Festivals

Subterms

    More stories

    • 113 Shares189 Views

      in Movies

      At Venice Film Festival, Trapped Women and Controlling Men

      by

      This year’s lineup includes films from Sofia Coppola, Yorgos Lanthimos and Bradley Cooper in which female characters squirm under the thumbs of egocentric men.The press room at the Venice Film Festival has to be the most beautiful film festival press room in the world. Taking over the third floor of the imposing Palazzo del Casinò, the main atrium is a gargantuan, triple-height space carpeted in soft cream, with columns clad in marble extending up past Murano glass chandeliers, and floor-to-ceiling windows hung with gold-sheened drapes giving way to a sparkling blue sea. On a clear day — which it almost always is — you imagine that, were it not for the curvature of the earth, you could see forever. Or at least to Croatia.It is an eternal contradiction that this lofty space should be peopled with dozens of perspiring journalists hunched over their laptops, hammering away at their keyboards like birds beating their wings against the bars of a particularly gilded cage. Or maybe such dark thoughts in a such a light-filled structure — designed by the architect Eugenio Miozzi in 1938 to embody the monumentalist fantasy of Mussolini’s fascist regime — are a symptom of a festival lineup that, this year, features a profusion of stories about women similarly chafing against the restrictive, but often luxurious, enclosures built by controlling men.Some of these men were towering real-life figures. Penélope Cruz turns in the standout performance in Michael Mann’s “Ferrari” as the long-suffering wife of the Italian motoring magnate (Adam Driver), and Carey Mulligan does much the same as Leonard Bernstein’s wife Felicia in “Maestro,” directed by and starring Bradley Cooper. In both these cases — and arguably to the detriment of both well-made but strangely evanescent films — the portrayal of genius pales in comparison to the portrait of a woman who supported and nurtured that genius, even when it threatened to engulf her. in “Ferrari,” Penélope Cruz plays Laura Ferrari, the wife of the Italian car mogul Enzo Ferrari.Lorenzo SistiOf two memorable scenes in “Maestro,” only one — Bernstein’s performance of Mahler’s “Resurrection” Symphony at Ely Cathedral in 1973 — is about his music. The other is a lacerating domestic argument in the couple’s bedroom, during which, in every shaking nerve, Mulligan embodies the resentment of a bright, ambitious woman whose devotion to and indulgence of her famous spouse has cost her so much of herself.The life-draining capacity of egocentric men is even more strikingly literalized in Pablo Larraín’s mordant, monochrome “El Conde,” in which the Chilean dictator Augusto Pinochet (Jaime Vadell) is recreated as a 250-year-old vampire. In Larraín’s scabrous, grisly alternate history, Pinochet is a decrepit immortal, drowning in self-pity since faking his death to evade justice. And Pinochet’s wife Lucía (Gloria Münchmeyer) is imagined as his equal, or even his better, in sheer perversity; much of the misery the terrorized nation experienced under the dictator is suggested to have been at her behest.But although that gives Lucía, who constantly petitions her husband to bite her so that she too can live out her depravities forever, a degree of apparent agency, that is robbed from her in one brief scene where “The Count,” as he likes to be called, casually trades her off to his obsequious Renfield-style butler (Alfredo Castro). The Count is then free to pursue an affair with a nun, including fantasy play that involves her dressing up as Marie Antoinette. (The Count has been obsessed with the ill-fated Queen of France ever since, in one of the film’s most provocatively gruesome early scenes, he licked the guillotine blade that severed her slender neck.)Marie Antoinette is perhaps the ultimate emblem of decorative married womanhood. And of course, she was the title star of a previous film from Sofia Coppola, whose Venice-competing “Priscilla” is yet another tale of a woman’s tentatively self-engineered escape from the influence of a dominant man.Jacob Elordi and Cailee Spaeny as Elvis and Priscilla Presley in “Priscilla.”Philippe Le SourdBased on, and clearly in deep sympathy with, Priscilla Presley’s memoir “Elvis and Me,” the film follows the famous couple’s relationship, from their first meeting when then-Priscilla Beaulieu (Cailee Spaeny) was just 14 years old and living on a U.S. Army base in Germany, to the moment, almost a decade-and-a-half later, when Priscilla Presley drove through the gates of Graceland for the last time as the house’s mistress.This is unmistakably a Sofia Coppola movie, in its luxuriant feel for fabrics and facades, but as in “Marie Antoinette,” here the surfaces become the substance. It is a story about how, especially to a naïve teenager, the trappings of an outwardly tantalizing lifestyle can be sprung upon you like a trap.During their first tearful goodbye in Germany, Elvis (Jacob Elordi) makes the schoolgirl Priscilla promise to “stay exactly the way you are.” But the banner film investigating the icky desire on the part of some men to keep their womenfolk infantilized is Yorgos Lanthimos’ joyously macabre “Poor Things.” The biggest hit of Venice so far, it is deeply — if twistedly, and often hilariously — concerned with the idea of female emancipation, as Bella, played by a riveting, inventive and highly physical Emma Stone, shucks off the psychological bondage first of her adoptive father (Willem Dafoe) and then of her caddish, pompous lover (Mark Ruffalo).Even the film’s hyperreal aesthetic, in which Lisbon and London are depicted by intricate, steampunky set-builds with lurid computer generated skies and seas, reinforce the concept: The film’s self-consciously airless and artificial universe makes the vigor of Bella’s adventures in sex and self-discovery all the more striking.In “Poor Things,” Emma Stone plays Bella, a woman trying to unburden herself from both her adoptive father and her vain lover.Yorgos Lanthimos/Searchlight PicturesThere are still more women trapped under the thumbs of domineering men dotted throughout the lineup, most notably in two black comedies that both feature contract killers (another feature of Venice 2023, if you also take David Fincher’s “The Killer,” Harmony Korine’s “Aggro Dr1ft” and the Liam Neeson thriller “In the Land of Saints and Sinners” into further account).Richard Linklater’s “Hit Man” stars and is co-written by Glen Powell, who deserves to leap up to major-league stardom on the back of this effervescently amoral exaggeration of a real-life story: Gary, a diffident English professor who moonlights as a fake hit man, finds love getting in the way of his mission when an abused wife, Madison (Adria Arjona), tries to enlist his services. She is driven to it as a means to escape. But the murder-solicitation in Woody Allen’s French-language “Coup de Chance,” is far less morally defensible, prompted by jealousy and again, a loss of control, as the possessive rich-guy Jean (Melvil Poupaud), discovers that his young, vivacious wife (Lou De Laâge) has taken a lover.“Coup de Chance” is, in some respects a return to form for Allen, even if one suspects that some of its breeziness is down to the attractive cast compensating for the staleness of Allen’s recent English-language quippery by mercifully speaking in French. (Native French speakers of my acquaintance tell me that the dialogue, to their ears, sounds similarly unnatural.)But it does feel more current than most of Allen’s recent output, not least in how it syncs up neatly with this Venice edition’s chief preoccupations: hit men and trapped women, and all the poor things who find themselves in plush Central Park or central Paris apartments, in press room palaces or fantastical Lisbon hotels, surrounded by luxury, but longing to be free. More

    • 88 Shares159 Views

      in Movies

      Venice Film Festival Finds Drama Without Zendaya

      by

      Day 1 brought challenges but not “Challengers,” the film that had been scheduled to open this usually starry event until it was delayed by the strikes.The sky in Venice wept on Wednesday, for there were no pictures to be taken of Zendaya in couture clambering from a speedboat.No? Too much? Well, it’s hard not to sound melodramatic at a film festival where the movies are big but the mood swings are even bigger. Let me clear my throat, take a swig of this Aperol spritz, and start again …The 80th edition of the Venice Film Festival kicked off on this rainy Wednesday with several big-name auteurs in attendance but few of the stars that this event has come to count on. With dual strikes by the writers and actors guilds forcing a Hollywood shutdown, and the actors forbidden from promoting studio films during the labor action, Venice will inaugurate a fall film season that is still in significant flux.The first day was meant to be turbocharged by the presence of Zendaya, who turned heads here two years ago in a series of stunning dresses while publicizing the first installment of “Dune.” But the shutdown cost Venice the new film she stars in, Luca Guadagnino’s “Challengers,” in which she plays a tennis pro who has to make a romantic choice between two best friends, played by Josh O’Connor and Mike Faist (the cheeky marketing materials tease that on at least one night, she chooses both).Without its lead available to support the film, MGM delayed the release of “Challengers” to spring 2024 and yanked it from the Venice lineup. Taking its place as the festival’s opening-night film was “Comandante,” a World War II film told from the point of view of Italian submariners. While it’s well-shot and full of suspenseful battle sequences, “Comandante” features exactly zero tennis hotties contemplating a threesome, which may hinder its ultimate appeal with a Venice audience that was promised starry romantic high jinks.Though the festival’s artistic director, Alberto Barbera, admitted at a news conference on Wednesday that the likes of Emma Stone (“Poor Things”) and Bradley Cooper (“Maestro”) will not be attending Venice because of the strike, other actors who hail from more independent productions have managed to secure guild waivers, including “Ferrari” star Adam Driver, “Memory” lead Jessica Chastain, and the cast of Sofia Coppola’s “Priscilla.” They’re expected to show up on the Lido this week alongside a posse of high-powered directors that includes David Fincher (“The Killer”), Ava DuVernay (“Origin”) and Richard Linklater (“Hit Man”).Still, the strikes loom large. At Barbera’s news conference, the jury president, the filmmaker Damien Chazelle (“La La Land”), dressed for maximum solidarity, donning a “Writers Guild on Strike!” shirt and a similar button on the lapel of his sport coat. He noted that as of Wednesday, the writers had been on strike for 121 days, with the actors joining them for the last 48 days, and he called on studios to compensate those artists fairly.“I think there’s a basic idea that each work of art has value unto itself, that it’s not just a piece of content, to use Hollywood’s favorite word right now,” Chazelle told reporters, adding that that idea “has been eroded quite a bit over the past 10 years. There’s many issues on the table with the strikes, but to me, that’s the core issue.”Chazelle was joined by the directors Martin McDonagh and Laura Poitras, who both wore shirts supporting the Writers Guild. They are part of a jury that includes the filmmakers Jane Campion and Mia Hansen-Love, among others.“I’m not sure I entirely deserve this spot, but I will do my best to live up to it,” Chazelle said. “I thank Mr. Barbera for his foolishness in letting me try it out.”Though Chazelle has been to Venice a few times before, to debut “La La Land” and his follow-up, “First Man,” he said he still found the place quite surreal. “That fact that you take a boat to a screening, it’s silly,” Chazelle said. “Cinema, to me, is a waking dream and that, to me, is Venice.”See what I said about melodrama? When you’re in Venice, where even the paint peels in the most picturesque way, you just can’t help yourself from indulging. That’s how your columnist felt last night in the rain, mulling over two of the worst disasters to hit Italy in quite some time: St. Mark’s Square was flooded, and there was no Zendaya. But at least the sun will come out tomorrow here, as will the new films by Michael Mann and Wes Anderson. More

    • 125 Shares179 Views

      in Music

      Bob Jones, Behind-the-Stage Force at Newport Festivals, Dies at 86

      by

      For decades he helped shape Rhode Island’s venerable folk and jazz events, presenting stars and unknowns alike. One colleague called him a “test pilot of jazz.”Bob Jones, who began as a volunteer at the Newport Folk Festival in the early 1960s before rapidly gaining the trust of its impresario, George Wein, and going on to produce the event over two decades, died on Aug. 14 in hospice care in Danbury, Conn. He was 86.His daughter Radhika Jones said the cause was complications of dementia.Mr. Jones spent a half-century with the folk festival, held every summer in Rhode Island, as well as with its companion, the Newport Jazz Festival, and other events produced by Mr. Wein. He was there when Bob Dylan outraged purists by going electric at the 1965 folk festival, and he helped persuade Mr. Wein to resurrect the festival in 1985 after a 16-year hiatus.In his autobiography, “Myself Among Others: A Life in Music” (with Nate Chinen, 2003), Mr. Wein, who started the jazz festival in 1954 and the folk version in 1959, called Mr. Jones “an indispensable member of the hierarchy of Festival Productions,” his company.Mr. Jones in 1995 with George Wein, the producer of the Newport festivals. Mr. Wein called Mr. Jones “an indispensable member of the hierarchy of Festival Productions.”Collection of George WeinLike many of the people who worked for Mr. Wein, who died in 2021, Mr. Jones performed a variety of tasks for the folk and jazz festivals. Early on, he was in charge of arranging housing for performers and getting them to the stage on time.“Our closest call this year was Miles Davis,” he told The Newport Daily News in 1966. “He arrived at the field less than 10 minutes before he was to appear onstage.”For two years in the 1960s, Mr. Jones traveled around the South and Canada in search of new talent for the folk festival with the folklorist and mandolin player Ralph Rinzler.“They found these people who weren’t in the music business, who were playing on back porches and at house parties,” said Rick Massimo, author of “I Got a Song: A History of the Newport Folk Festival” (2017). “What still reverberates today is how they helped rediscover Cajun music, which wasn’t well known or appreciated outside Louisiana.”Mr. Jones and Mr. Rinzler’s roadwork led to an infusion of artists at the 1964 folk festival, including the singer and songwriter Jimmy Driftwood, the banjo player Frank Proffitt, the balladeer Almeda Riddle, the bottleneck guitarist and blues singer Mississippi Fred McDowell and the fiddler and singer Glen Ohrlin.Mr. Jones was also the road manager for international tours, arranged by Mr. Wein, that featured Thelonious Monk, Dave Brubeck and Duke Ellington in the 1960s and ’70s and Sarah Vaughan in the ‘80s.“Bob was an intelligent and low-key person who was unfazed by chaos and worked really well with artists,” Mr. Chinen, the editorial director of the public radio station WRTI in Philadelphia, said in a phone interview. “So you can imagine he was the right type of person to take Monk around the world.”Robert Leslie Jones was born on May 11, 1937, in Boston. His father, Edward, was an electrician, and his mother, Florence (Foss) Jones, was a homemaker.He entered Boston University’s junior college in 1956 and received his associate arts degree two years later, around the time he moved with his sister Helen into an apartment above Cafe Yana, one of the coffeehouses at the heart of the Boston-Cambridge area’s folk music scene.He was intrigued by the music, and, having some talent, began performing, favoring Woody Guthrie songs like “Do Re Mi.” He also took on the background role of organizing hootenannies, and found he enjoyed it.He withdrew from Boston University’s bachelor’s degree program in 1960 and was soon drafted into the Army; a conscientious objector, he served stateside as an Army medic. After his discharge, he continued to play music in the Boston area.In 1964, he was featured, along with Phil Ochs, Lisa Kindred and Eric Anderson, on an album, “New Folks, Vol. 2,” released on the Vanguard label. Mr. Jones in performance at Club 47 in Cambridge, Mass., in 1968. He was a folk singer before he began his long career behind the scenes.Charlie FrizzellOnce he joined Mr. Wein’s staff in about 1965, Mr. Jones became involved in nearly everything in the Wein empire, including the Grande Parade du Jazz in Nice, France, and the Kool Jazz Festivals — stadium shows around the country that he ran from 1976 to 1985 as technical producer from a base in Cincinnati.In 1985, Mr. Jones became the top producer of the Newport Folk Festival, which had been dormant since 1969, following the gate-crashing that had disrupted that year’s jazz festival, when rock acts like Led Zeppelin and Sly and the Family Stone joined the bill. The jazz festival moved to New York City in 1972, where it continued under various names for three decades. (Mr. Wein brought jazz back to Newport in 1981, but the folk festival did not revive as quickly.)In his book, Mr. Wein credited Mr. Jones — with part-time help from his daughters, Radhika and Nalini — with helping to restore the folk festival to life. Asked what she and her sister, both teenagers at the time, had done, Radhika Jones, the editor in chief of Vanity Fair, said, “My guess is that George saw that a younger generation was enthused by it, which gave him a sense that this was something that would draw an audience.”The festival lineup that year included Joan Baez, Bonnie Raitt, Judy Collins, Dave Van Ronk, Doc and Merle Watson, Arlo Guthrie, and Ramblin’ Jack Elliott. A year later, the festival became a platform for a future star: the bluegrass singer and fiddler Alison Kraus, who was 15.Mr. Jones was long immersed in the jazz festival, as a producer and production manager, with Mr. Wein retaining the title of lead producer. He was also involved in the New Orleans Jazz & Heritage Festival, known as Jazz Fest, which Mr. Wein also produced.“Bob was like a test pilot of jazz, always smooth and calm,” Quint Davis, the current producer and director of Jazz Fest, said. “His brain was like a Univac. He had all the knowledge to make a show work.”Mr. Jones’s active involvement in production ended in early 2004 with a diagnosis of Guillain-Barre syndrome, which left him mostly paralyzed and breathing through a ventilator. He recovered enough to stay on as an adviser and mentor through 2009; his daughter Nalini, who had been his assistant, became an associate producer and helped run the folk festival from 2004 to 2009.When Mr. Jones was able to return to the Newport site in August 2004, he was carried onto the stage by a forklift.“He loved logistics,” Nalini Jones said, “and he looked delighted.”Mr. Jones at Newport in 2015. His active involvement in production ended in 2004 with a diagnosis of Guillain-Barre syndrome.Alan NahigianIn addition to his daughters, he is survived by his wife, Marguerite (Suares) Jones; his son, Christopher; three grandchildren; and his sisters, Helen von Schmidt and Marcia McCarthy.In 1984, Mr. Jones sang at Symphony Hall in Boston at a reunion concert of performers who had worked at the storied folk music venue Club 47. Billed as Robert L. Jones, he was on a program with Richie Havens, Tom Rush and others.“We were stunned,” Radhika Jones said. “I was 12 at the time, but we really didn’t realize he’d been a performer. He’d sung to us, and we listened to folk music at home.“It was really special to see him onstage. This was a part of him we started to discover.” More

    • 113 Shares159 Views

      in Music

      Dancing Till Dawn at a Music Festival in Albania

      by

      More than a dozen sweaty people in various states of undress giggled as a capoeira instructor directed us to crawl around on the floor. Make eye contact, he told us as we tried to follow the flow of one another’s bodies. But it was hard not to stare at the sparkling blue Ionian Sea.On one side of an open-air pavilion in Dhermi, a village on the Albanian Riviera, those waters glimmered under the summer sun, free of the yachts that crowd the Croatian and Greek shorelines to the north and south. On the other side, palm trees dotted the landscape. Behind them loomed the lush, green Ceraunian Mountains.A sound check interrupted the class, an abrupt reminder of the larger reason we capoeira novices had gathered: Kala, a weeklong music-and-wellness festival. I was part of a crowd of about 3,500 mostly young people, resplendent in transparent flare pants, crop tops and cowboy boots, who had descended on Dhermi in late May and early June to sway and spin in the moonlight, hypnotized by the beats, and to pack our days with Kundalini yoga, breath work, massage and capoeira classes.Across four stages, D.J.s like Hunee and Antal, CC:Disco!, Grace Sands and Daphni performed nightly, spinning techno and electronic beats mixed with funk, disco, jazz and more. A fifth stage, open during the daytime, beckoned from Gjipe, a canyon with soaring red cliffs, a short, scenic boat ride away.Dhermi is becoming a popular stop on the festival circuit, offering beautiful beaches and delicious, inexpensive food. Residents often join in the fun, blasting their own music from balconies and cars at night.Maria Mavropoulou for The New York TimesIn Dhermi, restaurants served fresh, delicious seafood and drinks at reasonable prices. Kala’s weeklong packages, which included tickets and accommodations, started at $370. (Similar U.S. festivals this year charged about $200 to $400 for a two- or three-day ticket, without lodging.) Residents joined in the fun, blasting their own music from bars, cars and balconies at night. And in the morning, some hung-over revelers were surprised to find themselves face to face with wandering goats on the village streets.“I’ve gone from Ibiza, which got really built up, to Croatia, which got really busy. And I’ve spent a lot of time in India, and now Goa is super busy, too. And Greece is so expensive now,” said Annabel Turbutt-Day, 38, a corporate affairs director from London who drove to Kala from Tirana, Albania’s capital, with her partner and three friends. “Albania is still a little bit undiscovered, and a bit more affordable.”By day, Kala attendees sunbathed, attended wellness programs like Kundalini yoga and capoeira classes, or took boats that shuttled them from the Yacht Club bar, above, to the beachside stage at Gjipe Canyon.Maria Mavropoulou for The New York TimesFrom hermit state to hot spotSince its debut in Albania in 2018, Kala has helped drive a boom in international tourism in Dhermi. Three more events have joined Dhermi’s summer dance card, with support from Mainstage Festivals, the company that runs Kala, including the upcoming Ion Festival, which takes place there from Sept. 6 to 13. The tourism season in Dhermi, which used to last about six weeks, now runs from the end of May through September.Dhermi’s landscape was integral to Kala’s appeal: The beaches where people sunbathed during the day turned into parties that lasted till sunrise — and the cycle repeated every day.Each open-air stage was its own little world — a cozy cove, a platform jutting into the sea, a vast space surrounded by palm trees. When I got tired of bobbing my head to the music in one spot, I could weave down the street through shouting, laughing festivalgoers and slip into a different crowd swaying to a different set.The beach at Gjipe, a scenic canyon a short boat ride away from Dhermi that hosted performances during the day. The other four stages in Dhermi came alive after sundown.Maria Mavropoulou for The New York TimesA beach in Dhermi, part of the Albanian Riviera, a stretch of pristine sand that has opened up to the world only in the last quarter-century, after Albania overcame an iron-fisted Communist leader and then civil unrest.Maria Mavropoulou for The New York TimesSpontaneous parties formed in the streets, too. One evening, after hours of dancing, I devoured a slice of pizza while watching a trio of locals and visitors join hands and spin in a circle, first to Albanian songs and then to Justin Bieber’s “Sorry.”Dhermi’s rising popularity has mirrored Albania’s as a whole. In 2022, a record 7.5 million people visited the country, spending around $3.1 billion, compared with 6.4 million and $2.4 billion in 2019, according to the Ministry of Tourism and Environment. And in the first three months of 2023, Albania experienced a 54 percent jump in visitors compared with the same period in 2019, according to the World Tourism Organization.John Gómez performing at the Gjipe stage. Dhermi began to take off as a music hot spot about 15 years ago when international D.J.s accepted invitations to perform at local clubs, leading up to the first Kala, which took place in 2018.Maria Mavropoulou for The New York TimesMany of those tourists head straight for the resort towns and beaches of the Albanian Riviera, which are drawing European sun-and-sea seekers who find the Greek island of Corfu and Dubrovnik, Croatia, too expensive and crowded. On Instagram and TikTok, influencers compare Albania’s seascape to that of the Maldives or Bali.At the same time, history buffs are flocking to Albania’s ancient Greek and Roman ruins, Ottoman-era architecture and the tens of thousands of repurposed concrete bunkers built by Enver Hoxha, who ruled the formerly Communist country with an iron fist for four decades. UNESCO World Heritage sites like the prehistoric ruins of Butrint and deep, ancient Lake Ohrid add to the attractions.Outdoorsy types come to bicycle along the wild Vjosa River and hike in the Albanian Alps. Nearly 300 government-certified agritourism operators offer farm tours, wine tastings and homemade meals at properties growing cherries, walnuts, plums, quince and more.D.J. Joy Orbison spinning for revelers in Dhermi. The beaches where people sunbathed during the day turned into parties that lasted till sunrise, and the cycle repeated itself daily.Maria Mavropoulou for The New York TimesToday’s tourist-friendly environment stands in sharp contrast to the Albania of the early 1990s as it emerged from four decades of isolation as one of the poorest countries behind the Iron Curtain. An economic crisis and a near descent into civil war followed. In early 1997, during a popular uprising, an estimated 550,000 weapons were looted from armories and at least 2,000 people died as government forces cracked down and insurgents battled. The United Nations finally sent in a multinational force to restore order. But all this left Albania with a reputation as a crime-ridden, dangerous country.“The image of Albania was not the real one,” said Mirela Kumbaro, the country’s minister of tourism and environment. “It was only the bad parts.” Now, Albania want to show its “real face,” she said.“Kala is one of our best ambassadors,” said Ms. Kumbaro, who had dropped by the festival for a news conference, following in the footsteps of other officials, including Prime Minister Edi Rama, who showed up to the first Kala in 2018 and later sent a pallet of free beer.An influx of foreign visitors has brought prosperity to Dhermi even as the crowds have occasionally tested locals’ patience and raised concerns about damage to the environment.Maria Mavropoulou for The New York TimesGratitude and growing painsDevelopment in the Dhermi area has accelerated at a breakneck pace: Half of the adjacent village of Drymades seems to be a construction site. The influx of foreign visitors to a place that only a few decades ago was sealed off to the world has brought both prosperity and challenges.“It’s been a 100 percent transformation,” said Erjon Shehaj, 46, whose family opened a 10-table restaurant in Dhermi in 2016. “When we started, there was nothing.” Today, they own and operate the Empire Beach Resort, a luxury hotel on the same land where the small restaurant once stood. The resort hosted the biggest stage of the festival and was booked solid all seven days.“I’ve never encountered so many tourists in Albania,” said Anisa Koteci, 33, a lawyer, who was born in the country then emigrated with her family to London when she was 8. Returning to Albania for Kala for the first time in four years, she said, has been “a bit of a shock to the system.” The abundance of foreign visitors made her excited and happy, she said, but she also worried that Albania might become known as just a party destination. She called the wave of tourism a “stress test” for her homeland.In Dhermi, the electricity or water was sometimes turned off at hotels without warning, and bathrooms in restaurants and bars were left uncleaned for long stretches. On the second day of the festival, one local shopkeeper wiped her brow and grumbled as she surveyed an endless line of impatient bathing-suit-clad tourists waiting to buy chips, water, beer and sunblock. She was running the grocery store and the adjacent currency exchange alone, she explained, because her brother had stayed up all night registering local SIM cards for tourists.The flood of visitors is also raising fears about possible harm to the region’s flora and fauna. In the city of Vlore, about an hour’s drive from Dhermi, an airport construction project the government promotes as a way to bring more tourists to the Albanian Riviera has faced protests from environmental groups that say it could endanger sanctuaries for birds like flamingos and pelicans.Tomi Gjikuria, 34, an entrepreneur and a D.J. who grew up in Dhermi, said he was happy with all the new business and hoped for more visitors, but wondered how all the new construction would affect the landscape.“When I was a child, there was no tourism,” said Mr. Gjikuria, who operates a campsite called the Sea Turtle Camp on land that his family owns in Drymades.“I have 5,000 square meters where I put a campsite,” he said. “I could have built a casino, but I don’t want to cut down the trees.”During the day at Kala, music and partying gave way to massage and other wellness activities.Maria Mavropoulou for The New York TimesA spirit of hospitalityDespite all the challenges of development, residents of Dhermi have kept the welcome mat out — even if it sometimes has had a few wrinkles.Alan Crofton, the manager and director of Mainstage Festivals, recalled the fall of 2017, when he and Rob Searle, Kala’s creative director, went to Gjipe Canyon to ask the owner of a local campsite if they could use its beach during Kala. The man they met insisted that before they agreed to anything, they needed to break the ice by toasting each other with a shot of raki, a local liquor. One shot turned into several, until finally the man told Mr. Crofton and Mr. Searle — by then quite buzzed — that he would lease them a space for the festival, Mr. Crofton said.But when Mr. Crofton and Mr. Searle returned several months later, they found out that their raki-toasting host was not actually the landowner. He was the security guard who looked after the campsite in the winter.Andrea Kumi, 47, founded Havana Beach Club, a place that helped draw some of the area’s first waves of tourists, after moving to Dhermi, his father’s hometown, when he was 24. Mr. Kumi, who grew up in Vlore and Athens, began inviting world-famous D.J.s to perform at the club about 15 years ago.Sunset from a restaurant in Dhermi. Many festival attendees at Kala contrasted the relatively inexpensive and uncrowded Albanian Riviera with similar areas of Croatia and Greece. “Albania is still a little bit undiscovered,” one visitor said.Maria Mavropoulou for The New York TimesToday, besides the Havana Beach Club, Mr. Kumi owns two other restaurants. As the area continues to change, Mr. Kumi said, everybody is trying their best to be gracious and helpful hosts. As an old saying in Albania goes: “Our house belongs to God and guests.”He illustrated this point with a story. In 2009, Mr. Kumi persuaded the Dutch D.J. Tiësto to perform in Dhermi. There were no luxury hotels, so, eager to please, he rented a three-story, 80-foot yacht for Tiësto to sleep on, but the D.J. started feeling seasick as soon as he boarded.All the hotel rooms in the area were booked with the thousands of guests who’d come to see Tiësto perform, so Mr. Kumi offered up his own bedroom in his family’s house in the hills. Tiësto accepted, and the next day, Mr. Kumi said, the D.J. joined his parents and nephew for homemade pancakes.Follow New York Times Travel on Instagram and sign up for our weekly Travel Dispatch newsletter to get expert tips on traveling smarter and inspiration for your next vacation. Dreaming up a future getaway or just armchair traveling? Check out our 52 Places to Go in 2023. More

    • 100 Shares99 Views

      in Music

      Amid Barcelona’s Big Music Festivals, Small Venues Struggle

      by

      On a recent Friday night, a few dozen 20-somethings piled into Sidecar, a well-known concert venue in downtown Barcelona.The small space, with a low vaulted ceiling, was only half-full, but onstage, the singer Íñigo Merino and his band were determined to show their audience a good time. The crowd sang along to Merino’s catchy pop songs, which he interspersed with anecdotes, jokes and personal stories.“Music used to be just a hobby, but when I wrote this song I started thinking ‘Why not give it a chance? It could be something beautiful,’” he told the crowd, to cheers of “Bravo!” Then he launched into “El Último Portazo” (“The Last Door Slam”).Barcelona is known around the world for its nightlife, and huge festivals like Primavera Sound and Sónar — which begins Thursday and runs through Saturday — draw hundreds of thousands of visitors to the city each year. Yet small and medium-sized concert venues are struggling.Capturing the performance at Sidecar in Barcelona on a recent Friday night.Maria Contreras Coll for The New York Times.The singer Íñigo Merino performing at Sidecar.Maria Contreras Coll for The New York TimesThe Association of Concert Venues of Catalonia, a trade body, estimates that in the past 20 years, 220 nightlife venues have closed in Barcelona and the surrounding metropolitan area. In a city of 1.6 million people, the total estimated capacity of its 198 music venues is less than 50,000, the venues association says.And local musicians say they are running out of places to play.The number of visitors to Barcelona soared in the past two decades, resulting in complaints about noise and overcrowding from residents. Under the left-wing mayor Ada Colau, the city has prioritized locals’ quality of life, limiting the number of tourist-related businesses, including nightlife venues, that can open in many parts of town.“The city doesn’t issue licenses to set up new concert venues, and the existing ones are under threat and disappearing,” said Carmen Zapata, the manager of the venue association. “Barcelona has four music schools, and lots of musicians graduate every year, so we need small and medium-sized venues to absorb this whole scene.”Thanks to its weather and beaches, the city has become a popular location for music festivals. Last summer, five big festivals took place in the city. Those events, which were attended by more than 800,000 people, received funding from City Hall and the regional government of Catalonia. Festivals like that are able to pay artists much bigger fees and demand exclusivity in the region, sometimes even for Spanish artists.“Spain never had a very established culture of concert venues like in other countries, and now it has become a country of festivals and mega-festivals,” said Coque Sánchez, who runs Freedonia, a nonprofit music venue in the Raval neighborhood. “We also know that there are now artists who go straight from Spotify to performing in festivals, without passing through concert venues.”“We are passionate about live music, but nobody does this because they make a lot of money,” said Sidecar’s programming manager.Maria Contreras Coll for The New York TimesSidecar, the concert venue, celebrated its 40th birthday this year and is beloved by locals for its programming of mostly Spanish and Catalan indie-rock bands. But like many other live venues in Barcelona, it also puts on club nights, with D.J.s rather than bands, in order to survive. Fátima Mellado, who is in charge of production and programming at Sidecar, said hosting concerts was not a sustainable business model.“We are passionate about live music, but nobody does this because they make a lot of money,” Mellado said.In the neighborhood of Gràcia, the venue Heliogàbal has been booking emerging bands since 1995. The acts that have performed in a tiny corner of the bar include Rosalía, the Barcelona singer who went on to become a global pop sensation. She played at Heliogàbal in 2015, two years before she released her debut album.“We have never wanted to grow because we prefer this small format,” said the owner, Albert Pijuan. “It’s a completely different experience. You get goose bumps because you’re so close.”Despite its popularity over two decades, the venue almost closed down in 2016 when it received hefty fines for staging concerts without a license. It survived thanks to a City Hall initiative called Espais Cultura Viva (Live Culture Spaces), a new venue classification that makes it legal for existing bars, restaurants, bookshops and other small venues to host live music performances — but only until midnight, and only if they meet a series of requirements, including soundproofing.“The aim is to legalize these venues that are providing a cultural service,” said Daniel Granados, a cultural official in City Hall. He said around 25 establishments had signed up since the program was introduced in 2019.Heliogàbal, in the Gràcia neighborhood of Barcelona, has been booking emerging bands since 1995.Enric Sans/HeliogàbalPijuan said he had invested hundreds of thousands of euros in soundproofing and other upgrades to Heliogàbal, around half of which was funded with subsidies from the city and regional governments. The venue also has commercial sponsors, which help it stay afloat, and has even started hosting daytime concerts during “vermut,” the traditional pre-lunch apéritif hour. But he said these measures were not enough to guarantee the venue’s future. “We can’t understand why we are still struggling after 28 years of having shown that our project is attractive,” he said.Pijuan said he felt that having supported so many local musicians in their careers, venues like his should receive more recognition and government support. “When posidonia disappears, there is no life left, the sea is dead,” he said, referring to a protected Mediterranean sea grass that flourishes off Catalonia’s coast. “Small venues play this role in the musical ecosystem.” More

    • 113 Shares129 Views

      in Music

      Sono Fest! Freely Dips Into Jazz and Classical Music

      by

      In its opening days, Ethan Iverson’s Sono Fest! in Brooklyn was already showing promise.Update: Ethan Iverson announced on Monday that the rest of Sono Fest! would not proceed as scheduled because the owner of the Soapbox Gallery, responsible for running the theater, had tested positive for Covid-19.This past week, I did something with a classical music concert that I have often enjoyed at jazz clubs: I hung back to hear the same program again when it returned for a second set.It was opening night of the inaugural Sono Fest!, founded and programmed by the jazz pianist and composer Ethan Iverson, and running through June 23 at Soapbox Gallery in Brooklyn. (The space, in addition to hosting audiences in its 60-seat space, is also offering ticketed livestreams of the events.) Iverson was wrapping up a concert with the violinist Miranda Cuckson when he casually noted that anyone who wanted to hear the same pieces again could remain for the next gig.Their performance — of works for violin and piano by Peter Lieberson, Louise Talma and George Walker — had been among the best chamber music shows I’d heard all season. (Another delight: Iverson’s jaunty and lyrical Piano Sonata, which he’d performed alone.) Rapport between players sometimes develops as a night progresses, so why not stick around?That decision paid dividends quickly — particularly during Talma’s Sonata (1962), a choice rarity that pairs mid-20th-century harmonic modernism with forceful rhythmic drive. In the first set, Cuckson had devoted a range of expressive talents to the violin writing: carefully shading some drier moments of muted playing, and later deploying her silvery sound to underline the singing qualities embedded in an otherwise complex idiom.Cuckson and Iverson had been enviably coordinated during the furious passages in the earlier set — if sometimes a touch stiffly so. Later, though, they achieved a give and take that was something else: At select junctures, she powered slightly ahead of his beat, allowing an almost-rushed climactic phrase in the violin to decay dramatically over his rhythmically precise piano.Afterward, Iverson told the audience that they were experiencing “the deep set.” Those of us who had sat through knew just how right he was.“The truth of the matter is, I love it all,” Iverson said. “And I think we all should love it all. I’m really trying to dig deep.”Michelle V. Agins/The New York TimesPermission to linger and experience multiple sets is just one aspect of Iverson’s merging of jazz and classical traditions at his new festival. Last Wednesday, as skies darkened in New York because of Canadian wildfires, he played mostly jazz standards — including, pointedly, Jerome Kern’s “Smoke Gets in Your Eyes” — with Chris Potter, the storied tenor saxophone player. (I caught that performance the next day on video.)On Thursday, you can catch multiple sets by Aaron Diehl, a first-call jazz pianist who also plays the music of Gershwin with symphony orchestras (and the music of Philip Glass on recordings). Other nights trend more toward more traditional chamber fare. But rarely too traditional: On Tuesday, the vocalist Judith Berkson — who sings adaptations of Schumann as well as her own electroacoustic pieces — will bring her visionary practice to the Soapbox.In an interview between sets last week, Iverson said of his festival’s organizing principles: “The truth of the matter is, I love it all. And I think we all should love it all. I’m really trying to dig deep.”After mentioning that the composers represented on his program with Cuckson were all American, Iverson noted, “There’s syncopation in the Walker and the Talma,” adding that in the latter case, the extent of the rhythmic exuberance makes him think of Harlem Stride piano legend James P. Johnson.Johnson, as it happens, gets a tip of the hat in Iverson’s Piano Sonata, which he premiered last year at the New England Conservatory in Boston, where he teaches.That piece is structured like a sonata in the model of Haydn and other classical forebears, but first-movement explosion of rhythm in the bass receives the indication “a la James P. Johnson” in the score. And it’s not the sonata’s only jazz-world nod: After a snatch of Mozartean melody in the second movement, Iverson revels in descending licks redolent of the soul jazz tradition, marked “a la Bobby Timmons.”This is no less referential than another charming classical piece of Iverson’s, “Concerto to Scale,” which he premiered with the American Composers Orchestra in 2018. But to its credit, the sonata is less jokey — and thus more secure — when dealing with its layered source materials. To my ear, that makes it a new advance in his engagement with fully notated writing.Playing the sonata last week, both times, Iverson dived right into his own crunchy, chromatic figures with a ferocity that was absent in video from the New England Conservatory premiere, in which he was “a little bit nervous,” he said.But at Soapbox, “I was certainly warmed up,” he said, having played the Talma piece before his sonata. Always, though, he has been confident in the work, which he has tinkered with and recorded for his next release on the Blue Note label, scheduled for 2024.In terms of the sonata’s spirit, he said: “I do think when people who don’t swim in the world every day hand in formal composition, they often are too serious. I’d actually rather be rambunctious.”“I feel James P. with me,” he added. “I feel Erroll Garner with me. And I feel Ralph Shapey.”The language Iverson uses when discussing his upcoming compositional premieres — including more sonatas, as well as orchestral arrangements of Ellington — enjoys a reprise whenever he discusses the balance of the Sono Fest! programming. In both cases, he is looking for new paths. And for Iverson, all routes move within what he calls “this very American phenomenon.”Before hopping back onstage for his second set last week, he observed: “It’s not happening in Germany or England. There’s still something I like so much about all of this: these are American composers I’m playing. Scott Joplin is part of it. And Henry Mancini is part of it. There’s a whole thing, there, that’s our language. If you really love it all, there’s incredible room still, to find a way.” More

    • 88 Shares179 Views

      in Movies

      Can the Tribeca Festival Make Audio Appealing?

      by

      The Tribeca Festival and audio artists each have something the other wants. Can they make it work?When Winnie and Alex Kemp submitted their first original fiction podcast “The Imperfection” to the 2021 Tribeca Festival, they set their expectations near the curb.The couple, co-founders of the podcast studio Wolf at the Door, believed in the project. Making the nine-episode series — a surrealist caper about two impaired friends whose psychiatrist goes missing — had been a nearly yearlong labor of love, but early signals from the market had been humbling. An agent the couple hired to find distribution for the show had come back empty-handed, and emails to 200 journalists generated just one reply — a rejection.At the Tribeca Festival, which dropped the word “film” from its name that year and expanded its focus on video games, virtual reality, music and audio, “The Imperfection” received a warmer reception. It was among the inaugural slate of 12 officially selected podcasts to premiere at the festival.Being chosen by Tribeca meant “The Imperfection” was featured with the other festival selections on the Apple Podcasts and Audible home pages, helping it reach the top 20 of Apple Podcasts’ fiction chart. The show was later nominated for best podcast of the year and best fiction writing at The Ambie awards, the industry’s answer to the Oscars. And the Kemps got new representation with the Creative Artists Agency; last year, they sold the television rights to the show, and they will co-write the pilot script.“It was a huge boon to us helping our first show get found,” Winnie Kemp said. “There are so many shows out there; the hardest thing to figure out is, ‘How do I cut through the noise?’”Winnie and Alex Kemp submitted their original fiction podcast “The Imperfection” to the 2021 Tribeca Festival.n/aThough it has never equaled the most prestigious galas of the film world, the Tribeca Festival, which began last Wednesday and will feature audio selections this week, has emerged as a uniquely appealing showcase for podcast creators. The demand for credible curatorial organizations is high in podcast land, where an explosion of titles — over two million have been created since the start of 2020, according to the database Listen Notes — has made it hard to break out even as overall listenership has increased.While other festivals exist specifically for audio storytelling, and some documentary festivals include podcast selections, Tribeca’s history — it was founded in 2002 by Robert De Niro, Jane Rosenthal and Craig Hatkoff — and association with Hollywood talent have made it an instant player in the audio community.“This is the next frontier of interesting, creative, independent storytelling — so much so that discoverability has been a challenge for audiences,” said Cara Cusumano, the director and vice president of programming at the Tribeca Festival. “That’s our forte; there was a place for us to play a role in this ecosystem and deliver an experience that you won’t find anywhere else.”This year, 16 podcasts are competing for various awards in fiction and nonfiction categories. The selections include Alissa Escarce, Nellie Gilles and Joe Richman’s “The Unmarked Graveyard,” a documentary series about the anonymous dead of New York’s Hart Island cemetery; Georgie Aldaco’s “These Were Humans,” a sketch comedy series that imagines the artifacts of an extinct human race; and Glynnis MacNicol, Emily Marinoff and Jo Piazza’s “Wilder,” a nonfiction series about the life and legacy of the “Little House on the Prairie” author Laura Ingalls Wilder.The festival will also host live tapings and premieres of several podcasts that are not in competition, including “Pod Save America,” Crooked Media’s popular political talk show; “Just Jack & Will,” the actors Sean Hayes and Eric McCormack’s new “Will & Grace” rewatch podcast and “You Feeling This?” an Los Angeles-centric fiction anthology from James Kim.Davy Gardner, the curator of audio storytelling at Tribeca, said the festival aims to demonstrate that podcasts deserve a comparable level of “cultural recognition” to films.“Tribeca is giving these creators the full red-carpet treatment,” he said. “This is its own art form and we want to help elevate it and push it forward.”Film festivals have long been the envy of audio artists. In the early 1990s, Sundance helped create a vogue for independent and art-house films that blossomed into a booming market. Filmmakers who entered the festival with few resources and no name recognition could exit it with the backing of a major studio and a burgeoning career.No similar infrastructure exists for independent podcasters. As major funders like Spotify and Amazon have consolidated around easy-to-monetize true-crime documentaries and celebrity interview shows — a trend that has intensified amid industrywide economic woes and a series of layoffs — many artists have struggled to find support for less obviously commercial work.“If you don’t have a promotional budget or aren’t attached to a big network it’s really hard to find an audience,” said Bianca Giaever, whose memoiristic podcast “Constellation Prize” was featured by the Tribeca Festival in 2021. (She is also a former producer of the Times’ podcast “The Daily”). “It’s a vicious cycle, because then less of that work gets made.” Bianca Giaever’s memoiristic podcast “Constellation Prize” was featured by the Tribeca Festival in 2021.n/aOf course, even award-winning films at the biggest festivals don’t always become hits. And podcast creators at Tribeca have to compete for audiences and prospective business partners accustomed to filling their schedules with movie premieres.Johanna Zorn, who co-founded the long-running Third Coast International Audio Festival and presented audio work at multiple documentary film festivals in the 2010s, said the payoff sometimes fell short of the promise.“We went to some fabulous film festivals and we were happy to be there,” she said. “But did they help us get real press coverage? Get us into a room with people who could lead us to the next thing? Give us something that we could really build on? Not so much.”To cast the podcast selections in an optimal light, Gardner and his colleagues have had to learn how to exhibit an art form not customarily experienced in a communal setting. They have planned around a dozen events at theaters and other venues around Manhattan that will pair excerpts from featured work with live discussions or supplementary video.One thing they won’t include? Quiet rooms with only an audio track and an empty stage.“I’ve tried it,” Gardner said wearily. “It’s incredibly awkward.” More

    • 113 Shares99 Views

      in Theater

      ‘The Inheritance’ Arrives at a Festival of German Drama

      by

      A new production of Matthew López’s seven-hour play was among 10 shows chosen for Theatertreffen, a celebration of the best theater from Germany, Austria and Switzerland.Midway through Matthew López’s “The Inheritance,” a character lashes out at E.M. Forster, the British author of “Howards End,” who appears as a spiritual guru to the play’s protagonists.“Why should we listen to you lecture us about fearlessness and honesty? You were never honest about yourself,” the character screams, excoriating Forster for spending his long life in the closet.When “The Inheritance,” a seven-hour intergenerational saga about gay men in New York, opened in London in 2018, it was praised to the heavens. When the production transferred to Broadway a year later, there was far less critical love.This month, a reprise of the first German production of “The Inheritance” kicked off the annual Theatertreffen, a showcase of the best German-language theater, for which organizers selected “10 remarkable productions” from 461 theatrical premieres in Germany, Austria and Switzerland that debuted last year. The ethics of storytelling and of responsible representation emerged as unofficial themes of the lineup.López’s skill as a dramatist comes through in Hannes Becker’s translation, but the lyricism of his prose less so. Despite the impressive plotting and memorable characters, “The Inheritance” often fizzles during its generous running time. And the play’s cliché-riddled depiction of New York — an entire scene consists of little other than a lesson in how to order correctly at Peter Luger, the celebrated steakhouse — often had this New Yorker rolling his eyes.In the end, the production, which hails from the Residenztheater in Munich, is redeemed by heroic performances from the company’s ensemble. It’s a tough call, but for my money Vincent zur Linden gives the evening’s most indelible turn: Playing both the aspiring actor Adam and the hustler Leo, zur Linden shifts between coyness, arrogance and twitching brokenness. As Eric Glass, the play’s central character, Thiemo Strutzenberger fills a bland role with emotional complexity. And Michael Goldberg, one of the troupe’s older members, inhabits the play’s two mentor-like figures, Forster and Walter Poole, with avuncular gentleness and secret sorrow.Theatertreffen loves a good theatrical marathon, like Frank Castorf’s seven-hour “Faust,” seen here in 2018, or Christopher Rüping’s even longer “Dionysos Stadt” a year later. Yet sheer length does not an epic make. Compared to those gutsy avant-garde extravaganzas, Philip Stölzl’s sleek, handsome production of “The Inheritance” felt tame.“The Bus to Dachau” considers how the Holocaust is depicted in art and how it will be taught and commemorated when no survivors are left.Isabel Machado RiosWhen I returned to the festival several nights later, it was for a production much more in line with the formally daring, conceptually knotty theater more commonly found at Theatertreffen: “The Bus to Dachau,” a coproduction between the Dutch theater collective De Warme Winkel and the Schauspielhaus Bochum theater in western Germany.Subtitled “a 21st century memory play,” this absorbing production takes a singular and idiosyncratic approach to confronting the Holocaust through art, and asks what form commemoration and education will take once all of the survivors are gone.Featuring audience participation and live video — including blue-screen effects and Snapchat filters — the production tackles its weighty themes with an off-kilter mix of irreverence and severity. As the actors feel their way through the material, they explore the moral implications of depicting the Holocaust onscreen and how Germany’s culture of memory can carry a whiff of arrogance and even, perversely, of possessiveness.“The Ego and Its Own” was inspired by an 19th-century paean to radical selfishness by Max Stirner, the German philosopher.Arno DeclairYet while “The Bus to Dachau” found compelling ways to dramatize its risky and sensitive themes, another aesthetically bold production at Theatertreffen was ultimately less successful at bringing unlikely material to the stage.That work, “The Ego and Its Own,” from the Deutsches Theater, was one of two shows on the lineup that originated at Berlin playhouses. (The other was the choreographer Florentina Holzinger’s latest freak-out vaudeville-style revue, “Ophelia’s Got Talent.”)Inspired by an 1844 paean to radical selfishness by the German philosopher Max Stirner, the abstract production finds six actors cavorting on a white spiral ramp that resembles the Solomon R. Guggenheim Museum in New York. The play’s director, Sebastian Hartmann, a festival favorite, and the composer PC Nackt fashion a musical revue from Stirner’s opus that is equally arresting and bewildering.The actors intone and belt out slogans from the 19th-century text while Nackt and a drummer accompany them with a wild, mostly electronic score. Stark lighting, live video, fog and even 3-D projections contribute to the trippy expressionistic atmosphere. But despite the constant multisensory stimulation and energetic performances, it quickly grows tiresome. It’s a trip, to be sure — but I’m not sure how it illuminates Stirner’s influential and contentious ideas.One of the festival’s closing plays, “Zwiegespräch” by the Nobel Prize-winning author Peter Handke is an emotionally resonant production about intergenerational conflicts.Susanne Hassler-SmithControversy often attends the works Peter Handke, the Austrian who won the Nobel Prize for Literature in 2019. For many, Handke has been tainted by his sympathy for Slobodan Milosevic, the Serbian war criminal. The news of the writer’s Nobel win was met, by some, with disbelief, and his 2020 play “Zdenek Adamec” premiered at the Salzburg Festival under the threat of protest. Still, Handke, now 80, continues to publish and be performed at an impressive clip.His latest text for the stage, “Zwiegespräch,” was published as a book shortly before its world premiere at the Burgtheater in Vienna. The author dedicated the dramatic dialogue to the actors Otto Sander and Bruno Ganz, the stars of the Wim Wenders film “Wings of Desire,” which Handke wrote the screenplay for; much of this brief, poetic text is concerned with the essence of acting and storytelling. There is also a sense of fraught struggles between grandfathers, fathers and sons.At Theaterteffen, “Zwiegespräch” will be performed on Saturday and Sunday as one of the festival’s closing productions. Not long ago, it headlined another one of Germany’s main theater festivals, “Radikal Jung,” at the Volkstheater, in Munich, which is where I caught it last month.The dazzling production, overseen by Rieke Süsskow, a young Berlin-born director, heightens the dialogue’s intergenerational conflicts. She sets her production in a nursing home and distributes Handke’s text to a cast of actors playing frail residents and their sinister caregivers, somehow creating a convincing dramaturgy without clearly differentiated characters or a conventional plot.Much credit is due to her stage designer, Mirjam Stängl, and her ingenious set, a succession of folding panels that expand and contract over the width of the stage like a fan, and Marcus Loran for his hallucinatory lighting design. Thanks to the attentive artistry of Süsskow and her team, Handke’s 60-odd page pamphlet comes to life in an emotionally resonant performance about memory, loss, regret and the nature of art.Separating the art from the artist shouldn’t mean giving artists a free pass. In the context of this sensitively paced and finely wrought production, however, there seemed little doubt that Handke is attuned to the moral responsibilities of storytelling.TheatertreffenThrough May 29 at various venues in Berlin; berlinerfestspiele.de. More