PNEU 2018:
Mail exchange with Superamas and Interview with Navaridas & Deutinger
PNEU 2018:
Mail exchange with Superamas and Interview with Navaridas & Deutinger

Performing New Europe

Opening with Navaridas & Deutinger – Your Majesties and Superamas (FR/A) - Vive l’Armée!

at Monday, 15th of January, 2018


Documents Inserts Frames


Navaridas & Deutinger interviewed by Jacopo Lanteri


Your Majesties is the first performance of the series ICONIC RHETORICS, which includes the recent Pontifex, premiered at Sommerszene 2017. How did your interest in famous speeches and their possible stage translation start?

The idea of working with the figure of Barack Obama originally came when we saw Debanjan Roy's sculpture India Shining I., showing Mahatma Gandhi sitting on a cushioned floor, working with a laptop instead of his spinning wheel. We talked about the sculpture and the replacement of symbols and thought: What about replacing movements instead of objects? What if we put a universally known figure on stage and replace his/her characteristic movement vocabulary with a different one? Barack Obama had just won the Nobel Peace Prize and after reading his controversial speech, we thought it could be a good start for the experiment.



How did you work with this text?

We are translators and choreographers, so we are particularly susceptible to what bodies and words signify and how they interact with each other. In this case, we keep the original text and, little by little, modify the politician's typical gestures. By changing the references of what the body indicates, we focus on the implicit conflicts underlying the speech.


continue reading the whole interview:


©Navaridas Deutinger

Limousine (i like that very much)



                                                     ©Marta Navaridas                             ©Matteo De Fina

                                                     Sketch by Marta                         performance Your Majesties




A dialogue between Philippe Rierà and Jacopo Lanteri in the form of an e-mail exchange.


On 09.10.2017 13:43, Philippe Rierà wrote:

Dear Jacopo,
after our talk on the phone, I would like to underline the fact that SUPERAMAS processes and works as a collective thus the themes and core questions of our shows are often the outcome of a series of inputs coming from the 6 of us. Thanks to the commemorations of WW1 taking place in Hauts de France (where the different battlefields are actually located) we could hand in a project involving about 60 pupils and youngsters from the region. All through the school year workshops, meetings and lectures have been organised by SUPERAMAS in collaboration with high schools and local associations. The basic idea was to check with them what would be their way to approach such a conflict and its representations. At the end this collaboration showed in the final performance as a 20min long film.
About the now and then now… the funny thing is since we are all aware that the present in history leans against the past there was no choice to discuss and deal with historical issues without paying a serious visit to its contemporary expressions. For some, one of the reasons that lead to WW1 was the race for the oil in Mesopotamia… Mesopotamia… in other word Irak!
Besides, we just happened to travel through Paris a few hours before the attacks in Bataclan and around Paris… Not to connect theses 2 time dimensions became therefore inevitable for us.

ps: sorry for my late answer but a herniated disc gives me fuckin' hard time since months and seating to write is simply not that simple:(



Le 10 Oct 2017 à 11:18, Jacopo Lanteri a écrit :

I asked you about the connection with the first WW, because I find interesting that lately the media are often talking about the rise of the nationalistic party only with the memory of the WWII, but I do think that a closer look at history would bring more connection with the period you choose to talk about. For example, WWI started because of a "terroristic attack" (on a wide definition). Do you agree?
The opening scene of the piece is a catwalk. Why you choose to represent a certain contemporary idea in that form?


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Superamas – Vive l’Armée