Aerowaves 2023 selection
choreography and performance Leïla Ka
lights Laurent Fallot

with the support of CCN De Nantes, Chorège cdcn, Drac Pays De La Loire, Espace 1789 scène Conventionnée, L’étoile Du Nord scène Conventionnée, Le Gymnase CDCN, Le 104 – Paris, Les Hivernales CDCN, Les Quinconces - L’espal scène Nationale, Le Théâtre scène Nationale, Musique et Danse en Loire Atlantique, Ramdam - un centre d’art, Théâtre se St-Lyphard, Théâtre de Vanves, Scène Conventionnée, Théâtre Du Cormier, Tremplin réseaux Grand Oues
with the support of Fondazione Nuovi Mecenati - Franco-Italian foundation that support contemporary creation

It is a leap into the void without a safety net, a completely insolent act, a pulsing rebellion. It is an unquenchable and indomitable desire, for freedom. Leïla Ka appears, barefoot and dressed in a simple shirt, loose and long, resembling a nightdress or a straitjacket. But there is the one who receives them and tries to dodge them and the one who rebels. The one who seems vulnerable and the one who is unstoppable and insolent, whose body, like a caged lion, openly tries to free itself from an absurd and grotesque discipline.

National premiere 

Oleh Shpudeiko is a Ukrainian composer and music artist, also known as Heinali, author of works in which he reimagines traditional music through modular synthesisers. Author of music for films, games and performances, he has also contributed to the creation of a ballet, The Wall, and presented sound installations in different Ukrainian national museums. His most recent album, Madrigals, continues his exploration of the encounter between synthesisers and traditional music, and has received numerous awards, as well as a mention as album of the month in The Guardian. In Organa, Heinali draws inspiration from the polyphonies of the early middle ages, always reshaped through the use of staged synthesisers, recovering the music of composers little known in Western Europe, and sharing a research that has led him to perform at numerous festivals and theatres throughout Europe.

texts by Antonio Tarantino
direction Licia Lanera
with Licia Lanera
lights Vincent Longuemare
sound design Tommaso Qzerty Danisi
costumes Angela Tomasicchio
assistant directors Ermelinda Nasuto, Ilaria Bisozzi
company technician Massimiliano Tane
Emilia Romagna Teatro ERT / Teatro Nazionale Production
Licia Lanera Comapany
Photo Manuela Giusto

In the Modena station, on a staircase that connects the platform to the underpass, a foreigner lies unconscious: the crowd tramples him with their big suitcases. In a bar in the old Bari, a foreigner waits tables, wears a T-shirt with the writing GUCCI, and a huge gold crucifix around his neck. Both things, the t-shirt and the necklace, are fake. A sudden storm breaks out in the center of Rome and after few seconds many foreigners are ready to sell you an umbrella. Bunches of roses, slippers, colored leathers, acrid smells, imploring eyes, dark beards, screams.
They are the foreigners of our cities, each one stuck in the role we have assigned them. Their species here is doomed to be foreign.
"LOVE ME is a show that talks about foreigners, window cleaners and the barbarian Medea, all blocked in stupid and ferocious clichés. So stupid that make us laugh, so ferocious that we feel ashamed.
LOVE ME is written in the eyes on a street corner. LOVE ME is a show that brings together two pieces by Antonio Tarantino: the unpublished La Scena and Medea.
The author describes the latter as few can do, without rhetoric, without taboos, with violence and bitter irony. The language that he puts into the mouths of his protagonists is a raw language full of aggression and marginality." - Licia Lanera