Facebook pixel
 

Eurovisão da Canção Filosófica

byMassimo Furlan e Claire de Ribaupierre (Suíça)
25 - 27 sep 2020
fri - sun > 7 PM
Sala Garrett
concept and artistic direction Massimo Furlan and Claire de Ribaupierre
concept, stage direction and scenography Massimo Furlan
concept and dramaturgy Claire de Ribaupierre
with Massimo Furlan, Catarina Furtado and the participation of a local jury
song lyrics Ande Somby (Norway), Jean Paul Van Bendegem (Belgium, Flandres), José Bragança de Miranda (Portugal), Kristupas Sabolius (Lithuania), Leon Engler (Germany), Michela Marzano (Italy), Mladen Dolar (Slovenia), Mondher Kilani (Switzerland), Philippe Artières (France), Santiago Alba Rico (Spain), Vinciane Despret (Belgium, Valónia)
musical composition Monika Ballwein (direction), Arno Cuendet, Bart Plugers, Davide De Vita, Dylan Monnard, Gwénolé Buord, Karin Sever, Lynn Maring, Maïc Anthoine
musical direction Mimmo Pisino, Steve Grant
coordination and musical supervision HEMU – University of Music Lausanne Laurence Desarzens, Thomas Dobler
movement Anne Delahaye 
light and scenography Antoine Friderici
costumes Severine Besson
video Jérôme Vernez
makeup and hair Julie Monot
technique and scenario construction Théâtre Vidy-Lausanne
assistant Nina Negri
students and teachers of HEMU – University of Music Lausanne Davide De Vita, Dylan Monnard (voice, alternating), Dominique Hunziker, Lynn Maring (voice, alternating), Mathieu Nuzzo, François Cuennet (teclados, em alternância), Arno Cuendet, Martin Burger (guitar, alternating), Jocelin Lipp, Mimmo Pisino (bass, alternating) Hugo Dordor, Steve Grant (percussion, alternating)
production Numero23Prod. Théâtre Vidy-Lausanne in collaboration with the jazz and pop music department of HEMU – University of Music Lausanne
coproduction MC93, Maison de la Culture de Seine-Saint-Denis, Bobigny – Emilia Romagna Teatro Fondazione, Modène – Festival de Otoño, Madrid – NTGent, Gand – Lithuanian National Drama Theatre, Vilnius – Rosendal Teater, Trondheim – Théâtre de Liège, Mladinsko Theatre, Comédie de Genève – Équilibre-Nuithonie, Fribourg – Les 2 Scènes, Scène nationale de Besançon, Teatro Nacional D. Maria II, Teatro Municipal do Porto, Theater der Welt 2020, Düsseldorf
with the support of Ville de Lausanne – État de Vaud – Pro Helvetia, Fondation Suisse pour la Culture – Loterie Romande – Fondation Leenaards – Pro Scientia et Arte – Fondation du Jubilé de la Mobilière
production supported by LaB E23, the Interreg France-Switzerland 2014-2020 Program with the financing of FEDR
with the support of the production, technical, communication and administration teams of Théâtre Vidy-Lausanne

Performance premiered on September 5, 2019 at the Théâtre Vidy-Lausanne.
A Trojan horse at the heart of entertainment

Eurovisão da Canção Filósofica originates in the 1973 show, which was created at the 2010 Avignon Festival as a reenactment of the Eurovision Song Contest in 1973. Why are Massimo Furlan and Claire de Raubepierre returning to this event now?  It’s because it helps us understand not only pop music but also questions about identity. 

It’s about the identity of the diverse countries represented as well as that of Europe as a community, one that is increasingly at stake.

Eleven thinkers (philosophers, historians, anthropologists, etc.) from eleven European countries were asked to write songs that reflected on the relationship of humanity with philosophy’s grand themes. All these songs were sung in the language of the person who wrote them. A local jury made up of major figures in diverse areas of society then judged them.

It is hoped that the Eurovisão da Canção Filosófica will allow pop music to form a relationship with philosophical thought in response to the growing contempt that is felt for populist speeches about intellectuals and the disappearance of thought in the public arena to the detriment of entertainment. The aim is to use a Trojan Horse, or rather, to introduce philosophical thought and reflection into the very heart of entertainment.

Performed in Portuguese and other languages with Portuguese surtitles.
Close Cookie Policy

Teatro Nacional D.Maria II uses cookies to enhance your digital experience. By continuing browsing you are authorizing its use.
Please refer to our Privacy Policy to learn more about cookies and the processing of your personal information.

Accept