Wed 4.7.2018 18.18 - Opening

Theatre lobby

Pieces from Reigo Kuivjõgi’s art collection

I have already organised five exhibitions on the subject of expatriate art but a while ago I also started acquiring some pieces of modern art for my collection. Mainly slightly wacky, surreal and abstract works. Because I like them. Although one might not understand every piece at first glance and some may remain obscure even when you look at them many times, each piece at this exhibition has influenced me enough so that I wanted to buy them. This exhibition at Rakvere Theatre is one of the first times I’ve brought all these works to the public and it’s hard to describe how excited and enthusiastic I have been in preparing this.

The exhibition’s seemingly confusing title I Don’t Know What (in French, Je ne sais quoi) is inspired by an approach by French art theorists. According to them, one doesn’t have to search for a broader meaning in each work of art, because there might not be any. And there doesn’t have to be. One can enjoy art even when there is no meaning in it.

Artists: Leonhard Lapin, Jüri Arrak, Enn Põldroos, Raul Meel, Andres Tolts, Mall Nukke, Jaan Toomik, Marko Mäetamm, Ilmar Kruusamäe, Albert Gulk, Kaido Ole, Maarit Murka, Peeter Allik, KIWA, Andres Sütevaka, Toomas Kuusing, Andrus Joonas, Heikki Leis, Alar Tuul, Robin Nõgisto, Alo Valge, Mihkel Maripuu, Maria Sidljarevitś, Tarrvi Laamann, Mirjam Hinn.



Wed July 4th at 17.00 FOR FREE


Opening show of the festival with circus artists and local or not so local noteworthy people chosen by the director Kaja Kann. We celebrate the jubilee of Baltoscandal together with town´s people with a spirited performance both on land and in the air. 20 minutes of joy, fun and happiness.

Director: Kaja Kann

Music: Renzo van Steenbergen

Stunts and Circus tricks: Margus Terasmees

Team: Alissa Šnaider, Kaur Kivilo

Circus artists: Lars Schmidt, Kädi Metsoja, Edgar Vunsh, Kristin Made, Anni Veskimäe

Performers: Helle-Mall Niinemets, Alar Teras, Kristina Paškevicius, Andres Pulver, Alina Klimova, Tiit Alte, Ahti Bachblum, Alar Peek, Riho Hütt, Teet Suur, Krõõt Nõmmela-Mehide, Tiiu Alavere, Mirjam Lukme, Johanna Terasmees, Epp Trilla, Helery Kuld, Matthias Kann, Madis Kolk, Kiwa, Katariina Braun, Heidi Kann, Taavo Tiko




Thu July 5th at 22.00  BUY TICKET

Sat July 7th at 16.00   BUY TICKET



In 1956, there was a popular uprising against the USSR in Hungary. The battle was fought primarily from the Corvin Cinema in Budapest, and the uprising lead to one of the largest refugee crises of the twentieth century. In a live commentary screening of a 1956 comedy about football, scheduled to premiere at the Corvin Cinema the week of the uprising, Deborah Pearson unlocks a surprisingly personal story.

A documentary, performed live, the performance runs the length of and is timed alongside the film, using interviews with the exiled screenwriter and people involved with the film to playfully reflect on immigration, suppression, and our personal links with history. This is a show for lovers of cinema, and for anyone who has stared at pictures of their ancestors a little too long. 


DEBORAH PEARSON is a UK-based and Canadian born artist; writer, performer, and curator with a PhD in narrative in contemporary performance. She is also a member of the collective Forest Fringe which organized the festival of the same name. The diversity of her positions and roles in theatre, and at the same time her commitment to constantly question her position, as well as position of other artists and art in general, gives her an extremely diverse spectrum of approaches to theatre.


Author: Deborah Pearson
Dramaturgy: Daniel Kitson
Artistic advisors: Tania El Khoury, Laura Danneqin
The project was developed with the assistance of: National Theatre Studio
Produced by: A House on Fire, Theatre Garonne, BIT Teatergarasjen


Duration: 90 min.

Language: in English.

Photos by Paul Blakemore


Ivo Dimchev (BUL) – CONCERT


Fri July 6th at 23.59   BUY TICKET



"The live concert of Ivo Dimchev will include some of the artist most iconic songs, taken out of the context of his shows as well as his music albums. His breathtaking voice brings out the dark poetry of his lyrics, making for a haunting and deeply moving musical experience.

Animalistic one moment, delicate the next, he meshes darkness and lightness with verbal and physical dexterity. It ́s fantastic." (The New York Times)


Ivo Dimchev's music on Youtube: 


Ivo Dimchev's music on Soundcloud:


IVO DIMCHEV is a choreographer and performer from Bulgaria, known internationally for his provocative and often controversial works of performance art. His work is an extreme and colorful mixture of performance art, dance, theatre, music, drawings, and photography. Dimchev is an author of more than 30 performances. He has received numerous international awards for dance and theatre and has presented his work across Europe, South America, and North America. Baltoscandal presented Ivo Dimchev`s ”Lili Handel” in 2012.


Duration: 60 min.

Language: in English


ENSEMBLE U: REIN ZOBEL / SCOTT L. MILLER  (EST / USA) – virtual reality concert RABA


Sat July 7th at 18.00, 18.30, 19.00, 20.00, 20.30   BUY TICKET



"Raba" (which means 'bog' in Estonian) is an immersive audio-visual concert piece inspired by the Marimetsa bog, located about an hour drive from Tallinn. "Raba" is experienced by the audience seated in chairs while wearing VR headsets. Audience members visually explore a 360º film while Ensemble U: performs the synchronized music. The ensemble and speakers (for the electronic sound in the music) physically surround the audience, unifying the audience experience with a live, immersive audio performance while each audience member has a unique, individual immersive visual experience.


Miller says, "I am really interested in producing collective audience experiences through live performance. What is exciting to me about Raba is that the audience is immersed in the sonic reality of the space, surrounded by the performers and electronic sound, while they are visually immersed in the unique beauty of the Marimetsa bog".


Scott Miller composed “Raba” in 2015 and the VR-version premiered in 2017.


SCOTT MILLER is a composer of electroacoustic, orchestral, chamber, choral and multimedia works described as "high adventure avant garde music of the best sort" (Classical-Modern Music Review) and "inspir[ing] real hope & optimism for the future of electroacoustic music. " ( Scott lives and works in USA.


ENSEMBLE U: is currently the most active and renowned contemporary music ensemble in Estonia. The ensemble has gained recognition for its ability to perform even the most demanding works without conductor, openness for bold experimental ideas and sensitivity for sound. Next to Estonia U: has performed in important international festivals like Time of Music (Viitasaari, Finland), GAIDA (Vilnius, Lithuania), Sounds New (Canterbury, UK), Nordic Music Days (Helsinki, Finland), Nuova Consonanza (Rome, Italy), Third Practice (Richmond, USA), Biennale di Musica Venezia (Italy), Virtuosi of XXI Century (Recife, Brasil), Dark Music Days (Iceland).

In the field of musical theatre U: has worked with one of the internationally most renowned conceptual dance choreographer and director in Estonia – Mart Kangro, on several occasions. Performances "Play" (2006), "Romeo & Juliet" (2008) and "Harmony" (2009) have stemmed from this collaboration. 


Performed by: Ensemble U (Helena Tuuling – clarinet, Levi-Danel Mägila – cello, Merje Roomere – violin, Taavi Kerikmäe – piano, Tarmo Johannes – flute, Vambola Krigul – 


VR version in collaboration with: Mark Gill (SCSU Visualization Lab), Rein Zobel (Maru VR Productions), Tammo Sumera (Kõlavärv)

Supported by: St. Cloud State University 2017 Research Faculty Improvement Grant, Cultural Endowment of Estonia 

Project management: Mairika Plakso

Thank you: Broadline, Samsung


The musical composition "Raba" was originally commissioned by the Spitting Image Collective, written by Miller following his first visit to Marimetsa as a Fulbright Scholar at the Estonian Academy of Music and Theatre in 2014.


Duration: 20 min.

Language is no problem.


Forced Entertainment (GBR) – REAL MAGIC


Fri July 6th at 20.30   BUY TICKET

Sat July 7th at 19.30  BUY TICKET



"Real Magic" creates a world of absurd disconnection, struggle and comical repetition. To the sound of looped applause and canned laughter, three performers take part in an impossible illusion – part mind-reading feat, part cabaret act, part nightmare game show – in which they are thrown back again and again to moments of hope and defeat. Caught in a world of second-chances and second-guesses, variations and changes, distortions and transformations, "Real Magic" takes the audience on a hallucinatory journey, creating a compelling virtuoso performance about big systems, small traps and yearning for change.


Since forming Forced Entertainment in 1984, the six core members of the group have sustained a unique artistic partnership for more than 30 years, confirming their position as trailblazers in contemporary theatre. The company’s substantial canon of work reflects an interest in the mechanics of performance, the role of the audience and the machinations of contemporary urban life. The work is distinctive and provocative, delighting in disrupting the conventions of theatre and the expectations of audiences. Forced Entertainment’s trademark collaborative process – devising work as a group through improvisation, experimentation and debate – has made them pioneers of British avant-garde theatre and earned them an unparalleled international reputation.
2016 the company was awarded with the prestigious International Ibsen Award.



Conceived and devised by the company.

Director: Tim Etchells

Devised with and performed by: Jerry Killick, Richard Lowdon, Claire Marshall

Created with input from: Robin Arthur, Cathy Naden

Lighting Design: Jim Harrison

Design: Richard Lowdon

Production Management: Jim Harrison

Sound Technicians: Greg Akenhurst, Doug Currie

Project Assistant: Anna Krauss

Music Electronics & Sound Editing: John Avery 

Loops: Tim Etchells 

"Grave", from Telemann Fantasia Number 1 in B-Flat Major, Aisha Orazbayeva

"Real Magic" is a Forced Entertainment production. 

Co-produced by: PACT Zollverein Essen, HAU Hebbel Am Ufer Berlin, Künsterlhaus Moustonturm Frankfurt, Tanzquartier Wien Vienna, Attenborough Centre for the Creative Arts, University of Sussex and the Spalding Gray Consortium – On the Boards Seattle, PS122 NYC, Walker Art Center Minneapolis and Warhol Museum Pittsburgh.

Forced Entertainment Creative Team:
Tim Etchells (Artistic Director), Robin Arthur, Richard Lowdon (Designer), Claire Marshall, Cathy Naden and Terry O'Connor.

Forced Entertainment Management Team: 

Eileen Evans (Executive Director), Hester Chillingworth (Creative Producer: Participation & Engagement), Jim Harrison (Production Manager), Natalie Simpson (Office Manager), Julia White (Marketing and Communications Manager).

Forced Entertainment is an Arts Council England National Portfolio Organisation.


Duration: 80 min. 

Language: in English.

Photos: Hugo Glendinning

Marie-Caroline Hominal, Markus Öhrn (SUI / SWE) – HOMINAL/ÖHRN


Wed July 4th at 23.00  BUY TICKET



In her new creation, Marie-Caroline Hominal, choreographer, dancer and performer, inverts the relationship between the choreographer and the interpreter. The person she has chosen to direct her is Markus Öhrn, a visionary figure within the European arts scene, whose shows vehemently denounce the control that Western patriarchy has over beings and bodies. As the author of the production, Hominal voluntarily places herself under the authority of the director, Öhrn. Indeed, the relationship where a man decides what will happen to a woman is one that is familiar to Markus Öhrn. It made a mark on the life of his grandmother, who died a few years ago. She lived in a village in the north of Sweden and was under the total control of the grandfather, a strict and uncompromising patriarchal figure. She was a good mother, a good wife and a good Christian, following social customs and her husband's orders. Not long before her death, Markus Öhrn asked her what she would do if she could live her life over again, and she replied, quite unexpectedly, that she would be more destructive and would follow her own wishes more often. Markus Öhrn has transformed Marie-Caroline Hominal into the Lazarus-like reincarnation of his grandmother, appearing on stage thanks to the masks of theatre and with a transgressive vitality. Here, theatre is the means by which order is renounced to liberate desire and vitality. 

The acting and scenography, as well as the music, are subjected to a brutal, almost nightmarish deformation, yet all the while making the structures and logic of domination explicit.


Concept: Marie-Caroline Hominal

Staging: Markus Öhrn

Technical direction, sound and graphism: Damiano Bagli

Masks: Tilda Lovell

With: Marie-Caroline Hominal, Markus Öhrn

Production: MadMoiselle MCH association, Genève; Théâtre Vidy-Lausanne

Coproduction: TU – Théâtre de l'Usine, Genève

With the support of: Loterie Romande – Fondation Nestlé pour l'Art

MadMoiselle MCH est subventionnée par la Ville de Genève et le Canton de Genève et soutenu par Pro Helvetia, Fondation suisse pour la culture

Performance at Baltoscandal supported by Pro Helvetia.

Thanks to: Institutet (SWE) – Motus (ITA) – Kampu Niemi – Lasse Niemi – Roby Carruba – Janyves Coic – Bruno Dani – Mathieu Dorsaz – Rosi Morilla

Duration: 60 min.

Language: little French and English

PS: The performance contains explicit scenes that might seem offensive and not suitable for minors.





Fri July 6th at 16.00   BUY TICKET

Sat July 7th at 17.45  BUY TICKET



"Caprices 3,5" is a performative installation dominated by the frontal collision of black and white magic. Light freezes into sculpture, theatre curtain cracks. Perspective matters. All the stage-technical arsenal and the components of the play are brought forward, excessive intimacy is left behind.

"Caprices 3,5" transforms from the collective experience of the black box to the individuality of the white cube, leaving the spectator to surrender the space. 

Previous chapters of "Caprices" have been presented in performing arts venues as well as in a gallery environment. Working with the characteristics of the space have slowly faded us away from the process.


HENRI HÜTT is an artist-performer, who is primarily a dancer. Since the beginning of this decade, he has created many technological performative acts, staged exhibitions, sound performances and other unprecedented formats. Henri Hütt is also part of the MIMproject team and coordinates Dance And Media Art network DAMA in Scandinavia and the Baltics.


MIHKEL ILUS is a visual artist, whose main focus is painting and its extended field. Ilus often works with large-scale installations where painting plays the central role. In the practice of Ilus, contemporary exhibition culture and performance practices are inextricably intertwining. Recently Ilus has been concentrating on the distinction of objecthood as such in conditions of the white cube and black box situations. 


Idea, execution, performance: Henri Hütt, Mihkel Ilus

Technical consultation: Henry Kasch

Co-producers: Kanuti Gildi SAAL, Kiasma Theatre

Supported by Cultural Endowment of Estonia

Special thanks to: Emer Värk, Mihkel Tomberg, Revo Koplus, Heikki Paasonen, Joonas Pehrsson


Duration: 50 min.

Language is no problem.


Jérôme Bel (FRA) – GALA


Wed July 4th at 19.00  BUY TICKET

Thu July 5th at 20.00   BUY TICKET



"GALA forces audience expectations to the fore and blurs the lines between failure and success in performance as it suggests that theater is community, both onstage and off. It's a tour de force, wildly entertaining and truly radical."
– Roslyn Sulcas, The New York Times, May 13th, 2015

"Take a different approach to dance. Open up theatre to those who are never represented there. Ask how art leads us to a common ground. A major artist of the contemporary scene, Jérôme Bel is returning with a proposal which came to the fore during a workshop with amateurs in Seine-Saint-Denis. The gala, an art form that is both festive and collective, brings together dance professionals and amateurs of diverse backgrounds. The different acts never call on us to pass judgement, but they reveal the way in which each person's cultural repertoire involves them in a singular relationship with that desire for something else, for joy, perfection, transfiguration and political divides which dance is. An inventory of this "unqualifiable dance" does not only show the multiplicity of its aesthetic models. It plays its role through a shared desire."
– Marie-José Malis, director of La Commune Centre dramatique national d'Aubervilliers


"Gala" offers a different approach to dance. In this collective art form, Jérôme Bel's project brings together local dance professionals and amateurs of diverse backgrounds. The different acts never call on us to pass judgement, but they reveal the way in which each person’s cultural repertoire involves them in a singular relationship with that desire for something else that dance is.
After "Disabled Theater", a piece performed by a troupe of mentally handicapped actors, and "Cour d'honneur", which put a group of spectators centre stage, "Gala" uses the same question as its starting point: how can we bring to the realms of onstage representation individuals and bodies that are all too often excluded from such a possibility? How can we make best use of all the various resources of this unique apparatus, the theatre – with its codes, venues, genres and professionals - in order to enlarge the perimeter of what can be shown in it? And how can we (re)shape it into a democratic means that lies within the grasp of all those drawn to dance, singing and the performing arts?
Driven on by the experience of workshops run with amateurs, Jérôme Bel sought to set down a flexible framework to travel with, and which could give rise to a wide variety of forms. He wanted it to be accessible to amateurs from all different horizons and to provide them with the opportunity to give their all and make the project their own. In doing so, he took that most 'commonplace' of theatrical experiences: the gala, a festive, group occasion, spanning end-of-year shows and amateur performances. He then subverted the genre in order to cover different styles and fragments of stories, which would build up an inventory of a dance 'with no particular qualities' and bring out all the possible relationships that are unique to the body and voice. What is it that makes us dance? How do we watch dance that might be fragile and precarious without indulging in notions of judgement, such as 'well done' or 'badly done'?
The result is a gala that is bitty, patched up, traversed by moments of reflection, like galleries of living portraits. With its 'Fail again. Fail better' emphasis, "Gala" goes from one theatre to the next, like 'a mirror taking a stroll by the side of a road' and brings home to us something about the making of those we are watching as well as the way we watch.



In his early pieces (name given by the author, Jérôme Bel, Shirtology…), Jérôme Bel applied structuralist operations to dance in order to single out the primary elements from  theatrical spectacle. The neutralization of  formal criteria and the distance he took from choreographic language led him to reduce his pieces to their operative minimum, the better to bring out a critical reading of the economy of the stage, and of the body on it.

His interest subsequently shifted from dance as a stage practice to the issue of the performer as a particular individual. The series of portraits of dancers (Véronique Doisneau, Cédric Andrieux…) broaches dance through the narrative of those who practice it, emphasizes words in a dance spectacle, and stresses the issue of the singularity of the stage. Here, formal and institutional criticism takes the form of a deconstruction through discourse, in a subversive gesture which radicalizes its relation to choreography.

Through his use of biography, Jérôme  Bel politicizes his questions, aware as he is of the crisis involving the subject in contemporary society and the forms its representation takes on stage. In embryonic form in The show must go on, he deals with questions about what the theatre can be in a political sense—questions which come to the fore from Disabled Theater on. In offering the stage to non-traditional performers (amateurs, people with physical and mental handicaps, children…), he shows a preference for the community of differences over the formatted group, and a desire to dance over choreography, and duly applies the methods of a process of emancipation through art.

He has been invited to contemporary art biennials and museums (Tate Modern, MoMA, Documenta 13, the Louvre…), where he has put on performances and shown films. Two of them, Véronique Doisneau and Shirtology, are in the collections of the Musée National d’Art Moderne-Centre Pompidou. Jérôme Bel  is regularly invited to give lectures at universities (Waseda, UCLA, Stanford…). In 2013, together with the choreographer Boris Charmatz, he co-authored Emails 2009-2010, which was published by Les Presses du Réel.

In 2005, Jérôme Bel received a Bessie Award for the performances of The show must go on given in New York. Three years later, with Pichet Klunchun, he won the Routes Princesse Margriet Award for Cultural Diversity (European Cultural Foundation) for the  performance  Pichet Klunchun and myself. Disabled Theater was chosen in 2013 for the Theatertreffen in Berlin and won the Swiss “present-day dance creation” prize.

Conception: Jérôme Bel
Assistants for the local restaging: Dina Ed Dik and Maxime Kurvers 
By and with: Raho Aadla, Grete Alavere, Eha Albert, Eva Calica Eclar, Jaak Jalakas, Marta Jamsja, Annalisa Kesküla, Kristo Kruusman, Evelyn Mägi, Liisa Mägi, Jane Paberit, Jaanika Petrova, Alan Proosa, Mehis Saaber, Kersti Selli, Rein Sikk, Maarja Tamleht, Mirjam Toomingas, Liivi Tuga, Eliis Uudeküll
Costumes: the dancers
"Gala" coordinator at Baltoscandal: Triinu Sikk
Production: R. B. Jérôme Bel (Paris)
Coproduction: Dance Umbrella London, TheaterWorks Singapore/72-13, KunstenFestivaldesArts Brussels, Tanzquartier Wien, Nanterre-Amandiers Centre Dramatique National, Festival d'Automne à Paris, Theater Chur and TAK Theater Liechtenstein – TanzPlan Ost, Fondazione La Biennale di Venezia, Théâtre de la Ville, HAU Berlin, BIT Teatergarasjen Bergen, La Commune Centre dramatique national d'Aubervilliers, Tanzhaus NRW Düsseldorf, House on Fire with the support of the European Union cultural program
With the support of: Centre National de la Danse (Pantin) and Ménagerie de Verre (Paris) in the framework of Studiolab for providing studio spaces
Thanks to: the partners and participants of the Dance and voice workshops, NL Architects and Les rendez-vous d'ailleurs
R. B. Jérôme Bel is supported by the Direction régionale des affaires culturelles d'Ile-de-France, French Ministry for Culture and Communication, by the Institut Français, French Ministry for Foreign Affairs, for its international tours and by ONDA – Office National de Diffusion Artistique – for its tours in France
R. B. Jérôme Bel:
Artistic advice and executive direction: Rebecca Lee
production manager: Sandro Grando
Technical advice: Gilles Gentner

Performances at Baltoscandal supported by French Institute in Estonia.


Duration: 90 min.

Language is no problem.


Photo by Herman Sorgeloos


Photo by Herman Sorgeloos


Photo by Josefina Tommasi


Photo by José Frade

ENCYCLOPÉDIE DE LA PAROLE / Joris Lacoste, Pierre-Yves Macé (FRA)  SUITE N°3 – EUROPE



Wed July 4th at 21.00 / translation into Estonian    BUY TICKET

Thu July 5th at 18.00 / translation into English       BUY TICKET



ENCYCLOPÉDIE DE LA PAROLE is an artistic project exploring the spoken word in all its forms. Since 2007, the group has been collecting all sorts of recordings of words and then indexing them on its website. “Suite N°3 – Europe" stages a collection of spoken documents that confront us with words we don't want to hear – violent, sad, disgusting, shocking, embarrassing words, collected recently in the 24 official languages of the EU, all over Europe. Two singers accompanied by a pianist reproduce these audio documents in order to develop a strategy for us to be able to listen to them.


The texts were collected across the European Union through a network of local correspondents and were chosen both for their melodic qualities and the ambivalence of their content. They are indeed spoken words that, for various reasons and to varying degrees, we are reluctant to listen to.


Condescending sermons, safety instructions, embarrassing claims, verbal abuse, monologues of solitude, police brutality, hate speeches, pro-conspiracy rambles, standardized job interviews, personal-development coaching, public humiliation, adolescent moaning… In our daily lives, we are overwhelmed by utterances, that embarrass us, disgust us, bother us, make us angry, depress us, shock us, embarrass us, annoy us, or make us feel sorry for their issuers. What do we do with them? What strategies do we adopt to keep them at a distance? Can music allow us to neutralize them, to laugh at them, to momentarily ward off their violence or to shift and deepen the way we consider them? Can art free ourselves from the influence and the venom of forked tongues?

“Suite N°3 – Europe" is co-production of Baltoscandal festival, several Estonian artists have contributed to the development of this project.



Conception: Encyclopédie de la parole 

Composition and direction: Joris Lacoste 

Composition and music: Pierre-Yves Macé 

Cast: Bianca Iannuzzi, Laurent Deleuil and Denis Chouillet (piano) 

Artistic collaboration: Elise Simonet 

Choreography: Lenio Kaklea 

Set & light design: Florian Leduc 

Sound: Stéphane Leclercq 

Technical management on tour: Florian Leduc or Nicolas Bats 

Costumes: Ling Zhu 

Chef de chant: Vincent Leterme 

Coaching vocal: Valérie Philippin 

Staging intern: Yvan Loiseau 

Translation – project management: Marie Trincaretto 

English text: Julie Etienne 

Collecting coordinators: Joris Lacoste, Valérie Louys, Marion Siéfert, Elise Simonet 

Invited archive collectors: Christa Antoniou (CY), Zsolt Boros (HU), Tamara Bracic Vidmar (SL), Rita Bukauskaite (LIT), Ida Daniel (BUL), Milena Ilieva (BUL), Pierre Daubigny (POL), Ania Szczepanska (POL), Glen Falzon (MT), Antoine Cassar (MT), Nicole Genovese (FIN), Kim Jeitz (LU), Genevieve Leyh (ENG), Lenka Luptakova (SK), Shane Mansfield (GLA), Barbara Matijevic (HR), Sabine Macher (DE), Nicolas Melard (AT), Olivier Van Nooten (NL), Daniel Naami (NL), Federico Paino (IT), Ruta Pakalne (LV), Alise Bokaldere (LV), Birgit Peeters (BE), Tomás Pereira Ginet-Jaquemet (ES), Sergiu Popescu (RO), David Roenner (SE), Brigitte Schima (AT), Soren Stecher-Rasmussen (DK), Maia Means (DK) and Sotiris Vasiliu (GR) 

Thanks to: Sarah Becher (DE), Nikola Bencova (CZ), Isabel Calvo (ES), David-Alexandre Gueniot (PT), Patricia Almeida (PT), Anneke Lacoste (NL), Nuno Lucas (PT), Marie Pullerits (EST), Raquel Rodrigues da Costa Gomes de Sousa (PT) 

Partners for collecting workshops: Teatro Municipal do Porto, Festival Baltoscandal (Rakvere) 

Language coaches: Kim Andringa, Zsolt Boros, Rita Bukauskaite, Pierre Daubigny, Astrid De Graef, Nicole Genovese, Hanna Hedman, Milena Ilieva, Lénio Kaklea, Nuno Lucas, Christa Antoniou, Barbara Matijevic, Nele Suisalu, Bara Prochaskova, Sergiu Popescu, Kristine Borodina, Sarka Vancurova, Gabrielle Sargent, Ania Szczepanska, Judyta Steffek and Alexander Nielsen 

Production and administration: Echelle 1:1 / Edwige Dousset assisted by Justine Noirot 

Project development, production and distribution: Ligne Directe / Judith Martin & Marie Tommasini 

Distribution & tour management: Garance Crouillere / +33 6 51 14 62 68 / 

Production: Echelle 1:1 (with the support from Ministère de la Culture et de la Communication / DRAC Ile- de-France) in partnership with Ligne Directe. 

Coproduction: Kunstenfestivaldesarts Brussels, Théâtre de la Ville Paris, Festival d'Automne à Paris, La Comédie de Reims/ Festival Reims Scènes dʹEurope, Sao Luiz Teatro / Festival Alkantara Lisbon, festival NEXT / Le phénix scène nationale de Valenciennes, Théâtre Garonne, scène européenne – Toulouse, Baltoscandal festival, Gothenburg Dance and Theatre Festival, L'apostrophe, scène nationale de Cergy-Pontoise et du Val d'Oise, Künstlerhaus Mousonturm. 

With the help of: the French Institute in Paris, Ville de Saint-Denis – Conservatoire de musique et de danse, Nanterre-Amandiers – Centre dramatique national and CND Centre national de la danse, residency.

Suite N°3 – Europe is co-produced with: the support of House On Fire and NXTSTP and European Union's Cultural Programme.

Performances at Baltoscandal supported by French Institute in Estonia.


Duration: 90 min.

Languages: English, French, Dutch, German, Portuguese, Hungarian, Spanish, Polish, Croatian, Danish, Maltese, Italian, Romanian, Czech, Slovak, Finnish, Bulgarian, Swedish, Greek, Estonian, Latvian, Lithuanian, Slovenian.


Mart Kangro, Juhan Ulfsak, Eero Epner (EST)  –  WORKSHOP


Thu July 5th at 16.00 / in Estonian   BUY TICKET

Fri July 6th at 17.00 / in Estonian     BUY TICKET

Sat July 7th at 17.45 / in English      BUY TICKET



How to hammer nails into wood. How to learn to speak. How to open a door. How to show empathy. How to correctly pull on a sock and get rid of all the suffering caused by GUILT. Learning is something that already begins from an embryo and continues for decades until the human molecules dissolve into non-existence. We are not born human; we learn to become so. We learn how to turn our obscure biological body of cells into a human being. Pouring the foundation. Cleaning the bathroom so there aren’t any unsightly stains. Brushing teeth at the right angle. Expressing love. Having the right breathing while giving birth and maintaining our dignity on our deathbed. Come. We know. 


MART KANGRO is a freelance choreographer, director and dancer. In his works, he focuses on the meaningfulness of the human body and movement in theatre as semiotic space-time, and on existential issues of stage situation. His productions, of which many have premiered in the Kanuti Gildi SAAL, have been performed at major festivals in more than 20 countries across Europe (Kunstenfestivaldesarts in Brussels, Steirischer Herbst in Graz, Foreign Affairs and Tanz im August in Berlin, Helsinki Festival in Helsinki, Fringe Festival in Dublin, La Bâtie in Geneva, Internationale Keuze in Rotterdam, Golden Mask in Moscow, Aerowaves in London, Lignes de Corps in Valenciennes, and more. In recent years, he has produced works where he himself is not cast (Theatre NO99 and Von Krahl Theatre, as well as in Moscow). Kangro has won many awards and other recognition for his work, both in and outside Estonia. 


JUHAN ULFSAK is an actor and director. Since the 1990s, his energetic performing style and artistic principles have done a great deal to define the look of Estonian avant-garde theatre. Working in Von Krahl Theatre as an actor and, in recent years, director, Ulfsak has proceeded from anarchism, punk, decadence, surrealism and conceptualism, but his productions have also recontextualized classic plays. In addition to Von Krahl Theatre, he has worked as actor and director in other Estonian theatres (e.g., Theatre NO99) and abroad (Münchner Kammerspiele). He has collaborated for years with Kristian Smeds. As director, he has staged texts and structures by Michel Houellebecq, Sarah Kane, William Golding, Lars von Trier, among others. Ulfsak is also a well-regarded film actor who has appeared in Estonian and Finnish films. He has won many awards and other recognition for his work, both in and outside Estonia. 


EERO EPNER has been a dramaturg in the Theatre NO99 since the theatre was founded in 2005. As dramaturg, he has been involved in around 60 productions, often writing their text or sections of text. He has worked with several dozen directors, including many times with Kangro and Ulfsak (plus collaborations with Tiit Ojasoo and Ene-Liis Semper, Lauri Lagle, Veiko Õunpuu, Sebastian Nübling, Sebastian Hartmann and many others). On stage, Epner has only appeared as an actor once (in a Mart Kangro production), which passed without greater acclaim.


Idea/execution/performance: Mart Kangro, Juhan Ulfsak, Eero Epner
Producer, consultant: Maria Arusoo
Sound design: Artjom Astrov
Light design: Oliver Kulpsoo
Photo: Veiko Tubin
Co-producer: Kanuti Gildi SAAL
Supported by Cultural Endowment of Estonia
Thank you: Jana Kadastik, Hannes Praks, Kairi Mändla, Reigo Tammjärv, AS MASS



Duration: 90 min.

Teatr Powszechny / Oliver Frljić  (POL) – KLATWA (The Curse)


Sat July 7th at 21.30   BUY TICKET


Oliver Frljić, a renowned director and playwright from Croatia, is a representative of European critical plays that bravely discuss complex social and political issues. On paper, "Klatwa" ("The Curse") is a 1899 play by Polish dramatist and renaissance man, Stanislaw Wyspiański. It has long been out of favour in Poland thanks to its controversial subject matter; a village girl having two children with her local Catholic priest. Oliver Frljić's production for Teatr Powszecheny goes a long way beyond simply re-staging the play. Instead, this "Klatwa" is a provocative, moving, and intelligent dissection of artistic freedom in a nationalist theocracy. Frljić's "The Curse" employs motives from Wyspiański's drama to create a multi-layered landscape of modern religiousness and non-religiousness. As part of the theatre, governed by its own hierarchy and employing various subordination and humiliation mechanisms, the creators wonder whether they are able to overcome fear of the authority, or even to dispose of the authority itself.

Powszechny Theater was the first theatre opened after WWII in Warsaw. For nearly seventy years it has been a place of artistic discussion about the modern world while simultaneously it has continued the legacy of the prominent people of Polish theatre.

Each season, Powszechny Theatre presents approximately 8 premieres. They strive to relate to the best traditions of their place through varied theatrical forms, with contemporary works and creative reimagining of classic plays, aiming to debate hot issues with their viewers. Instead of simple acceptance, this debate means weighing arguments, contesting and provoking, with emphasis on topics which have been pushed to the margin of the public debate. They work with known theatre artists to the critical theatre movement as well as young artists, who are given the opportunity to develop their own vision of the theatre with us. Increasingly often, they collaborate with important foreign directors, many of whom work in Poland for the first time. 


Director: Oliver Frljić
Dramaturgs: Agnieszka Jakimiak, Joanna Wichowska, Goran Injac
Lighting director: Jacqueline Sobiszewski
Costume designer: Sandra Dekanić
Scenography collaboration: Małgorzata Dzik
Director's assistants: Mateusz Atman, Jakub Skrzywanek
Cast: Karolina Adamczyk, Klara Bielawka, Maria Robaszkiewicz, Barbara Wysocka, Julia Wyszyńska, Jacek Beler, Arkadiusz Brykalski, Michał Czachor
Stage manager: Kuba Olszak

Duration: 80 min.

Language: in Polish with Estonian and English subtitles


For adults only. The play contains scenes which refer to sexual actions, violence, and religion, which, despite their satirical nature, can be regarded as controversial. All scenes presented during the play are only the reflection of an artistic vision. The play employs a loud music and stroboscopic effect (a light pulsating with high frequency). Any persons vulnerable to this type of lightning are requested to remain cautious at all times.


Teater NO99 / Juhan Ulfsak (EST)  –  NO36 THE DREAMERS


Fri July 6th at 22.15    BUY TICKET

Sat July 7th at 23.00   BUY TICKET



NO36 "The Dreamers" is a stage production about young people who simultaneously seek intense fellowship with the world and at the same time wish to withdraw from it completely. Like all contemporary people, they are aware that they should change what is around them – and still they are attracted to a hut in the mountains instead. Their only chance for relating to the world is sensitive, sadistic and cruel games with one another, erotic and gentle touches. Building a shelter out of sheets and gum, where one can hide from the world, and there with the help of leather gloves, kisses and a hot water bag to strive towards something that it would be possible to believe in, even if only for a split second. Their only weapon is a guitar, drums and a microphone, into which to sing words that only they themselves understand. A scream said outwards that is aimed at oneself. Inability to be sincere, inability to be ironic.


Juhan Ulfsak's stage production "The Dreamers" is partially based on Bernardo Bertolucci's film "The Dreamers" and Jean Cocteau's book "Les Enfants Terribles". As in Ulfsak's other stage productions, he ties together surreality and reality, decadence and the present day, poetry and sharp cuts. Jakob Juhkam has written the music and performs it on stage as a band together with the actors. "About 25 minutes of the best outsider metal that has ever been done in Estonia was produced. Nobody had ambitions to put together a proper band, to get somewhere with it, to win the approval of the local scene. There wasn’t time even to hold enough band rehearsals for this production and thanks to this, the live music pushed by Jacob in the NO36 production is immensely raw. It boldly flirts with styles and stylistics, seizes extremism, and treats often too stoic metal attitude much more freely. And since the performers on stage are actors, we also see acting in the performance, and this is many times richer in nuances, in both appearance and movement, compared to the stage show of a so-called proper black metal band. In short, some sort of hipsters came along, and they do fringe metal many times better than orthodox head bangers." (Trash Can Dance)


Director: Juhan Ulfsak (Von Krahl Theatre)

On stage and music: actors of Theatre NO99 Rea Lest, Jörgen Liik, Simeoni Sundja
and resident composer at Theatre NO99 Jakob Juhkam

Light and video: Petri Tuhkanen

Costumes and drawings: Kärt Hammer

Dramaturg: Eero Epner


Premiere: 08.04.2017.

Duration: 85 min.

Language: in Estonian, with a little of text.




Thu July 5th at 23.45  BUY TICKET

Fri July 6th at 19.00  BUY TICKET



"It's like black magic."


The starting point for Flashdance was the viewer's sense of sight and its destabilization. We wondered, what would happen to the performance experience when the main sense one normally uses to take in performances is disturbed.

Flashdance takes place in shadows, in a dim light. In the performance darkness opens up a potential space in which the audience's personal boundaries and sense of time and space dissipate. The audience is faced with the limits of their ability to see and the boundless terrain of their imagination.

At the centre of Flashdance is a giant black garbage bag that the dancers operate from the inside. The uniform surface of the bag creates a single creature, an organism of shared agency. Flashdance is a strongly audiovisual experience that challenges the audience to encounter the performance with all of their senses.

From the outside, we cannot know what the inside is like, and standing in the light, we cannot see into the darkness. In our society, which is penetrated by light and control, Flashdance evokes that which is mysterious and unconscious.

Flashdance is the second part of a trilogy named after dance movies. The performances in the trilogy are inspired by literal interpretations of the film names and focus on the sensory reception of the audience. The first part of the trilogy, Dirty Dancing, was premiered at Zodiak – Center for New Dance in Helsinki in 2014.

W A U H A U S is a Helsinki-based arts collective, active in today's performance field. The members of W A U H A U S are director Anni Klein, scenographer Samuli Laine, choreographer Jarkko Partanen and sound designers Jussi Matikainen and Heidi Soidinsalo. They create their own work in various spaces, from small experimental theatres to huge stadiums. The group's works have been described as contemporary performances that utilize popular culture and are simultaneously entertaining as well as capable of illuminating the structures of our society. The works of W A U H A U S are defined by an aesthetic, in which different materials, light and sound intertwine with living performers.

Concept: W A U H A U S
On stage: Hanna Ahti, Wilhelm Grotenfelt, Johannes Purovaara
Offstage: Laura Haapakangas, Anni Klein, Samuli Laine, Jarkko Partanen, Jani-Matti Salo,  Heidi Soidinsalo
Production: Zodiak – Center for New Dance, Kanuti Gildi SAAL, W A U H A U S

Residency support: O Espaco do Tempo, Portugal 

Supported by: Kone Foundation, Arts Promotion Centre Finland, Jenny ja Antti Wihurin Rahasto, Suomen Kulttuurirahasto, [DNA], Creative Europe Programme of the European Union


Premiere: 07.12.2016.

Duration: 50 min.

Language is no problem.