Delusio Theatre

Teatro Delusio plays with the countless facets of the theatrical world: on stage and behind the scenes, between illusions and disillusions, a magical space full of touching humanity is created. While the stage becomes backstage, and the backstage is staged, while on the barely recognisable stage different theatrical genres are performed, from the opulent world of opera to savage swordfights, from lucidly cold intrigues to passionate love scenes, stage technicians Bob, Bernd and Ivan get by behind the scenes. Three indefatigable helpers, separated from the glittering world of the stage only by a measly curtain and yet light years away from it, struggle to realise their dreams: Bernd, sensitive and cagey, seeks happiness in literature but suddenly finds it personified in the late dancer; Bob's desire for recognition will lead him to triumph and destruction, while Ivan, the backstage boss who does not want to lose control over the theatre, will end up as the only one who can make a difference; control over the theatre, will end up losing everything else. Their lives in the shadow of the limelight are intertwined in the strangest of ways with the glittering world of appearance. And suddenly they themselves find themselves the protagonists of the stage that basically equals their world.
Theatre Delusio è theatre within theatre. The disquieting vividness of the masks, the lightning-fast transformations and a typically Flöz poetry draw the audience into a world of its own, a world full of mysterious comedy. With the help of exquisite costumes and well-conceived sound and light, the three actors enact 29 characters and bring full theatre to life.

Familie Flöz è the leading group of contemporary European figure theatre. An international figure theatre company that combines the use of masks with dance, clowning, acrobatics and magic. They are adored by audiences of all ages and have won over critics around the world. They are one of the most resounding international revelations of the last ten years, succeeding in making surprising theatre that confronts the spectator with the big and small moments of life thanks to a physical language and highly original masks, linking themselves to the best traditions of clowning and mime. After Hotel Paradiso, they return to the Donizetti Theatre with Teatro Delusio, offering spectators a moment of true poetry and powerful comedy.

Familie Flöz

HISTORY

Flöz has its roots in the Folkwang-Hochschule in Essen, the only state-run training institute for theatre of body expression in Germany. In 1994, the first performance of the play ÜBER TAGE took place in the Folkwang-Hochschule's Aula Magna, followed in 1995 by the shortened version FLÖZ & SÖHNE. In 1996, at the disused “Hanover” mine in Bochum, the premiere of the more extensive FAMILIE FLÖZ KOMMT ÜBER TAGE took place, a homage to the working culture and mining industry of the Ruhr region. The work was hailed by press and public as a great success and inspired the group's name in 2003. Flöz è the name of a geological layer containing valuable raw materials.

In 1998 the group produced its second show, RISTORANTE IMMORTALE, staged in the Maschinenhaus in Essen with a revamped ensemble. RISTORANTE IMMORTALE began its tour in Spain with three weeks of performances and became a guest at the Festival de Otoño in Madrid; in 1999 it was staged in Berlin for the first time. On the occasion of its debut at the Edinburgh Fringe Festival in 2001, the group gave itself the name Flöz Production, later transformed into the current Familie Flöz. In 2000 and 2001, the productions TWO% – HAPPY HOUR and TWO% – HOMO OECONOMICUS were born in Essen and Dortmund.

The most successful production of TEATRO DELUSIO, first staged in 2004 at the Berlin Arena, was again a great international success. In 2006, two new productions were born: INFINITA, whose premiere takes place at the Akademie der K’nste in Berlin, and HOTEL PARADISO, which debuts at the Admiralspalast in Berlin. The current version of HOTEL PARADISO was staged for the first time in the Theaterhaus Stuttgart in 2008 with a new company line-up.

In the setting of “Duisburg European Capital of Culture”, the first version of GARAGE D’OR was staged in 2010 at the Theater Duisburg, whose Berlin premiere took place in 2011 at the Volksbühne. The elaboration of the second version of the pi’ce, which premiered in 2012 at the Theaterhaus Stuttgart, was recorded for the documentary Behind the Mask – The Theatre of the Familie Flöz (original title: Hinter der Maske – Das Theater der Familie Flöz) made by arte TV and WDR. The premiere of the film took place in Leipzig, during the euro-scene festival.

In 2013, to enthusiastic response from press and audience and the Off Critic Prize, Festival d’Avignon, Flöz concludes its first participation in the Avignon Festival. November 2014 saw the release of the new production HAYDI!, which won the 2015 Monica Bleibtreu Award as “Best Comedy”. At the 2015 Edinburgh Festival Fringe HOTEL PARADISO performed for three weeks in front of sold-out theatres.

Familie Flöz è has to date toured its plays in 34 different countries.

APPROACH TO THE THEATRE

Familie Flöz makes theatre using means that come “before” of spoken language. Every conflict manifests itself first of all in the body. Bodily conflict is the origin of every dramatic situation. All drama originates from a creative collective process, in which all performers also act as authors of figures and situations. In the course of several improvisations, the group identifies a theme, gathers dramatic material and discusses it at length, before bringing the masks into play. Similar to a text, a mask carries not only a form, but also a content. The process of developing a mask, from the experimentation on stage, to the actor/mask symbiosis è is decisive for the result.

The fundamental paradox of the mask, that is, the fact of concealing an animated face behind a static form and with it creating living figures, constitutes a real challenge for the actor to take up. And not only for him. The mask comes to life first and foremost in the imagination of the spectator, who thus becomes, to a certain extent, also its creator.
Also receptive to the reactions of the spectators, with a critical eye always turned to his own work, all Flöz productions are often modified in the course of time, thus developing their fullness and intensity.