Rewind – homage to Pina Bausch’s Café Müller, 2008

Rewind – homage to Pina Bausch’s Café Müller. (2008)

By and with Daria Deflorian and Antonio Tagliarini
And with Alexandra Grillo
A Planet 3 and Dreamachine coproduction
With the contribution of Imaie
And the assistance of Area 06-Roma, Rialto Santambrogio (Roma), Florian TSI (Pescara), Centro Artistico Grattacielo (Livorno), Armunia-Castiglioncello.
Organization and promotion Filipe Viegas e Francesca Corona per PAV | Diagonale Artistica
Communication and press office Filipe Viegas ed Emanuela Rea per PAV
Preview Roma, Rialto Santambrogio, 2008
Debut Roma, Festival Short Theatre, Teatro India, September 9, 2008
Repeat performances abroad
Berlin, TanzFabrik, October 25, 2008
Bilbao, B.A.D. Festival, La Fundición, November 5 and 6, 2009
Évora, Portogallo, Festival Escrita na Paisagem, 2010

Rewind – homage to Pina Bausch’s Café Müller. Presentation

by  Lorenzo Guerrieri
The empty stage is evenly lit. Off to one side, a simple control room: a white panel with a mixer and a laptop whose screen is turned away from the spectators.
Antonio Tagliarini enters with a chair. He tells the spectators that he bought it on ebay for 5000 euro as one of the stage props from Pina Bausch’s Café Müller. Shortly after Daria Deflorian enters with a chair identical to Antonio’s, whose authenticity begins to be suspect. Antonio suggests that maybe it’s the chair Pina Bausch sat on while she directed the show … more likely it’s just a random theater chair. Daria confesses she loves the beginnings of things. The two try to recall the beginning of 2001, A Space Odyssey.
Then Antonio begins describing the first scene of the historic 1978 show. Daria goes to the control desk and the two say they are turning on the video of Café Müller on the laptop, still unseen by the spectators. At the show’s musical prelude Antonio moves the two chairs around the stage, here and there, as if to cite in a schematized, minimal manner the start of the legendary Café Müller. After the music, Antonio too goes to sit at the control desk, and the two actors begin to look at the screen and talk, half to each other and half to the spectators, passing the mike back and forth, describing, alternatively, the scenes from Café Müller and some personal thoughts and reminiscences that those images stir up in them.