april 2009, with the light creation “fiat lux for a
Volkswagen garage”. He also took part in the zero exhibition of the Musée de la danse in LIFE (ST Nazaire, 2009).
Since 2008 with “Point d’orgue”, a disposition for 1000candles, he has invited performers to visit his installation.
Alexandre Meyer, music
Born in 1962, he has been in many groups since 1982: Loupideloupe, Les Trois 8, Sentimental trios 8. He works with
Marc Citti, Fred Costa, Frédéric Minière, Xavier Garcia, Heiner Goebbels the stage directors Clémentine Baert,
Maurice Bénichou, Patrick Bouchain, Robert Cantarella, Véronique Caye, Jean-Paul Delore, Michel Deutsch, Nasser
Djemaï, Daniel Janneteau, Philippe Minyana, Pascal Rambert, Jacques Vincey, Marie-Christine Soma… the
choreographers Odile Duboc, Fabrice Lambert, Mathilde Monnier, Julie Nioche, Rachid Ouramdane, the sculptor
Daniel Buren.; the story- teller Muriel Bloch; and for France Culture with Blandine Masson and Jacques Taroni.
Pascal Rambert conception, direction
Pascal Rambert
Director of the Théâtre de Gennevilliers since january 2007, Pascal Rambert was born in 1962. He began writing and
directing his own work in 1982. In 1984, he created his company Side One Posthume Théâtre. From 2004 to 2006, he
was associated artist at the Bonlieu-scène nationale in Annecy.
In 2006, he was nominated director of the Théâtre de Gennevilliers, he was the first successor of founder, Bernard
Sobel.
His texts
published by Actes Sud-Papiers and Solitaires Intempestifs – directed by himself and other in France, Europe, the
United States and Japan.
1984 Désir et Les lits / Centre dramatique national de Nice (F)
1985 Météorologie / this text received le Prix spécial USA
1986 Allez Hop / Festival d’Eté de Seine Maritime de Rouen (F)
1987 Le réveil / Centre national des écritures du spectacle, La Chartreuse Villeneuve-Lès-Avignon (F)
1989 Les Parisiens / 43ème Festival d’Avignon (F)
1990-1991 research in the United States and the Middle East (USA)
1992 John & Mary / Théâtre des Amandiers-Nanterre (F)
1993 De mes propres mains / Théâtre des Amandiers-Nanterre (F)
1997 Long Island / La Criée-Théâtre national de Marseille (F)
1997 Race / Festival Octobre en Normandie, Théâtre Gérard PhilippeSaint-Denis, Los Angeles with LAPD Theater Group (USA)
2000 L’Épopée de Gilgamesh / Experimental Theater Wing New York University – 54ème Festival d’Avignon (F)
2001 Asservissement Sexuel Volontaire / Théâtre National de la Colline, Théâtre
des Salins-scène nationale de Martigues, Bonlieu-scène nationale d’Annecy (F)
2002-2003 workshops and performances FSO (forms without ornament) which begin physical, oral and plastic
workshops in real time / Ménagerie de verre, Parc de la Villette, Comédie de Caen, Les Subsistances-Lyon, Bonlieuscène nationale d’Annecy, mc2-Maison de la culture de Grenoble, Ballet Atlantique Régine Chopinot-CCN La
Rochelle (F)
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2004 Paradis (un temps à déplier) / Théâtre National de la Colline (Paris, F), Comédie de Caen (F), Bonlieu-scène
nationale d’Annecy (F), festival de Sarrebruck (DE), Dance Theater Workshop New York (USA)
2004 direction Philomela, Opera James Dillon / Teatro Rivoli Porto (PO), Odéon-Théâtre de l’Europe (F).
2005 Le début de l’A / Comédie Française (Paris, F)
2005 Pan / Opera Marc Monnet from the texts of Christophe Tarkos / production Opéra national du Rhin de
Strasbourg in coproduction with the Ircam (F)
2005 AFTER/BEFORE / 59ème Festival d’Avignon, Bonlieu-scène nationale d’Annecy, Théâtre de Gennevilliers
2006 Un garçon débout, choreography of Rachid Ouramdane preformed by Pascal Rambert / Bonlieu-scène
nationale d’Annecy (F), La Ménagerie de verre (Paris, F), CDC Toulouse (F), Festival d’Utrecht (NE).
2006 Mon Fantôme, show for young public / Bonlieu Scène nationale d’Annecy (F)
2007 De mes propres mains (recréation) / Bonlieu-scène Nationale d’Annecy (F)/ Théâtre des Salins-scène
nationale de Martigues (F), Ménagerie de Verre à Paris (F)
2007 Le début de l’A, recreated inTokyo (Japan) in the Comédie-Française version, in japonese langage, with
japonese performers / Théâtre de l’Agora-direction Oriza Hirata (Japan)
2007 Toute la vie / created at the T2G (F). Touring during the Printemps des arts festival in Monaco and at Bonlieuscène nationale d’Annecy (F) in april 2008.
2007 L’Art du théâtre with Lou Castel/created at the T2G (F)
2008 Libido Sciendi / created during the Montpellier Danse Festival (F) / La Ménagerie de Verre (Paris, F) / CDC de
Toulouse (F) / CDC Aquitaine (F) / T2G (F) / Grütli theater in Geneva (CH)/ Ex Ponto Festival in Ljubljana (Slovenia) /
MOT Festival in Skopje (Macedonia)
2008 Inferno of Dante / Grütli theater in Geneva (CH)
2009 Portrait/Portrait / conception and realisation Pascal Rambert and Rachid Ouramdane / T2G (F)
2009 Qu'est-ce que tu vois ? / Text of Marie José Mondzain / T2G (F) / La Force de l'Art 02 at the Grand-Palais,
Paris (F)
2009 Armide / Lully’s opera, musical direction Antoine Plante /with the Mercury Baroque / Wortham Theater Opera
Houston (USA)/ T2G (F)
2010 Une (micro) histoire économique du monde, dansée / created at the T2G (F) Fujimi Cultural Hall Kirari in
Fujimi (Japan)/ in Shizuoka at SPAC-Shizuoka Performing Arts Center (Japan) / Miyasaki at Miyazaki Prefectural Art
Center theater (Japan) / Le Phénix – Scène nationale de Valenciennes (F) / Théâtre des Salins (F) / Scène nationale
de Cavaillon (F) / CDN Orléans (F)
2010 Knockin’ on heaven's door / created in the frame of Extra 2010 festival at ADC Geneva (CH) / T2G (F)
2011 16 ans / Théâtre de Gennevilliers/ Agora cité de la danse de Montpellier for the Festival Hybrides / CDN
d’Orléans / Préau, CDR de Vire for the Festival ADO
2011 Clôture de l’amour / This text received le Prix du Syndicat de la Critique 2012 « Meilleure création d’une pièce
en langue française » and le Grand Prix de Littérature dramatique 2012
Festival d’Avignon / Théâtre de Gennevilliers / Grütli Genève / / Teatro delle Passioni for festival Vie Scena
Contemporanea / ZKM à Zagreb for world theatre festival / Daehangro Arts Theater for Seoul Performing Arts
Festival / Comédie Scène nationale de Clermont Ferrand / Centre Pompidou (Paris ) / BOZAR theatre et danse de
Bruxelles / Théâtre de Châteauvallon / TAP à Poitiers / TU à Nantes / Grand R à La Roche-sur-Yon / Nouveau
Théâtre d’Angers - CDN Pays de la Loire / Théâtre du Nord à Lille / Scène Nationale de Martigues / Théâtre de la
Manufacture, CDN de Nancy / Théâtre des Célestins à Lyon / L’espace Malraux Scène Nationale de Chambéry et de
la Savoie / Théâtre de Saint-Quentin-en-Yvelines Scène nationale
Recreation of Clôture de l’Amour in russian at Théâtre d'Art Anton Tchekhov de Moscou, 2012 / in croatian at ZKM Zagrebačko Kazalište Mladih, 2012 / in english at Abrons Arts Center for Crossing the Line - French Institute Alliance
Française (FIAF) festival, 2012 / in italian at Teatro delle Passioni, 2012 / in japanese at SPAC of Shizuoka, Osaka
and Tokyo, 2013
2012 50mn / performance created during the Hivernales festival – Avignon 2012 in march 12
2013 Memento mori / creation during the Hivernales festival - Vedène / Manège de Mons for Focus théâtre/fr/
Théâtre de Gennevilliers / Théâtre Daniel Sorano à Toulouse
He is also the director of several short films:
2009 – Premier anniversaire
25 mn – 35 mm
With Kate Moran, Lou Rambert-Preiss, Josette and René Graner
chef opérateur Caroline Champetier
Production : Les Films du Belier
With the support of France 2, and « aide aux programmes du CNC »
With the support of Conseil Régional de Lorraine, the PROCIREP, the lANGOA-AGICOA. Festival de Locarno 2009
Selected at Festival international du film de Locarno – International Short Film Festival Leuven 2009
2007 – Avant que tu reviennes
30min – 35mm
Photography : Sébastien Buchman
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Production: Les Films du belier (F), with the support of “aide au programme du CNC” and the PROCIREP
2006 – Début
25min – 35mm
Photography : Yorick Leseaux
Production : Les Films du belier (F), with the support of France 2, CNC COSIP and the Rhône-Alpes region and the
Haute-Savoie department.
Getting the CNC quality price.
Selected at the Vendôme festival, the Locarno festival, the Rome festival and the European movie festival in Vannes
(Price of the city of Vannes), Festival du court in Nice, Paris Cinéma festival, Côté court festival in Pantin (GNCR
price)
2005 – Car Wash
10min – HD
With Kate Moran and Olivier Torres
Photography : Caroline Champetier
Production: Les Films du belier (F), with the support of France 2, the Pays de la Loire region, the delegation for
Plastics Arts.
Selected at the Film de Locarno festival in 2005, the film de Rome festival in 2006
2004 – Quand nous étions punk
15min – 35mm
With Kate Moran and Nicolas Granger
Photography : Caroline Champetier
Production: Les Films du belier (F), with the support of France 2
Selected at the Film de Locarno festival in 2004, Paris Tout Court festival in 2004, Travelling Rennes festival in 2005,
Larissa festival in 2005, Nice festival in 2005, Caen festival in 2005, Paris Onze bouge festival in2005, Cork festival in
2005, Aye Aye festival in Nancy, and Rome festival
Bibliography
Editions Les Solitaires Intempestifs :
1997 De mes propres mains
1997 Race
1998 Long Island,
2000 Asservissement Sexuel Volontaire
2000 Story of Gilgamesh training until the first run in Avignon,
2001Le Début de L’A.
2004 Paradis (Un temps à déplier)
2004 Mon Fantôme (Cantate)
2007 Toute la vie following L’Art du théâtre
2011 Clôture de l’amour
Editions Actes Sud-Papiers :
1988 Le Réveil
1989 Les Parisiens ou l’Eté de la mémoire des abeilles
1992 John & Mary suivi de Les Dialogues,
L’Arche Editeur:
ASV p.r; auto-interview trafiquée en plein air 6204+3
in « LEXI/textes » n°5, 2001
Où le plus grand événement est l’envol d’un coq de bruyère
New auto-interview recorded in Kyoto and Tokyo (Japan) in april 2003
(exemplaire 002) in « LEXI/textes » n°7, 2003
Sur Pascal Rambert
Laurent Goumarre, Rambert en temps réel, 2005,
Ed. Les Solitaires Intempestifs
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Memento mori
Biographies of performers
Elmer Bäck
Born 18.10.1981
Elmer Bäck graduated from the Theatre Academy in Finland in 2007 and has after that almost exclusively worked with
the theatre group Nya Rampen which he is a co-founder of. The group is currently based in Berlin. Bäck is an actor by
profession but has also written and directed for the stage. In addition he has worked in film and television, his last
production being the international tv-series ”The Artists” directed by Hans Herbots which will be aired in the autumn of
2012. Bäck also makes music together with composer Andreas Catjar under the name of Undantaget.
Anders Carlsson
Actor and artistic director of the swedish/german independent company Institutet. Born 1972 and raised in a small
town of Småland (south sweden). In young years he was a dedicated martial arts (ju-jutsu) practitioner. He studied
psychology and philosophy at Lunds University and then turned his interest to artistic adventures, mainly in the field of
theatre. Educated as actor at Malmö Theatre Academy, he started the independent company Teater Terrier in 2000
and this group changed name and artistic approach 2008 and became "Institutet". Since then, Institutet has been a
forceful and challenging voice in the Swedish theatre scene in productions like “The Rise and Fall of the Roman
Empire” and “Best of Dallas”. Since 2010 the mode of work is international coproducing with venues and other artistic
groups, like in "Conte d'Amour" (with Nya Rampen and Markus Öhrn) and in "The Bone of Things" (with IRMAR and
Nightmare before Valentine).
Rasmus Slatis
Born the 10th of September 1982 in Helsinki, Finland. In 2003 Rasmus started his studies at the Theatre Academy in
Helsinki. During his studies, Rasmus, Elmer Bäck and Jakob Öhrman produced plays of their own, in order to further
develop the esthetics of their theatre - Nya Rampen. Since graduating in 2007 Rasmus has been working almost
exclusively with Nya Rampen. He works primarily as an actor, but has also directed and written two shows. Since
autumn 2010, Rasmus is residing in the Berlin, Germany. Besides his work with Nya Rampen Rasmus has also
worked as director and drama pedagogue. He was the leader of the swedish students theatre in Helsinki 2009-2010.
In addition to his work in theatre and arts, Rasmus has tried his luck as everything from taxi driver to nurse.
CO NTACT directrice de p r odu ction :
Pa uli ne Ro ussi ll e : +33 [0] 1 41 32 26 13 / pauliner ou ssille@tg cdn .co m
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Jakob Ohrman
Jakob Öhrman was born in Finland in 1982. He graduated in 2007 from Teatterikorkeakoulu (Theatre Academy Finnland).
Öhrman is one of the three founders of theatre Nya Rampen and has been working with the group for the last ten years. Jakob
Öhrman is the director of several performances by Nya Rampen, the last ones being Hamlet (Nya Rampen & Wasa Teater 2008)
and Finland/Svensk? (Nya Rampen & Viirus 2009). Some of his important performances are Best of Dallas (Nya Rampen & Teater
Terrier 2007), Undantaget (Nya Rampen 2008) and Conte d’amour (Nya Rampen & Institutet 2010). In 2010 he was also one of
the main characters in the Finnish TV series Där vi en gång gått, (Helsinki Filmi 2010). His last project as a director was, in
collaboration with Nya Rampen, the Shakespeare project Worship!, which has been shown in the context of Baltic Circle
International Theatre Festival in Helsinki and the Nordwind Festival at Kampnagel / Hamburg and Volksbühne / Berlin 2011.
Currently he is working with the swedish director Markus Öhrn for his new production "We love Africa and Africa loves us". In
autumn 2012 Jakob is presenting a new project at Théâtre de Genevilliers in Paris, where he will play in another piece directed
by Markus Öhrn which is a remake of one of Jan Fabre solos. Jakob lives and works in Berlin.
Lorenzo De Angelis
After high school, he studies at Centre de Développement Chorégraphique of Toulouse, where he met Pascal Rambert, with
whom he created two performances: Toute la vie, Libido sciendi (Montpellier Danse 2008). He continued his studies at the CNDC
in Angers. He has worked since leaving school on performative and choreographic projects like Elijah Hague, I likes him and he
likes me, and with Vincent Thomasset, with whom he has collaborated since 2007. He also pursues a scenic and culinary
research. He participated in the creation of Alain Buffard Tout Va Bien (Montpellier Dance Festival 2010) and Yves-Noël Genod 1
April (2011).
CO NTACT directrice de p r odu ction :
Pa uli ne Ro ussi ll e : +33 [0] 1 41 32 26 13 / pauliner ou ssille@tg cdn .co m
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