Young playwright and director Leonardo Manzan, a two-time winner of the Venice Theater Biennale, returns to the LAC with a biting and thought-provoking experiment on the role of the artist: by presenting himself as a work of art, he transforms the theater into a museum gallery. On stage, a cabaret of absurdities, paradoxes, and provocations unfolds, becoming a merciless satire of self-celebration.
A show by Leonardo Manzan
Leonardo Manzan directs Leonardo Manzan in one of the most anticipated productions of the year: Leonardo Manzan’s new show
Right of First Refusal
!
LAC+ members have first refusal starting December 1.
Sales open to the general public starting December 8.
The show features full nudity throughout the entire performance.
Cigarettes are lit during the performance.
Just like on a museum tour, audience members will be provided with audio guides.
Teatrostudio
25.-
Mon 22.03
20:00
Tue 23.03
18:00
A show by Leonardo Manzan
Leonardo Manzan directs Leonardo Manzan in one of the most anticipated productions of the year: Leonardo Manzan’s new show
Right of First Refusal
!
LAC+ members have first refusal starting December 1.
Sales open to the general public starting December 8.
The show features full nudity throughout the entire performance.
Cigarettes are lit during the performance.
Just like on a museum tour, audience members will be provided with audio guides.
Teatrostudio
25.-
Mon 22.03
20:00
Tue 23.03
18:00
After blending theater with rap and DJ sets in *Cirano deve morire* and reinterpreting *Faust* to examine the shortcomings of contemporary theater, Leonardo Manzan presents a vernissage that opens with a programmatic statement: “Every work of art could be titled *Self-Portrait*.” For this reason, he welcomes the audience while standing on a pedestal: “Welcome. It’s a true honor to be here,” he says—implying: for you.
The result is a performance that unmasks the clichés of contemporary art and transforms autofiction into a scathing parody. A reflection on the cult of the self in the absence of the self, on the drama of those who say “I” without finding anyone to answer “you,” on mediocrity that celebrates itself to the point of becoming a system.
With sharp and provocative irony, Manzan attempts to reestablish the principle of the artist’s exceptionality, opposing the idea of a democracy of art. Because perhaps there is a reason why he is on the pedestal and you are not. An invitation to artists to reclaim the stage with arrogance, to kill the true protagonist of today’s theater: the talented loser.