Krapp’s Last Tape was born out of our fascination with Beckett’s architecture of silence. Embedding life in sound, surrounding oneself with it, has become for us the basic compositional trope in constructing the performance. In our work it is presupposed that sound is the capsule of memory, and hence, a time capsule. Krapp’s Last Tape enables us to challenge and highlight the belief that theatre itself is a time capsule as well. In its centre there will always be silence or its stage makeshift substitute – a pause.
Preparing the mise-en-scène of the Krapp’s Last Tape we depart from the situation where a young actor records his own voice in order to use the recording in the future, when he is ready to take on Beckett’s character. The best way to test this readiness is to try and evoke Krapp today – and so for thirty years.
- Performer ― Alessandro Curti
- Direction and staging ― Jarosław Fret
- Text ― Samuel Beckett’s Krapp Last Tape, translated into Italian by Carlo Fruttero
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