Filippo Andreatta Fies Music theatre Arvo Pärt




19 JULY 1985

"The plant collapsed essentially because it was designed, built and managed in such a way as not to offer those safety margins that civil society expects from works that could jeopardise the existence of entire human communities.”

OHT keeps researching on the ambiguous relationship between mankind and the Alpine landscape, confronting its artistic research with the tragic origin of theatre.
On July 19, 1985 a whitish avalanche of mud and dust swamps the Val di Stava in Trentino: a whole Alpine landscape is completely swept away. Trees, houses, people, animals, bridges, roads and even the possibility of representing the avalanche is swept away because there has been no catharsis in this tragedy.

The only thing left by the avalanche is the spectre of a tragic chorus singing the requiem Lux Aeterna by Ligeti while a cloud of light invades the stage: a literal image of György Sándor Ligeti's musical ascesis as well as an evocation of the destruction caused by the avalanche. The inescapable light reveals to the spectator the friability of the Alpine landscape and shapes the hybris of the men who caused the avalanche. The musical canons of Ligeti's piece are modulated in different rhythms and times, creating a very dense upward motion that transforms the requiem into a sort of amorphous cloud similar to the dust caused by the avalanche of Stava.

The fragility of the Alpine landscape is manifested in the sound of a dusty mass of light that pushes the show to the tragic essence of theatre; the choir. A collective actor, is the emotional and telluric spectrum of the show. The choir evokes the avalanche without representing it. If in the Greek tragedy the human hybris is declined towards the divine, in 19.JUL.1985 it is accomplished towards the Alpine landscape. The absence of catharsis in Stava tragedy has transformed the avalanche into sound and light. 19.JUL.1985 does not shape a narrative but cause a devastating cumulative visual effect that strikes the viewer. A series of moving backdrops gradually take possession of the onlookers, infecting them with a series of evanescent and silent images. An inexorable accumulation that shows the political nuances of OHT's research and the crumbling of the Alpine landscape hit by the avalanche shock wave..



Italy / Trento, Teatro Sociale, 7-10 November 2019 (opening)





19 JULY 1985
an Alpine tragedy
by OHT | Office for a Human Theatre

“Lux Aeterna” by György Sándor Ligeti • “Again after ecclesiastes” by David Lang • “’ndomenzete popin” mountain choir
choir Ensemble Vocale Continuum
choir master Luigi Azzolini

directing, set-design and text Filippo Andreatta
dramaturgy Marco Bernardi

coryphaeus / electronic music Davide Tomat
set-design and construction Alberto Favretto
light-design William Trentini and Filippo Andreatta
video Armin Ferrari

chief technician Viviana Rella

best-girl Letizia Paternieri

production and administration Laura Marinelli
curator and promoter Laura Artoni

assistant director Veronica Franchi

production OHT

co-production RomaEuropa festival, Centro Santa Chiara
artistic residency Centrale Fies art work space
 supported by Provincia Autonoma di Trento

in collaboration with Caritro Foundation

under the patronage of Stava 1985 Foundation

international tour management
Laura Artoni │ pro scena

duration of the show │ 50 minutes without intermission

photos © OHT

video Block
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Filippo Andreatta

Theatre director and founder of OHT


artistic team

Theatre director • Filippo Andreatta (Rovereto, IT, 1981) graduated in Architecture from Politecnico di Milano (BA) and in Performing and Visual Arts at IUAV University of Venice (MA). His artistic research drives behind the realm of Theatre. He was the first to bring on stage Delirious New York, the cult book of contemporary architecture by architect Rem Koolhaas. Since 2015, he is co-curator of the international festival of Performance and Perfoming Arts at Centrale Fies art work space in Northern Italy. Furthermore, he has been lecturing in universities and museums including, among the others, Politecnico di Milano, NABA New academy of Visual Arts Milan, Cattolica University, MART museum and University of Genoa.

Dramaturg • In 1985, Marco Bernardi has collaborated with the UCLA University and established the “Centre for Advanced Research in the Performing Arts” Los Angeles/Roma. Since then he has realized more than 60 shows as director working on texts by Cassavetes, Moliere, Bernhard, Svevo, Strindberg and Goldoni to name only few. For 35 years, he has been the artistic and general director of Teatro Stabile in Bozen, the most important theatre in Sud Tirol. He has served as Artistic Consultant for Centro S.Chiara in Trento (2015–19) and as member of the Artistic Commission of the Italian Ministry of Culture (2018-20).

Set-designer • Alberto Favretto graduated in Performing and Visual Arts at IUAV University of Venice. He has developed an artistic practice linked to technical knowledge and the use of materials, further strengthened by his experience as teacher and laboratory technician at IUAV University and Politecnico di Milano. Amongst his collaborations there are Teatro Due in Parma, Lawrence Carroll, La Biennale di Venezia, Csaba Antal, Emilia Romagna Teatri, Alain Maratrat, Michela Lucenti, Marinskij Theater in St. Petersburg and Studiomobile architecture. In 2017 he co-founded Corte Supernova in Venice, a multidisciplinary production space dedicated to contemporary art, sound, music and video.

Musician • Davide Tomat is a producer, musician and sound designer focusing on space drone ambient sounds and psychedelic electronic music. He is a co-founder of Superbudda Creative Collective and he has released records for Berlin Label !K7 Records, for Zurich label OUS Records and for London label Monotreme Records. Since 2014, he collaborates with the artistic duo MASBEDO and also produces music for Performance Art, Installations, Theatre, Contemporary Dance and soundtracks for films and documentary. His music has been remixed by International artists such as Animal Collective, Liars, Fennesz, Acid Pauli and Gonjasufi.

Light-designer • Graduated in photography and lighting technology, William Trentini collaborates with opera houses, theatres, festivals and independent companies. Since 2017, he collaborates with OHT and has previously worked with Alessio Pizzech, Bruno Streiff, Hiroki Hiara, Roberto Marafante to name a few. Furthermore, he has collaborated on Visual Arts projects with artists Meris Angioletti (Stanzas 2011) produced by the Venice Biennale. He teaches photography for audio-visual and lighting technology in various schools of film and theater.