No journey’s end.
Turandot’s world is symbolic; it is a closed space that is impossible to escape.
Everything is at the service of The Creature, to bring the public closer to an old story, with new eyes.
A battlefield which evokes the eternal fight between good and evil.
While returning to his country, a poor soldier walks with his violin. He finds himself with the Devil, who offers him to change the instrument for a magic book with which he can make a fortune.
Before this universe of degeneration and nightmare, Joan of Arc is still able to illuminate with her purity.
War. Deceit. Love.
A long and exhausting war of trenches where wanders a ghostly human landscape.
Conceived as an impossible accumulation of questions and answers, this staging materializes in the form of a black box: the great enigma, in fact, modern metaphor of the human mind.
New doors, new rituals.
Return the legend and the realism of this opera to the public through a few emotions that have been transformed since the time of Wagner, preserving the romantic feeling of the absolute as the composer saw in the sea.
The stage is transformed in a laboratory where a group of researchers works on building a computer, a metaphor of the human brain and the complexity of thought.
A free version of Franz Kafka’s classic that proposes an exploration of the keys that define the differentiation of the individual through isolation and dehumanization. The paradox is that all we are left with is escape, an escape into ourselves that distances us more and more from the rest of
“Window of the City” is a show especially created for the Shanghai Universal Exposition. Based on the theme ” Better City, Better Life “, we have created a trip across the time and the space in which we discover that the key to improve the cities is the interaction between
Friendship, alchemy and the chance will modify the course of the desires of the antagonists turning them into protagonists. The idea of the love into his purer form and the obliged coat of the moon that lovers use, forces us to think about the contemporaneousness of the romantic ideology.
There is an abyss opened in front of us, mere finite human beings, when we admit that there exists an elastic and elliptical time which defies the notion we have of the temporality of the world that surrounds us.
The first Verdi stage direction of Àlex Ollé is set in the near future. Inspired by George Orwell’s 1984, one can imagine the worst possible landscapes. The current economic crisis has caused the collapse of society we know it today. Power has closed in itself, in a form of a
This is a contemporary stage direction, away from the concept of the superiority of the white man, that wants to recover the initial essence of the opera, plunging into the naivety of the young protagonist in love.