By Milo Rau, based on themes by Pier Paolo Pasolini and Donatien Alphonse François de Sade
In collaboration with the Theater HORA
Text and Direction Milo Rau / Stage Design and Costumes Anton Lukas / Video Kevin Graber Cast Noha Badir, Remo Beuggert, Gianni Blumer, Matthias Brücker, Nikolai Gralak, Matthias Grandjean, Julia Häusermann, Sara Hess, Robert Hunger-Bühler, Dagna Litzenberger Vinet, Michael Neuenschwander, Matthias Neukirch, Tiziana Pagliaro, Nora Tosconi, Fabienne VilligerCast list
|Dagna Litzenberger Vinet|
|Text and Direction||Milo Rau|
|Stage Design and Costumes||Anton Lukas|
|Literary Manager||Stefan Bläske|
|Literary Manager||Gwendolyne Melchinger|
|Research||Rolf Bossart, Mirjam Knapp|
|Assistant Director||Manon Pfrunder|
|Assistant Stage Designer||Simon Sramek|
|Assistant Costume Designer||Tiziana Angela Ramsauer|
|Assistant Video||Jörg Hurschler|
|Internship Direction||Jannis Nicolas|
|Stage Management||Michael Durrer|
|Artistic Director Theater HORA||Michael Elber|
|Deputy Artistic Director Theater HORA||Nele Jahnke|
|Theatre Education||Anne Britting|
Starting from Pasolini’s scandalous art film “Salò or the 120 Days of Sodom“, Milo Rau continues to investigate the question of what is depictable and bearable on the stage. In the Alpine Republic of Saló – the last refuge of some fascist regime – young men and women are kidnapped and held prisoners in a castle by four representatives of a declining totalitarian regime. In a series of sadistically debauched rituals the young people are abused and humiliated, and finally tortured to death in an orgy of violence.
It was Pier Paolo Pasolini’s last film, he was murdered before its release. It’s based on a novel by the Marquis de Sade, who advanced explicit representations of sexual power and violence as a type of diagnosis of late 18th-century society. Pasolini’s adaptation has been read as criticism of a certain type of rule that has replaced the fascist system but nevertheless continued the mechanisms of repression of the former – which is of course the modern consumer society including the normalization of excess and the constant optimization of humans.
Milo Rau’s production is a rather free interpretation of Pasolini’s and de Sade’s works set in the present time, in a post-modern feudalist society teetering between hedonism and doom, normalization mania and petty bourgeois lust for scandals. The piece touches on fundamental questions in art and society: What’s the meaning of power? What is voyeurism? How is the dignity of life to be protected? What is normal, what is abnormal? Where does the pain end – and salvation begin?