Goodbye, Lindita
Goodbye, Lindita is a poetic farewell, a visual meditation on mourning. A family experiences grief in a muted, wordless manner, stupefied by their loss, until a series of uncanny events seems to suspend the boundaries between their world and that of the departed Lindita. Throughout the action the icon of a Madonna Nera is overlooking the proceedings and a Black woman frequents the house. Trivial house chores are followed by poetic images and rituals originating from Balkan traditions.
Festival Brandhaarden
Run time 65 minutes
Genre Theatre
Language Language no problem
Dutch premiere Sat 3 Feb
Pre programme Sat 3 Feb in the ITA Salon
After talk Sat 3 Feb and Sun 4 Feb in the Pleinfoyer
Goodbye, Lindita
In the complete absence of dialogue, we witness a journey, an attempt to answer a question that is as old as humanity: how can we reconcile ourselves with death? In Goodbye, Lindita the end is also a beginning and the love shared an eternal sanctuary.
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After a very successful run of shows in Athens, the performance has already begun its European tour. First stop was Bitef Festival, Fast Forward Festival in Dresden followed and there are more festivals to come. At Bitef festival Goodbye, Lindita was awarded the special award “Jovan Ćirilov”
for outstanding contribution to theatre art and the Politika Award for the best director.
About Mario Banushi
Mario Banushi (b. 1998) grew up in Albania before relocating to Athens, where he studied acting at the Athens Conservatoire Drama School. During his studies he collaborated with Euripides Laskaridis as production assistant in the performance THIRÍO (Athens Biennale 2018). After his graduation (2020) he directed the short film PRANVERA (TIFF 2021) and participated as an actor in the performances Marcel Duchamp (2022) by Nova Melancholia and City Lights (2022) directed by Amalia Bennett. An extract of his first performance RAGADA was presented at the exhibition Performance Rooms 2022 (Kappatos Gallery). The complete version was staged at Theatro sti Sala (Theatre in the Living Room). This season, Banushi is part of the Onassis AiR Fellowship.
Credits
original concept, director Mario Banushi
dramaturgy Sophia Eftychiadou
sets & costumes Sotiris Melanos
music Emmanouel Rovithis
lighting Tasos Palaioroutas
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house dramaturg Aspasia-Maria Alexiou
directing assistants Afroditi Kapokaki, Theodora Patiti
sound engineering - spatialization Dimos Livitsanos
cast Mario Banushi, Babis Galiatsatos, Alexandra Hasani, Erifyli Kitzoglou, Katerina Kristo, Helene Habia Nzanga, Eftychia Stefanou, Chryssi Vidalaki
12th edition
BRANDHAARDEN FESTIVAL
Brandhaarden is an international theatre festival that brings performances by remarkable theatre makers from abroad to Amsterdam. The festival offers a unique overview of one creator, house, writer, region or theme. Previous editions have spotlighted directors such as Katie Mitchell, Milo Rau and the Rimini Protokoll collective, writer Édouard Louis, the Southern European region (Portugal, Spain, Italy and Greece) and city theatres such as Münchner Kammerspiele, Volksbühne Berlin and Peter Brooks Théâtre des Bouffes du Nord.
ONASSIS STEGI
The Onassis Stegi in Athens, serving as the hub of the Onassis Foundation’s cultural activities, encourages the talent and energy of local and international artists to thrive and starts conversations that aim to shake and shape society. Onassis Stegi is a center of global contemporary culture that, through a series of initiatives and works, promotes dialogue about democracy, social and environmental justice, racial and gender equality, and LGBTQIA+ rights.
Fringe programme: Modern Myths
The fringe programme of Brandhaarden 2024 is all about Modern Myths. The word 'myth' has two meanings today. On the one hand, it denotes stories that contain a certain wisdom, and we speak with wonder about what we then call 'mythological'. On the other hand, we use the word to talk about lies and misconceptions. We invite the audience to reflect on the power of shared stories, but together will also look at how this can turn into widespread ideas that are not necessarily true and can thus further marginalise vulnerable communities.
Co-produced by
