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 (Opole, Poland) – Arkadash Theater (Cologne, Germany), International Theatre festival of Tczew (Poland), International Stockholm Fringe Theatre Festival STOFF (Sweden), 24th International Theatre Festival Lomza (Poland), 15th International Contemporary Theatre Festival Zadarsnova (Croatia), International SOLO festival (Moscow, Russia).
Written in 1958, one-act play “Krapp’s Last Tape” is considered to be Beckett’s most autobiographical piece. The play revolves around Krapp who is sitting by his tape-recorder- his routine is to review his life as he listens to a recorded voice of his younger self. It’s his 69th birthday and on this occasion Krapp chooses to listen to the tape from 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 stares, motionless. The tape runs on in silence.
Several years had passed before 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.
– 15th International Contemporary Theatre Festival Zadarsnova