A Land full of Heroes is a play based on the experiences of the Romanian writer Carmen-Francesca Banciu. In 1990, she arrived in Berlin, leaving Bucharest behind after the revolution. Her life’s journey is marked by rebellion: against the rigidity of the education received, against the ideological control of the party, against the limitations of artistic freedom. The experience of Carmen-Francesca Banciu traverses the collapse of the socialist regimes of Eastern Europe, and is characterised by the constant search for a new world, a new Europe. Was the Berlin of the late 1980s and early 1990s the mirage of a new European vision? How do great historical processes modify the lives of us all?  

 

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Dramaturgy, playwrighting and creation:

Carmen-Francesca Banciu, Carles Fernández Giua, Eugenio Szwarcer

Cast: Carmen Francesca Banciu, Meda G. Banciu

Director: Carles Fernández Giua

Set & Video Design: Eugenio Szwarcer

Costume Design: La Conquesta del Pol Sud

Sound Design: Santiago Blaum 

Lighting Design: Luis Martí Choreographer: Tamara Saphir

Language Advisor/Translator: David Magnus

Photography: La Conquesta del Pol Sud

Prodution in Berlin & Coordination Open Sessions: Lucila Guichon

 

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ABOUT THE THEATRE GROUP
"La Conquesta del Pol Sud" is a theatre company founded in 2010 by Carles Fernández Giua and Eugenio Szwarcer. We work with real life testimonies on stage. Our ambition is to bring theatre and journalistic research together. Furthermore we want to offer the viewer an experience without intermediaries. We are interested in exploring how poetry emerges from reality.   

 

COPRODUCTION

The play is produced in a collaboration with the University of Birmingham, with the support of the Arts and Humanities Research Council (AHRC): Le Théâtre La Cité / Biennale des Ecritures du Réel, Le Théâtre Jean Vilar Le Théâtre de l’Ancre, Le Forum Jacques Prévert , Le Théâtre des Doms and La Conquesta del Pol Sud.  

 

PUBLIC REHEARSAL

La Conquesta del Pol Sud present an open rehearsal of A Land full of Heroes followed by a dialogue with the dramaturg Aljoscha Begrich (Gorki, HAU, Rimini Protokoll among others) about the use of real life testimonies in Art.  How can the theatre guide us towards a better understanding of the world? How can we offer the viewer, a part of society, the opportunity to draw conclusions by directly accessing the sources?