Suite N°2



In 2013, the Encyclopédie de la parole initiated a cycle of four "Choral Suites" all based on the same principle: the live reproduction of documents taken from the Encyclopédie de la parole's audio collection.


The Suite N°1 ‘ABC’ was devoted to putting on stage some of the basic distinguishing features of human speech: how we speak, how we learn to speak, the babbling, the blabla, the hubbub, the basic vocabulary, the joy of talking for talking’s sake, the game of translation and the pleasure of languages that we don’t understand: an ABC of ordinary speech in nine languages, 45 scenes, and twenty-three actors (including 11 guests and a conductor).

The second Suite of Encyclopédie de la parole, for its part, orchestrates speeches that all do something, speeches that are actions. Words that do some good and words that scare the world. Words that fight, words that suffer, words that hope. Words that rejoice, rebel, reassure you. Words that dance and words that make love. Words that decide, threaten, condemn and kill. Words that bring people together and words that come between them. Words that say thank you. Words that ask for mercy. Words kept, given, betrayed. Words in crisis, words in debt, words in panic, words on strike. Words that crumble and rise from the dust. Words that struggle. Naked words and words dressed in Versace. Words that put their feet in their mouths. Words that stop talking when there's nothing more to say. Words that play with fire. Words that fly away and disappear up above the ocean.

All of these words are real. Each and every one of them has been pronounced some day, somewhere in the world, then collected by the Encyclopédie de la parole. They meet for the first time in this piece, carried by a quintet of outstanding performers, composed by Joris Lacoste and harmonized by Pierre-Yves Macé.

L'Encyclopédie de la parole is an artistic project exploring the spoken word in all its forms. Since 2007, this group of musicians, poets, directors, visual artists, actors, sociolinguists, and curators have been collecting all sorts of recordings of words and then indexing them on its website according to their particular properties or phenomena such as cadence, chorality, emphasis, saturation or melody.

What do the following have in common: the poetry of Marinetti or Allen Ginsberg, a sport commentary, a lecture by Jacques Lacan, an excerpt from South Park, the flow of Eminem and Lil Wayne, a message left on an answering machine, a TV game show, an Adventist sermon, an excerpt from The Young and the Restless, a speech by Léon Blum or Bill Clinton, an auctioneer selling horses, a shamanic incantation, a lawyer’s closing arguments, a commercial for shampoo and casual conversations recorded in the local café ?

From this collection, which now includes about 800 sound documents, L'Encyclopédie de la parole produces sound pieces, performance and shows, lectures, games and exhibitions.

Currently in 2015, the Encyclopédie de la parole has brought together Frédéric Danos, Emmanuelle Lafon, Nicolas Rollet, Joris Lacoste, David Christoffel, Valérie Louys et Elise Simonet.



Born in 1973, Joris Lacoste lives and works in Paris. He has been writing for theater and radio since 1996 and has been performing his own shows since 2003. He created 9 lyriques pour actrice et caisse claire in 2005. With Stéphanie Béghain and Purgatoire at the Théâtre National de la Colline in 2007, and was also associate author. From 2007 to 2009, he was co-director of Les Laboratoires d'Aubervilliers. Taking his inspiration from literature, theater, dance, visual arts, music, sound poetry, his work is always deeply researched. He initiated two group projects, the W project in 2004 and the Encyclopédie de la parole in 2007, resulting notably in 2009 in a solowork Parlement, starring Emmanuelle Lafon. In 2009 he launched the project "Hypnographie" to explore artistic uses of hypnosis: he produced the radio play Au Musée du sommeil (2009), the exhibition-performance Le Cabinet d'hypnose (2010), the exhibition 12 prepared dreams (GB Agency Paris 2012), the play Le vrai spectacle (2011) and the performance art pieces Restitution (2010), La maison vide (2012), and 4 prepared dreams (for April March, Jonathan Caouette, Tony Conrad and Annie Dorsen) in New York in October 2012.



Conception: Encyclopédie de la parole

Composition and direction: Joris Lacoste

Music design: Pierre-Yves Macé

Cast: Vladimir Kudryavtsev, Emmanuelle Lafon, Nuno Lucas, Barbara Matijevic, Olivier Normand Assistance and collaboration Elise Simonet

Light and video design, Technical management: Florian Leduc

Sound: Stéphane Leclercq

Costumes: Ling Zhu

Video coder: Thomas Köppel

Video assistant: Diane Blondeau

Translation – project manager: Marie Trincaretto

Proofreading and corrections: Julie Etienne

Vocal coaches: Valérie Philippin, Vincent Leterme

Language coaches: Azhar Abbas, Amalia Alba Vergara, Mithkal Alzghair, Sabine Macher, Soren Stecher- Rasmussen, Ayako Terauchi Besson

Invited archive collectors: Constantin Alexandrakis, Mithkal Alzghair, Ryusei Asahina, Adrien Bardi Bienenstock, Judith Blankenberg, Guiseppe Chico, Manuel Coursin, David-Alexandre Guéniot, Léo Gobin, Haeju Kim, Monika Kowolik, Federico Paino, Pauline Simon, Ayako Terauchi Besson, Helene Roolf, Anneke Lacoste, Max Turnheim, Nicolas Mélard, Tanja Jensen, Ling Zhu, Valerie Louys, Frederic Danos, Barbara Matijevic, Vladimir Kudryavtsev, Olivier Normand, Nuno Lucas

Production and administration: Dominique Bouchot, Marc Pérennès

Project development: Judith Martin / Ligne Directe

Production: Echelle 1:1 (with the support from Ministère de la Culture et de la Communication / DRAC Ile-de-France).

Coproduction: T2G Théâtre de Gennevilliers / Festival d’Automne à Paris, Asian Culture Complex - Asian Arts Theater Gwangju, Kunstenfestivaldesarts, Théâtre Vidy-Lausanne, Steirischer Herbst Festival, Théâtre Agora-Seinendan, La Villette - résidences d’artistes 2015, Théâtre national de Bordeaux en Aquitaine, Rotterdamse Schouwburg.

Suite N°2 is co-produced by NXTSTP with the support of Creative Europe Program. With the help of l’Institut Français and its programs Théâtre Export and CIRCLES, and the Nouveau Théâtre de Montreuil.

This show has benefited from the support from the residence program of l'Usine, Scène conventionnée (Tournefeuille).



Duration: 90min



6 July  17.30-19.00  SPORTCHURCH     BUY TICKET

7 July  20.30-22.00  SPORTCHURCH     BUY TICKET






Lazyblood is a duet with Valdimar Jóhannsson and Erna Ómarsdóttir were the concert format is explored. The music is electronic juxtaposing hard metal influences, storytelling and 80´s horror movie soundtracks, where the space between two songs is as important as the songs themselves and the theatrical and physical input is extreme.

Lazyblood has been performing in both theatre, dance and music festivals around Europe such as Kunstenfestivaldesarts in Brussels, Les anticodes in Brest, Pneu festival at Scene Salzburg and Kyoto experiment in Japan as well as the music festival Iceland Airwaves in Reykjavík amongst others.

We promise you that every single audience member will go home with a smile on their face and warmth in their hearts. Possibly a life saving experience.

Erna Ómarsdóttir graduated from PARTS in Brussels in 1998. After graduation she worked several years with some internationally aclaimed directors and choreographers such as Jan Fabre, Sidi Larbi Cherkoui and Ballet c de la B. Last years she has been creating and performing her own work internationally as well as in Iceland such as "IBM 1401 (a users manual)" (2002) and "The Mysteries of love" (2006) created in collaboration with the composer, Jóhann Jóhannsson. She has been creating and directing for the Iceland dance company," We are all Marlene Dietrich FOR", (2005) in collaboration with Janes Janza (Emil Hrvatin) and in colloboration with Damien Jalet and Gabríela Fridriksdóttir "Transaquania (out of the Blue)" 2009 and "Tranaquania-into thin air" (2010). Together with musician Valdimar Jóhannsson, she founded their dance-company called Shalala in (2008). Their latest works are "We Saw Monsters" (2011), "Teach us to outgrow our madness" (2009), "To the bone" (2013) and the concert performance "Lazyblood".

Valdimar Jóhannsson is a musician and a composer who recently started his dancing career.

He founded in 2008, together with Erna Ómarsdottir the Shalala dance company in Reykjavík. He took part in the Shalala creations "Teach us to outgrow our madness", "We saw monsters", "To The Bone" amongst others which have been touring internationally the last years. Valdimar has also been composing music for the Icelandic dance-company, Two dogs company and Kris Verdonck in Brussels amongst other things. He plays with and composes for the Icelandic punk rock band Reykjavik!.



Concept, music, text: Erna Ómarsdóttir and Valdimar Jóhannsson

Sound: Lieven Dousselaere

Production and distribution: Esther Welger-Barboza

Duration: 60min



9 July  0.00-1.00  CULTURE HOUSE     sold out


The Night of the Moles (Welcome to Caveland!)


In this new play, the audience is immersed in an allegorical world. A world inhabited by a family of giant moles, a fantastical bestiary, and other creatures belonging to a subterranean universe. This underground journey conveys an “ecosophical” message; it is a play in which the human perspective is offset by those of the inorganic and the animal, the living and mineral.

This new production could be a sequel to the Swamp Club saga, with the threatened arts centre moved underground, into a space which evokes at the same time a prehistoric grotto, a nuclear bunker and Plato’s cave. Linking with the great works of science fiction, Welcome to Caveland ! makes the theatre an utopian living space, in which dreaming is indissociable from the wakening of awareness; it tries to rediscover the deep roots of a collective poetic imagination, swated in philosophical myth.

After studying visual arts and spending around ten years working as a stage designer in theatres and for exhibitions, Philippe Quesne (1970) set up Vivarium Studio in 2003, bringing together actors, visual artists and musicians. He designs and stages shows that seek to develop a contemporary dramaturgy based on stage devices that are like workshops, a variety of “vivarium spaces” for studying human microcosms. The shows in their repertoire (La Démangeaison des ailes, 2004; Des Expériences, 2004; D’après Nature, 2006; L’Effet de Serge, 2007; La Mélancolie des Dragons, 2008; Big Bang, 2010 and Swamp Club, 2012) have been international co-productions and performed in several countries. In 2011 he created Pièce pour la technique du Schauspiel de Hanovre for the German theatre’s permanent technical team. In 2012, he was invited by the Pavillon at the Palais de Tokyo to create a stage form in collaboration with the ten artists and curators in residence. The same year, he contributed to HAU Berlin’s collective production based on the novel Infinite Jest by David Foster Wallace, with a specific creation at the Berlin Institute of Microbiology and Hygiene. In addition to this work, Philippe Quesne also devises performances and interventions in public spaces and natural sites, and exhibits installations during exhibitions. He has also published four short books: Actions en milieu naturel (2005), Petites réflexions sur la présence de la nature en milieu urbain (2006), Thinking about the end of the world in costume by the sea (2009) and Bivouac (2011). He is regularly invited to devise the artistic programming for events, notably the TJCC Festival at the Théâtre de Gennevilliers from 2012 to 2014. In 2013, he created Anamorphosis with four Japanese actors at the Komaba Agora Theatre in Tokyo, then Swamp Club, marking the company’s tenth anniversary. In 2014, he created Next Day, a piece for children aged between eight and eleven, at the Theater der Welt Festival in Mannheim, Germany with the production company CAMPO. Philippe Quesne has been co-director of the Théâtre Nanterre-Amandiers since January 2014, creating in collaboration with Bruno Latour and the team from SPEAP the Théâtre des Négociations. In January 2016, he premiered Caspar Western Friedrich at the Kammerspiele in Munich and in May will be premiering Welcome to Caveland! at the Kunstenfestivaldesarts.



Conception, direction, set design: Philippe Quesne

Performers: Yvan Clédat, Jean-Charles Dumay, Léo Gobin, Sébastien Jacobs, Erwan Ha Kyoon Larcher, Thomas Suire, Gaëtan Vourc´h

Dramaturgic collaboration: Léo Gobin, Lancelot Hamelin, Ismael Jude, Smaranda Olcese

Costumes Design: Corine Petitpierre, Anne Tesson (assistent)

Technical collaboration: Marc Chevillon, Yvan Clédat, Elodie Dauguet, Abigail Fowler, Thomas Laigle

Production: Nanterre-Amandiers – centre dramatique national

Supported by: Fondation d´entreprise Hermès programmi „New Settings“ raames

Co-production: steirischer herbst (Austria), Kunstenfestivaldesarts (Belgium), Théâtre Vidy-Lausanne (Switzerland), La Filature – Scène nationale (France), Künstlerhaus Mousonturm (Germany), Théâtre National de Bordeaux Aquitaine (France), Kaaïtheater (Belgium), Centre d´art Le Parvis à Tarbes (France).

In collaboration with: Groupe de recherche Behavioral Objects (Samuel Bianchini koordineerimisel), l'École Nationale Supérieure d'Architecture de Paris – Malaquais AAP (Art, Architecture, Politique) Atelier Jordi Colomer "Welcome to Caveland"

The project is co-produced by NXTSTP with the support of the European Union Culture Program.



Premiere: 06.05.2016 Kunstenfestivaldesarts, Brussels

Duration: 120min



6 July  19.30-21.30  BIG HALL     BUY TICKET

A Broadcast / Looping Pieces


A Broadcast / Looping Pieces is an improvised text and performance work by theatre maker, artist and writer Tim Etchells.

The heart of this mesmerising and provocative work is a live remixing of pages from Etchells notebook – a computer document in which, over many years, he has gathered texts of many different kinds. Fragments of overheard conversation, cut-paste quotations direct from newspaper articles and web pages, ideas for performances, rough drafts, and other notes sit side by side in this textual scrapbook. For the performance Etchells selects, intercuts and remixes material from these texts which he has stored away over the years, creating a torrent of language that often loops and repeats on individual lines, editing and re-writing on the fly, creating new dialogues and juxtapositions.

Exploring archive and the processes of writing and gathering, A Broadcast / Looping Pieces is an improvised window on Etchells' creative process and the extraordinary transformative power of performance itself.

"[A] remarkable experiment, where everything is possible". - Weronika Trojanska, Metropolism.



Conceived and performed by: Tim Etchells

Produced by: Forced Entertainment



Duration: 60min

The performance is in English.



8 July  21.30-22.30    SCHOOL HALL     SOLD OUT

9 July  22.30-23.30    SCHOOL HALL     BUY TICKET





Marie-Caroline Hominal is Raymonda, Marco Berrettini is Taylor. A dance begins…

After "iFeel" (2009) and its angers inside our modern societies, and "Si, Viaggiare" (2010) which was attempting to reset a communion between beings, "iFeel2" displays the mutations, the evolutions, the metamorphosis that the individual and the social "bubbles" practice in real life. There is a real emerging need to once again ask the question: Why are we here, on this earth? And what value can we assign to the birth of life? Berrettini has been working with some texts and books from the German philosopher Peter Sloterdijk for many years. For "iFeel2", he has selected "You have to change your life" ("Du mußt dein Leben ändern"), published in 2010. The current dance extends from a certain desire of acrobatic virtuosity to some more spiritual streams flirting with psychoanalysis, religion and the search of inner consciousness, the Jungian shadow. The performance is a mix of this multitrack life. Finally, the music for "iFeel2" has been created beforehand, by the more or less pop band, Summer Music, formed by Samuel Pajand and Marci Berrettini.They wanted to compose their own libretto, to choreograph from the music and not the opposite.

""iFeel2" draws its strenghts from our shadows with the certainty that this introspection will make us brighter…" Marco Berrettini

Marco Berrettini's interest in dancing began in 1978, when he won the German championship of Disco Dancing. Thereupon he decides to improve his technical skills with classes and workshops in Jazz and Modern Dance and Classical ballet. He finds interest in German Tanztheater and in the next 10 years he'll work under the influence of Pina Bausch, especially concerning the "form" of how a show is built. Straight after the diploma as a dancer he tries to build up his own company in Wiesbaden, but without any success. In 1988 he signs a contract with a French dance company. This time he is luckier. In 1999 the Kampnagel Theatre in Hamburg produces his show "MULTI(S)ME". Following the advice of the director Res Bosshart, his Company, strong of 12 members, changes its name. *MELK PROD. is born. Since then Marco Berrettini, in collaboration with his Company, has produced more than 25 pieces and won some prizes like the ZKB PRIZE at the Theaterspektakel Festival in Zurich. In 2009, Marco Berrettini created "iFeel", in 2011 "Si,Viaggiare", in 2012 a duet called "iFeel2", danced by himself and Marie-Caroline Hominal. But his best "creation" is and will be Stella, his 6 years old daughter.

Marie-Caroline Hominal received a dance training at Schweizerische Ballettberufschule in Zürich and at Rambert School of Ballet and Contemporary Dance in London. Her choreographic works, mainly solos or duos, are: the tryptique; "Fly Girl" (2008), "Yaksu Exit Number 9" (2010) & "Voice Over" (2011), "BAT" (2012). The performances "Patricia poses by the pop machine" (2011), "Cindy punch pop acid" (2011) & "In bed with MadMoiselle" (2013). Besides, Marie-Caroline Hominal regularly collaborates with other artists like François Chaignaud, Clive Jenkins, Cristian Vogel, Kim Boninsegni and recently with her brother the visual artist David Hominal for the performance "Two birds at swim, at birds two swim, at two birds swim" (2012). Under the name MCH, she has made videos that were shown in numerous festivals in Europe and USA. Since 1998 she has been performing with choreographers and companies such as the Tanztheater Basel, Blanca Li, Gisèle Vienne, Gilles Jobin, La Ribot, Marco Berrettini.

Samuel Pajand, after completing audiovisual studies at the Brest university, started in 2000 working as a sound technician at the Menagerie de Verre. He created the sound for performances by Judith Depaule, Gildas Milin, Joachim Latarjet, Vincent Macaigne. He is a member of the *MELK PROD. / Marco Berrettini company since 2006 and he collaborates on a regular basis with Claudia Triozzi and Marta Izquierdo. Along with Fred costa, he is part of the more or less improvised music band Complexité faible. He forms a more or less pop band with Marco Berrettini.



Made by: Ivana Müller

In Collaboration With: Andrea Bozic, David Weber Krebs, Jonas Rutgeerts

Lighting Design & Technical Coordination: Martin Kaffarnik

Production: I’M’COMPANY

With the Financial Support of: Performing Arts Fund NL, Amsterdam Fund for the Arts and SNS Reaal Fonds.

With kind support of: Het Veem theatre, Amsterdam



Duration: 60min

Language no problem.



8 July  23.00-00.00    SPORTS CHURCH    SOLD OUT

9 July  21.00-22.00    SPORTS CHURCH    BUY TICKET


Nazisuperpeople are better than you all – The Horror of the Ordinary


The Nazi Super People hire a choir so they can travel on their voices. A choir with angels and trumpets. They’re supposed to sing Wagner but they only know Verdi. “Whatever”, think the Supernazis.

For their slogan is: make space. And their need for fresh air and wide, open spaces is mightier than any hatred. The Supernazis mow down everything and anything that’s in their way because they realise that destruction makes the world so much less complicated.

They don’t have a blueprint or a plan; they just want to create space, empty space. They don’t want to be understood. They consider any attempts in this direction as being superficial. Being misunderstood worries them not a jot.

The others pass things down to posterity by making them sacred and thereby conserving them. The Supernazis, however, make every situation practicable before liquidating them.

They don’t see anything as being permanent and for this very reason, they see paths everywhere. And because they see paths everywhere, they have to clear everything out of their path.

(Based on ‘The Destructive Character’ by Walter Benjamin)



Idea, concept, stage/room and costume: Showcase Beat le Mot

Music: Albrecht Kunze

She Wolf Sharon: Sharon Smith

Costumes: Tanja Jesek, Clemens Leander

Constructions: Christian Wenzel, Andrej Trofimoff

Video: Alexej Tscherny

Graphics: Anne Kube

Lighting: Sebastian Zamponi

Sound: Albrecht Kunze

Production Manager: Olaf Nachtwey

Production by: Beat le Mot and the Neues Theater, Halle

Funded by: Federal Cultural Foundation Doppelpass Theatre Co-operation Programme



Duration: 150min

The performance is in English.



7 July  22.30-1.00     BARN    BUY TICKET

8 July  18.30-21.00   BARN    BUY TICKET


Limewire* (v3.0)


Youth movements, counter-cultural and sub-cultural movements have always embodied a spirit of against. In these social, political, and cultural movements, bodies of collision, reaction, and volatility have always been characteristic. In a choreography made from practices of networks and peer-to-peer file-sharing programs, "Limewire*" questions the spirit of against when the strongest counter-cultural tool becomes the ability to copy. What is the status of this youth movement that disseminates authentic and inauthentic alike; which corrupts or bugs, but never dies, which never creates anew but proliferates a ’mass movement’ only by reproducing and reassembling itself?

Andros Zins-Browne studied ballet at an early age at the Joffrey Ballet School in New York City. After completing degree in Art Semiotics at Brown University (2002) he studied at the P.A.R.T.S in Brussels. His graduation performance "Limewire*" (2006) was immediate success. They toured with the piece for several years and then there was pause, until the Salzburg Experimental Academy of Dance invited Zins-Browne to re-create this piece with their students. And now Baltoscandal Festival invited Zins-Browne to re-create another new version of it with the dance and theatre students of the University of Tartu Viljandi Culture Academy. So, after several months of rehearsal period "Limewire * (v3.0)" reaches it’s premiere at Baltoscandal 2016.



Choreographed by: Andros Zins-Browne

Originally created and performed by: Andros Zins-Browne, Eugenie Rebetez, Agnieszka Dmochowska, Tarek Halaby, Marc Inglesias

Music: Smells Like Teen Spirit, Nirvana

Sound: Peter Lenaerts

Lighting Design: Clive Mitchell

Thanks to: Xavier Le Roy, Sandy Williams, Jennifer Defays , Bojana Cvejic, Sandra Iché, 2nd year Limewire workshop

Performers in Estonia: Maris Kahre, Karl Kask, Leanika Mändma, Reelika Poroson, Stella Kruusamägi, Kadi Keskülla, Kristo Sauela

Project manager: Irene Hütsi

In cooperation with University of Tartu Viljandi Culture Academy Performing Arts Department.

Supported by: Cultural Endowment of Estonia


Premiere: 6.07.2016 Baltoscandal festival, Rakvere

Duration: 30min

Language no problem.



6 July  0.00-00.30     SMALL HALL    sold out

7 July  23.00-23.30  SMALL HALL     BUY TICKET

We Are Still Watching


We Are Still Watching is performed by spectators; by an instant community of "audience members" that changes every evening of the show. And as they change, the piece also radically changes every time that it is performed.

We Are Still Watching has the form of a "reading rehearsal" in which spectators encounter each other while reading a script together. During approximately an hour spent in company of each other, spectators create and perform a community, making decisions individually and collectively while "simply" reading a text that someone else has written for them.

In the "mini-society" that’s being created each evening of the show, everybody slowly but surely gets his or her role… Everybody speaks in the "I-form", everybody reads badly and everybody engages one way or another although no one ever read the script before and no one knows what will happen next. We Are Still Watching is a piece in which the idea of "spectacle" slowly shifts to where we least expect it. Something that for a moment could look like a bad theatre play, becomes an invitation to look beyond what is being scripted. While still staying in the realm of theatre and representation We Are Still Watching leaves place for something "real" to happen.

"If you're just comfortably assuming you have all the agency in your life, you should go get shaken by this play." Portland Mercury, 2013

"The excellent ‘We Are Still Watching’ is an exception to the rule’ (…) Let’s pass on the finesse of the writing (it requires quite some talent to imagine the reactions of the different spectator profiles when facing such a dilemma), it’s the device itself of this smart and self-reflective piece that surprises by its evocative power". Libération, 2014

We Are Still Watching was made by Ivana Müller in collaboration with Amsterdam based choreographer Andrea Bozic, Brussels based artist and theatre director David Weber-Krebs & Brussels based dramaturge Jonas Rutgeerts. The piece was developed within the framework of Ivana Müller's Encounters project (Frascati, Amsterdam 2012) and created in English. At this moment the piece exists in English, French, German, Croatian, and Slovak translations.



Made by: Ivana Müller

In Collaboration With: Andrea Bozic, David Weber Krebs, Jonas Rutgeerts

Lighting Design & Technical Coordination: Martin Kaffarnik

Production: I’M’COMPANY

With the Financial Support of: Performing Arts Fund NL, Amsterdam Fund for the Arts and SNS Reaal Fonds.

With kind support of: Het Veem theatre, Amsterdam



Premiere: 27.11.2012 Frascati theatre, Amsterdam

Duration: 60min

The performance is in English on 7th and 8th of July. / The Performance is in Estonian on the 9th of July.*


7 July  18.30-19.30    STUDIO     sold out

8 July  16.00-17.00    STUDIO     sold out

9 July  18.00-19.00*    STUDIO     sold out




Chekhov’s First Play


“I’m having absolutely nothing to do with the theatre or the human race. They can all go to hell.”

– Anton Chekhov

During the turmoil of the Russian Revolution in 1917, Maria Chekhov, Anton’s sister, placed many of her late brother’s manuscripts and papers in a safety deposit box in Moscow.

In 1921 Soviet scholars opened the box, and discovered a play. The title page was missing. The play they found has too many characters, too many themes, too much action. All in all, it’s generally dismissed as unstageable. Like life.

Dead Centre was formed in 2012 in Dublin. They are Bush Moukarzel, Ben Kidd and producer Matt Smyth. Associate artists: Adam Welsh, Jason Booher and Ailbhe Wakefield-Drohan.

To date, they have made four projects: Souvenir (2012), (S)quark! (2013), LIPPY (2014: winner of Irish Times Best Production, Fringe First, Herald Angel and OBIE awards) and Chekhov’s First Play.



Direction: Bush Moukarzel, Ben Kidd

Text: Anton Chekhov, Bush Moukarzel and Ben Kidd

With: Liam Carney, Breffni Holahan, Paul Reid, Rebecca O Mara, Clara Simpson, Dylan Tighe

Set Design: Andrew Clancy

Sound Design and Composition: Jimmy Eadie

Lighting Design: Stephen Dodd

Special Effects and On-Stage Design: Grace O' Hara

Costume Design: Saileóg O' Halloran

Producer: Matthew Smyth

Co-commissioned by Battersea Arts Centre and Irish Arts Center, New York

Co-production: Dublin Theatre Festival, Baltoscandal (Rakvere) and TnBA (Bordeaux)

The project was originally co-produced by NXTSTP, with the support of the Culture Programme of the European Union. This show was funded by the Irish Arts Council and the tour is supported by Culture Ireland.


Chekhov's First Play is co produced by Battersea Arts Centre and supported by Culture Ireland.



Premiere: 24.09.2015, Samuel Beckett Centre, Dublin

Duration: 70min

The performance is in English.



9 July  19.30-20.40    BIG HALL    SOLD OUT


The Charm of Burnt Fields


A physical-psychedelic introspective tragedy in a comic-poetic key. Or vice versa. It all depends on your viewpoint.

This very physical, comic and, when necessary, even blissfully tragic production demonstrates that when the theatre is alive, the classical narrative can be discarded without any qualms. - Keiu Virro, Eesti Päevaleht

Renate Keerd has managed to take the physical means of expression and create a completely universal stage language easily understood by all, and its resourcefulness, wittiness and boundless humour never cease to surprise. It speaks to those who are looking for laughs as well as those who seek more profound philosophical ideas. - Põim Kama, Postimees

The production provides the viewer with a chance to kick over their brimming bucket of inner shit, to cast off the burden that has weighed down their soul - their position, their obligations, the inevitability of life, the anxiety of language, the dishes piling up in the dishwasher, dead-end thoughts, the birthday of the mother-in-law. And tear off their clothes and get down to their underwear, and rampage, roar, wallow, ram, pound, leave behind the stupid thoughts and poisonous emotional fumes circulating in their systems and escape into pure bodily ecstasy. And then, having exhausted themselves and cleansed themselves at of the altar of love, they can go back to their homes with grey walls and white ceilings, switch on the dishwasher and lie down next to their spouses, without soaking their pillows with longing. - Katrin Maimik, Andres Maimik, Eesti Ekspress

Renate Keerd is freelance director and choreographer. Her productions have been performed in numerous theatre and dance festivals in Europe, Scandinavia and Asia. Her works have been described as provocative, humorous, inventive, poetic, witty and sharp. She has received the Philip Morris Estonia Dance Award twice. In 2015 her performance PURE MIND won the Grand Prix in an International Theatre Festival held in Minsk. In 2016 she was the laureate of Estonian Annual Theatre Awards. In 2012 she founded her own physical theatre company Kompanii NII.



Author, director, designer and musical designer: Renate Keerd

Performers: Liisa Tetsmann, Taavi Rei, Gerda-Anette Allikas

Lighting design: Taavi Toom, Renate Keerd

Production: Tartu New Theatre and Kompanii Nii

Supported by Cultural Endowment of Estonia



Premiere: 12.03.2015 Tartu New Theatre

Duration: 80min

Languane no problem.



6 July  22.00-23.30  SCHOOL HALL     SOLD OUT

7 July 16.00-17.30   SCHOOL HALL     SOLD OUT


99 Words for Void


Our fundamental values are under threat! In this performance we meet two knights who are sent out to defend them, while their dilemma is that they are not sure of what these values are. Their reaction is not to separate from the super-ego which has put them where they are, but to imitate its behaviour, its sounds. By repeating well known rhetoric figures the knights are learning how to speak. And by speaking, they are also adapting to the ideological structure their language includes. The result is a recognisable rhetoric feedback loop of statements and answers, where an answer never is a critique but an add on to the statement made - a dialogue without dialectics. Thereby the piece puts a disturbing observation into play: that dialogue is not always a form of encounter, but sometimes a method of censorship. "99 Words for Void" is set in an experienced dissonance built into the European model of mixing neoliberal politics with humanist rhetoric. A dissonance which easily can produce a feeling of ideological alienation. This piece functions as a platform where this alienation can be experienced and grow. Lond and Malmborg create a cozy-claustrophobic world where the hope for an utopia ahead has been erased and substituted with wishes for an immediate utopian experience, for instance a cup of perfectly brewed coffee.

Maike Lond Malmborg (1981) has made a few works worth mentioning as they have brought her some recognition. Her career started out excellently when her graduation work "Sirquit Garden(07)" was nominated for the René Coelho Award of the Netherlands Media Art Institute. Then a few years of silence followed, until 2009 when together with Riina Maidre she got her first international break-trough with "Postuganda", a concert-performance appreciated both by the sexist and queer/feminist audience. After that she did a bit of this and that until the magical moment of winning the Grand Prix of Estonian Cultural Endowment with the big-scale fictional exhibition "Manfred MIM retrospective" made by the artist collective MIMproject of which she is a founding member. After that she hit the real bottom and started asking money from strangers, which ended up in the very successful performance-lecture entitled "10 journeys to a place where nothing happens*" that has been touring actively in Europe since 2013 and will continue to do so during 2016. At the moment she's got nothing to complain about.

Iggy Lond Malmborg (1987) is a freelance actor and performance maker based in Malmö, Sweden. Though a formation in traditional acting (the Theatre academy of Malmö) his pieces spans over a wide range of aesthetics and styles, both solo and collaborative work. Malmborgs main artistic interest is to use the actual situation of the performance event as a model onto which the pieces discourse directly can be applied. Since 2009 he is collaborating together with Johannes Schmit (GER) under the name White on White. The duo runs a performance series, until today including 6 autonomous works. The series aims to analyze hidden methods of inclusion and exclusion art-spaces contain. Instead of following the trend of questioning the theatrical norm through temporary representation of minorities, they intend to make the standard itself vulnerable by framing it. Thereby giving - an often overseen - power a face. In 2014 his latest solo work "b o n e r" premiered at the Baltic Circle Festival in Helsinki. The piece has toured actively during 2015 to festivals and venues such as AUAWIRLEBEN (Bern), Sophiensäle (Berlin), Bastard (Trondheim) and Spielart (Munich) and it will also continue touring during 2016.

Johan Jönson (1966) is a Swedish poet and playwright based in Stockholm. He had his major breakthrough with the collection of poems entitled "Efter Arbetsschema" (2008), for which he received Aftonbladets literature prize as well as a nomination to the Nordic Council Literature Prize. Before the breakthrough Jönson had published books such as "Collobert Orbital" (2006) "Virus" (2004) and "I Krigsmaskinen", a series of five books: "Nod Noll", "Minnen av kroppar I rörelse och vila", "Karma inertia", "Transvektor", "Aggregat som muterar" (2001-2002). He has also written plays for the independent theatre group Teatermaskinen, amongst them the trilogy "gränsmaterial ww4" (1999), "extasy +/- 0" (2001) and "woyzekmaskinen" (2003). At Albert Bonniers Förlag he had published the lyric books "Monomtrl" (2005) and "Restarkivet" (2007). After the breakthrough came "Livdikt" (2010), which was nominated for the August Prize, and "" (2012), which is followed by "mot.vidare.mot" (2014), a text without an end, with an absent synthesis, a work of montage which locates it self as close as possible to the unreachable processes of life.

Kalle Tikas (1974) has been engaged with theatre works for two almost decades. He has created mainly sound and light solutions for theatre as well as live and written music for contemporary performances. For years he has been working with united dancers of ZUGA and MIMproject as well as musical collectives BF and Ringhold.



By and with: Maike Lond Malmborg, Iggy Lond Malmborg

Dramaturge: Johan Jönson

Technical solutions: Kalle Tikas

Technical support: Taavet Jansen, Revo Koplus

Production manager: Eneli Järs

Assistant: Mairika Plakso

Photos: Tarvo Hanno Varres

Co-producers: Kanuti Gildi SAAL, Baltoscandal Festival, Dublin Theatre Festival, Théâtre national de Bordeaux en Aquitaine, Teaterhuset Avant Garden

This project is co-produced by NXTSTP, with the support of the Culture Programme of the European Union.

Supported by: Cultural Endowment of Estonia

Residency support: Nordic-Baltic Mobility Program

In collaboration with: Inkonst



Premiere: 11.11.2015, Kanuti Gildi SAAL, Tallinn

Duration: 95 min

The performance is in English.

PS. You can not leave the theatre during the performance.



8 July  19.00-20.35   SMALL HALL    SOLD OUT

9 July  16.00-17.35   SMALL HALL    SOLD OUT


NO42 El Dorado: The Clowns' Raid of Destruction


Incurable insatiability is the underlying urge that drives man. Nothing is ever enough, no boundaries hold for ever. Ene-Liis Semper's new work takes the audience onto a rough trip to the darker side of craving. Exploring the pardoxes inherent in the human condition, „El Dorado: The Clowns' Raid of Destruction“ creates a theatrical language of its own that is both visually stunning and unrelenting in terms of the level of energy on stage. Developing clownesque aesthetics far beyond the merely entertaining, Semper's new production reaches a high level of abstraction.

Ene-Liis Semper's excellence over the years in various artforms from video-art to installations to scenography to film make her a director whose work is an amalgam of different approches. Her ouevre is always marked by strong conceptions, an aesthetics of abundance and the pursuit of a total Gesamtkunstwerk.



Director - Art Director: Ene-Liis Semper

Bodywork: Jüri Nael

Musical Design: Lauri Kaldoja

Dramaturgy: Laur Kaunissaare

Cast: Marika Vaarik, Helena Pruuli, Rea Lest, Rasmus Kaljujärv, Ragnar Uustal, Simeoni Sundja, Jörgen Liik



Premiere: 22.12.2015, Teater NO99

Duration: 115min

The performance is in Estonian with English subtitles.



7 July  18.00-20.00    PEACE HALL     SOLD OUT

8 July  16.00-18.00    PEACE HALL     BUY TICKET


6 July 23.00 - 4.00



Avant-garde blues on nordic landscapes. RINGHOLD (Live)


Electronic dance music and psychedelic guitar sounds. SU—MU ✺ (Live + Dj Sett):


HANNES AASAMETS (Dj Sett) Cost-efficient & Fully-functional™

7 July 23.00 - 04.00

BinaarPoeesia meets Lejal Genes

BinaarPoeesia meets Lejal Genes 20 is an event where computer mashed poems and live musical acts by local record company called “Lejal Genes” that is going to turn 20 are standing side by side. This time the created atmosphere will be more experimental. Event is hosted by Chungin the magnificent coryphaeus!

In night there is:

J.O.C., Stupid F, Maxtract, Judabels, J.R.Rhymes, Dice Rudy, Lord, Liisi Rohtung, Anneli Rahkema, Saara Kadak, Alan Proosa, Henri Hütt, Riina Maidre, Taavet Jansen, Chungin

Live: Rassakas, Out-Or, Gee




LEJAL GENES is a long-running Estonian record label (est. 1996). It brings together different modern dance music artists from Rakvere.

More info about the label here and there:
Lejal Genes homepage: 
Lejal Genes @ Bandcamp: 
Lejal Genes @ Discogs: 
Lejal Genes @ Facebook: 
Lejal Genes @ 
Lejal Genes @ Mixcloud: 
Lejal Genes @ MySpace: 
Lejal Genes @ Soundcloud: 
Lejal Genes @ Sub FM: 
Lejal Genes @ Twitter: 
Lejal Genes @ YouTube:

8 July 23.00 - 04.00



;paranoia publishing

;paranoia publishing group a major international company

the name comes from fenno-ugric words para (absolute) and noid (shaman/stalker)

the semantic shift in the name is characteristic to our agenda : 

focus on innovation, destruction of reality, consumer satisfaction etc

we provide our clients with carefully selected textual operations:

- the most psychotic transborder dataflows
- irreversibly immanence-crossing deterritorialisations
- breakbeat of meta-meanings and hallucinating psycho geographies
- statistically the most abnormal texts on the contemporary literary market

all our products meet internationally approved quality standards

100% corporate responsibility and sustainibility

sit back, relax and enjoy our cutting edge products


ali asker

[pronounce: alí askér] 

Explores soundscapes on this and that side of the Solar System




Emer Värk and Renzo van Steenbergen

Join us for some harsh experimental electronic music and live cinema with two genre-defying artists: Emer Värk and Renzo van Steenbergen. Sometimes noisy, sometimes minimalist, rich, immersive, danceable and austere, but overall a challenging and exhilarating audio-visual meditation that will have your head bopping and your heart pumping. Mix up some heroïne beats with some lucid visuals, and let’s go!

Renzo van Steenbergen thinks that music does not exist in time but rather creates it, and considers that music is not the art of sound but rather the art of the transcendence of sound. On his long road he has performed for many years with Feedbacksociety, one of the older and longest standing experimental audiovisual art and noise collectives from the infamous underground scene of The Hague and has been the programmer and initiator of Seveninchrecordings and Seveninchprojects.

The shows vary from Live-Cinema performances to ritualistic noise mantras to installation performances to brutal noise acts. His music has been released on Double Cross Records, Sleeping Beast, Cyberfarts Records, S.I.R and Audioscoop. Currently he is mostly active as a sound artist and theatre maker in Estonia.

some web:

some sounds:

Emer Värk is an Estonian artist primary focused on projections and light in the space and its influences on our perception, mood and emotions. Emer was introduced to creating art on a computer at the age of twelve and from the age of sixteen he started to work as graphic designer but broadened his work to moving images on and off screen stuff. He studied in Tallinn University Baltic Film and Media School, in field of film directing then turning to realisation and direction.

Since 2008 Emer has been working as a freelance artist in the field of theatre, film, visuals and light-art and has been rocking as a Vj and video artist with different national and international music artists and festivals and institutions.

some web:

After collaborating several times they have decided to once again put their forces and gear together and put MIM and hopefully you to a test and take you on a journey of whatever will be on their mind this evening. 



Post Everything


Lond Malmborg


Stray Dog

Stray Dog is a mysterious figure, who doesn’t like holding on in any specific musical genres. He’s always searching something new and often draws inspiration from modern art. Therefore his own sounds are usually pretty eclectic, experimental and future oriented too.


Compound Minerals



So, I was sitting there going through some files and watching a marathon, and there was Hevonen. And I was like, hmmm, I can do that!

This Baltoscandal is already the fourteenth, yet it is already 26 years since the first festival. It makes one think. 
In some ways, the current situation in society is similar to the time when Peeter Jalakas and the Von Krahl Theatre began their festival. It was something that had to be done, not something that could be done. You could not do without it. 
Once again our identity, the essence of our independence and values are relevant. Does the festival or art itself have a role in this discussion?

Baltoscandal is about performing arts and therefore, the subjects and issues are personal, coming straight from the author. The selected artists are people from among us, not from some mythical heights. The performances of the festival ask, investigate and talk about isolation, freedom, openness, heroes, nationality, utopias, morality, religion, ambivalence, madness, resoluteness, the power and feebleness of the word, history, context, prejudice, interpretations, variety, discomfort, truth and those telling it. In other words, about life. Subjectively. Theatrically. 

I would like to repeat what has been said at many festivals – we do not wish to teach anyone anything, we wish to pose questions that interest us, that we deal with from day to day. We, the festival organisers, can do this through the productions and artists we have invited here. 
Baltoscandal would not be what it is without its social aspect. This year again, we have the festival club, where you can entertain yourself, but also just pass the time comfortably. The festival is a party and meetings. 
So let’s meet!

Priit Raud 
Artistic director of Baltoscandal



Dear scandalizers,

Rakvere is a city known for its varied cultural life. We are happy about the frequent enquiries about the next Men’s Dance Festival, the next Punk Song Festival, our other interesting plans for the future. These enquiries are easy to answer because these good old things and fascinating new events will arrive without fail. 

We plan to build a new and more versatile stage complex with all the accompanying features on the Vallimägi hill. Preparations have been going on for quite some time and hopefully we can begin next spring. I am sure the theatre people of Rakvere have already some ideas as to what to do with the place!

However, this summer is once again the summer of Baltoscandal. It is already the twelfth time that Baltoscandal is held in Rakvere, but I am sure that the most ardent festival fans remember the first two Baltoscandals held in Pärnu. We are very happy to meet you all again. Baltoscandal offers plenty of good and interesting theatre. Often also physically hot theatre because the halls are packed and there can be a shortage of air. It is a nice inevitability that comes from the wish to let everyone in, so that no one has to be sad, left out in the warm summer night. 

I hope you will find the time to get to know the city of Rakvere a little more. I do not know if you have a few hours for a tour in our castle with its 800 years of history, but you will certainly have time to get acquainted with the symbol of Rakvere, the Tarvas crowning the Vallimäe hill. The Tarvas is admittedly more than seven metres long and five metres high, but taking a closer look at this work by sculptor Tauno Kangro, you are sure to discover that even with these dimensions, a sculpture can appear very graceful indeed. 

Enjoy these July days and come back to Rakvere!

Mihkel Juhkami
Mayor of Rakvere

During the lunch-hour of the last festival day Baltoscandal’s cynics and romantics once again take the field against each other. Happening in a carefully selected corner of the theatre garden, this traditional football match is as erratic and rule-less as life itself. Everyone can participate and it is allowed to change your views and team at any time. Nothing is certain except the fact that once again the sport won’t win!

9 July  12.00
Language is no problem.