ORIANTHEATRE Dance Company

**The BEST DIRECTION Award at the 24th International Theatre Festival – Łomża, Poland, 2011**

**Prix de la MEILLEURE MISE EN SCÈNE au 24e Festival International de Łomża, Pologne, 2011**

Premier / Première : 2008 – Duration / Durée : 45 Min – Concept, Direction & Choreography / Conception, mise en scène & chorégraphe Mehdi Farajpour –  
Performer / Performeur : Mehdi Farajpour – Sound /Son : Masoud Mardan – 
Stage design & Costume / Scénographie & costume Mehdi Farajpour – Assistant: Stanislaw Bitka – Video / Vidéo : Euna Yun -
 Photo : Sangdon Yun – 
Graphic / Graphique :Katarzyna Zawistowska -
 Special thanks to / Merci à : Jee hyun lee, Soyoung lim, Euna yun, Sangdon yun, Juyoung eum, Kyoungsuk Baek – Produced by / Produit par ORIANTHEATRE Company – Supported by / Soutenue par : Hooyong performing Art’s center – Nottle theatre company – South Korea.

PARTNERS / PARTENARIATS

MDK Culture House of Opole, Poland – Ekostudio Theater of Opole, Poland – Arkadash Theater of Köln, Germany – International Theatre festival of Tczew, Poland – International Stockholm Fringe Theatre Festival STOFF – French institute in Sweden – 24th International Theatre Festival LOMZA, Poland – 15th International Contemporary Theatre Festival Zadarsnova, Croatia – International SOLO festival, Moscow, Russia.

 

CONCEPT

Written in 1958, one-act play “Krapp’s last tape” is considered to be Beckett’s most autobiographical piece. The play revolves around the old Krapp who is sitting by his tape-recorder and whose routine is to review his life as he listens to a recorded voice of his younger self. It’s his 69 birthday and on this occasion Krapp chooses to listen to the tape when he turned 39. 
Box… three, spool… five. “Perhaps my best years are gone. When there was a chance of happiness. But I wouldn’t want them back. Not with the fire in me now. No, I wouldn’t want them back.” Krapp motionless staring before him. The tape runs on in silence.

 Several years had passed until director Mehdi Farajpour found a proper way to expose his vision of Krapp. Beckett, as he notes, does not let you go on stage and do what you like. Sooner or later you end up caught in the atmosphere directed by Beckett. Mehdi Farajpour decides to challenge this subject. The path he started with was the text, the very foundation of Beckett’s thought, and the concept was to pass through words into movement, dance.