En–Knap, CSS Teatro stabile di innovazione del FVG & Mattia Cason

Le Etiopiche

60 min

#en–knap group's repertoire#co-productions

2022

Le Etiopiche is a call for a more united Europe, for a more Afroasiatic United Europe. As the first part of a trilogy on Alexander the Great, Le Etiopiche focuses on the beginning of Alexander’s adventures, on his landing in Asia and on his clash with Memnon of Rhodes, a Greek mercenary commander serving the Persian King of Kings. Through the narrative of this historical encounter, its reverberations in the mythological realm and above all its continuing geopolitical implications, this piece explores the Afroasiatic roots of the so called "European civilization", presenting contemporary migrations as a wonderful opportunity for Europe to better understand these very roots and thus realize its own project : that of building a new model of social cohesion, a model that goes beyond the ethno-national paradigm and finally recognizes the “other” as necessary for the comprehension of the “self”.  

The author received the PREMIO SCENARIO 2021, the main award presented annually by L’Associazione Scenario, for the performance.

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The piece uses simultaneously two different media – dance and video. Dance delivers the dramatic line depicting Alexander’s life, his adventures and his encounters, while the video intersperses the narration with modern refugees’ own stories, their difficulties, and their aspirations. In this way fiction and reality cross each other repeatedly in order to call into question the logical contraposition between leaving and returning, or even better between “Èxodus” and “Nòstos”: Is Alexander leaving Macedonia for the unknown or is he actually returning to where he feels he belongs? And more importantly: are modern refugees just escaping wars and persecution or are they also, as Alexander soldiers’ after their mutiny on the banks of the Hyphasis river, just coming back home?

Abd-Al-Rahmān Nur-Al-Din, or Jami for short, a 15th-century Persian mystic, Sufi poet and scholar whose works include the Alexandrian Book of Wisdom, is sitting in Izmir, gazing across the Aegean Sea from the Turkish coast. This is where the homeland of Alexander the Great, now called Europe, spreads. Jami wonders what drove the unstoppable invader to tirelessly drive his armies to the borders of the known world and beyond, subdue Egypt and Persia by brutal force, and start the first, Hellenistic globalisation. Although the primary will to power is more than obvious, a curiosity, a genuine interest in the Other is clearly outlined. When embarking on his bloody conquests of the East, Aristotle's disciple, who crushed the mighty Persepolis, took scholars with him – to open the doors to the mysterious symbolism of the worlds that he ruthlessly subjugated in the physical sense.

The ancient dialectic between raw power and subtle thought goes back to the very beginnings of our (hi)story. Not only to Zeus’ abduction of Europe, but even further back to the Phoenicians, and further east to the Indus and Hindukush, where the ancient Indian and the later Islamic civilisations meet. To this day, it shows and defines us in the intertwining games of competition and cooperation, freedom and brotherhood, individualism and solidarity. If we are all brothers (and sisters, as should be immodestly added), as emphatically declared in Schiller's Ode to Joy, which modern Europe chose for its anthem in the form of a prelude to Beethoven's 9th Symphony, then what do the victorious heroes do in this story? For where there are victories, there are also defeats, and invariably losers.

Did Alexander the Great sense the deep ties between the Orient and the Occident? As Ludwig Witgenstein lucidly gleaned them in the slender silhouette of the minaret well over two millennia later, when he moved with the Austro-Hungarian army from the Eastern Front through Hungary to Italy during World War I? It was probably easier for the latter; his Tractatus Logico-Philosophicus, in which he studied the relationship between reality and language, was devised at the end of an era that produced the romantic saying ex oriente lux. Logic is a reflection of the world, outside logic all is an accident – but there are inexpressible things that show themselves as mystical. Reason and mysticism. Physics and metaphysics. Body and spirit. Dancing body.

But history is not a straight line, and humanity is clearly a poor learner despite all the libraries of wisdom available. 2300 years after Alexander and almost exactly a century after Wittgenstein's realisation we no longer see the light from the East in the reflection of the minaret. We have covered it, buried it under thick layers of egoistic exploits, narcissistic mistakes, patronising arrogance and blind humiliations. Ever since we white people “discovered” the “New World” – in the same year, 1492, when Jami concluded his extremely fruitful life, and Catholic Spain expelled the last Muslims from the Iberian Peninsula with the Reconquista, driving the last nail into the coffin of almost eight centuries of the flourishing Al Andalus civilisation, which was unparalleled in the territories of the European continent at the time – we have finally established ourselves in practice as the “crown of creation”. The creation that we, including all its creatures, arbitrarily use and rampantly abuse.

Today, on this same Turkish coast, we are maintaining the bulwarks of the fortress of Europe by paying billions of bribes to the local absolutist in power. We are also expanding razor wires and walls in other parts of its borders – just over three decades after the “historic” fall of the Berlin Wall. Human beings who are drowning en masse in its defensive trenches – even quite close to us, in the Mediterranean and in our border rivers – and freezing in our forests are simply not recognised as humans. To be able to sleep in our fortified and enclosed bubble, we have made them radically different, symbolically dehumanised them: centuries after the violent Christianisation, we still perceive them as savages without a soul, almost as inanimate things.

Alexander could not understand how the Greek mercenary Memnon of Rhodes, in the service of the Persian king, could defy his campaign to the East and thus betray his “Greekness.” Because Alexander could only sense the links between the Orient and the Occident. In the 21st century, however, we have all the information we need to know more and better understand the vast Eastern influences on the emergence and development of Europe. However, we manifestly refuse to do it, desperately closing our eyes to the known historical facts.

We do not have to fully believe Martin Bernal’s story of the Afro-Asian roots of classical civilisation as presented in his controversial book Black Athena (1987) to understand how the idea of Europe as a pure Christian civilisation is just fiction. No civilisation exists on its own, apart from others, civilisations always touch, communicate (with quite frequent conflicts), and above all, enrich one another – and only thus ensure their vitality and long-term survival. The idea of Europe as a political community is, however, originally largely constituted in a per negationem way, i.e. by determining who and what we are not, with Muslims used as a primary counterpole. At the same time, however, today's European culture would not exist without the so-called Islamic Golden Age between the 8th and 13th centuries, which in many ways laid the foundations for the European Renaissance and the modern scientific revolution.

So who are we Europeans and what is Europe? When modern populists fervently call for the defence of the European identity and “our way of life”, they are referring exclusively to the Christian culture of the white man. But all those who perceive Europe differently, as a unique amalgam of a very long rational and secular tradition, Christianity as well as Islamic and many other previous sources, can also respond to this call. Our way of life is undoubtedly worth resolutely defending – including against Western traditionalists, when their unequivocally conservative attitude towards the world makes them uncannily similar to Islamists who, in the name of one and only true way of life, fundamentally oppose Western pluralism, perhaps the most defining element of modern European and Western culture and identity.

Le Etiopiche tell us about this ancient and still fierce struggle for the idea of Europe – with good reasons in English and German, Yiddish and Arabic, classical and modern Greek, Persian andAmharic . In our time of the decline of the American empire of illusory freedom and fictitious human rights. At the moment when the 20th anniversary of Guantanamo relentlessly confirms the timeless Latin proverb about Jupiter and bulls. In the era of the rise of the darkest ideologies of the last century that we witness during the violent crisis of representative democracy and the painfully obvious (not only organisational, but probably also ideological) impotence of the left before the tsunami of vulgar right-wing populism. They tell and, shamelessly looking directly into our eyes, they also ask: which side have we chosen in this conflict that, in addition to the fight against climate change, probably most fatally characterises our time and determines the future of the world. You – are you standing on the barricades of the exclusive fortress of Europe or defending the colours of Europe as an emancipatory transnational and universal idea of free and equal people and peoples?

award

The sound of unfamiliar words confronts us with the unknown, with that which is other than ourselves, awakening curiosity and interest. The stage is inhabited by multiple expressive languages: theatre, which moves through figures from different historical periods in search of the foundations upon which Europe of the past—the Europe of nation-states—was built; video, used as a window onto the world, capable of projecting onto the screen a multifaceted geography composed of landscapes, faces, and actions; and finally dance, which becomes a common and shared scenic element, capable of communicating beyond linguistic barriers. Thus emerges the idea of a future Europe, rooted in Afro-Asian origins, open to a new form of sociality—more human and more ethical.

Jury statement, Premio Scenario 2021 Award

bio

Mattia Cason is (since 2025) the artistic director and (since 2021) a member of the contemporary dance ensemble En–Knap Group. His authorial projects are developed within the broader artistic platform E for Europe, which explores contemporary European realities through site-specific performance formats and interdisciplinary approaches. His dance works have been included in the official programme of GO! 2025 and in the programmes of the Vicino/Lontano festival, where they are performed in border areas and situated within specific spatial and socio-political contexts. In doing so, he pursues a central artistic vision: to move beyond the conventional theatre stage and function as a powerful discursive and public act. Cason works as a dancer, actor, choreographer and director; in 2021, he received the Premio Scenario for the concept of his original performance Le Etiopiche. With background in anthropology, he explores images of both the contemporary and past Europe, which he conveys through the pre-logical language of the body.

credits

Concept, choreography and direction Mattia Cason

Performed and created by Mattia Cason, Katja Kolarič, Rada Kovačević, Tamás Tuza, Carolina Alessandra Valentini

Guest performer Alessandro Conte

Assistant direction Alessandro Conte

In-performance text and video Mattia Cason

Accompanying text Aleš Črnič, PhD

Light design Aleksander Plut

Actors in the video Sirak, Berhanu, Dawit (African refugees), Odysseas Manidakis (Bouzuki player), Nabi Aslam, Armin Hamdard, Arshaz Khan, Ayal Khan, Faisal Khan, Naveed Khan, Ramin Khan, Sulaiman Kharoti, Sharif (Alexander’s soldiers), Hamyoon Nabizada (Mama), Shashe Capra, Arsema Amare Hagos, Tarik Ranieri (Ethiopian resistance fighters), Alessandro Conte (Ibn Arabi), Paolo Cacioppo, Alessandro Conte, Luca Vallata (AlKhidr)

Video shooting Federico Boni, Mattia Cason, Andrej Lamut, Alberto De Nart, Francesco Sossai

Author and narrator of the song Muhammad Abd AlMunem

Animation Alessandro Conte, Roberto Ranon

Music montage Lav Kovač

Costumes Katarina Markov (Atelje d.o.o.), Claudia Cavagnis (La Cruna dell’Ago), Paola D’Incà (Fuori dai Piedi), Andrea Ferletic

Props Diego Cason, Andrea Ferletic, Katarina Markov, Antonio Trinko, Vladimir Vodeb, Loris Zanetti

Translations Yonatan Esterkin (Yiddish); Sorour Semsari Parapari, Sara Shmuel (Persian); Gianfrancesco Lusini (Amharic); Giacomo Klein (Modern Greek); Francesca Canzian (Ancient Greek); Mert Aksu (Turkish); Muhammad Abd Almunem (Arabic)              

Slovene subtitles (translation) Polona Glavan       

Photography Andrej Lamut       

Special thanks to Diego Cason, Rosaria Ranon, Alice Cason, Arkan Mama Sheikh, Giacomo Piazza, Tomaž Grom, Špela Trošt

 

Production Zavod En–Knap, CSS Teatro stabile di innovazione del FVG

 

En–Knap Productions

Founder and artistic director Iztok Kovač

Managing director Marjeta Lavrič

Rehearsal director of En–Knap Group Ana Štefanec Knez

Executive producer Karmen Keržar

Head of public relations and editor Nina Smerkol

Project and marketing coordinator Goran Pakozdi

Designer Neja Engelsberger

Programme coordinator and organiser Katja Gabrijelčič

Financial associate and business manager Zala Česnik

Technical coordinator Jaka Šimenc

Technical team Leon Curk, Omar Ismail, Gal Škrjanec Skaberne, Špela Škulj

The video shooting at the Trieste roman theatre was made by permission of the Italian Ministry of Culture - Superintendence of Archeology, Fine Arts and Landscape of Friuli Venezia Giulia

The programme of En–Knap Productions, administrator of Španski Borci, is financially supported by: City of Ljubljana – Department of Culture, which also supports Španski Borci activities, and Ministry of Culture of the Republic of Slovenia

CSS Teatro stabile di innovazione del FVG is financially supported by: Ministry of Culture of Italy, Regione Autonoma Friuli Venezia Giulia, Comune di Udine, Fondazione Friuli

Additionally supported by Dialoghi Performing Arts Residences at Villa Manin (Udine)

CSS Teatro stabile di innovazione del FVG