ULTRA
TEATRE KURSAAL
08/11/2024
MANRESA
The first production by Papeles Manifesto as a performing arts collective.
Playwriting and Direction: Daniel Rived Magem
Lighting Design: Àlvar Riu Dolz
Sound Design: Aire
Costume Design: Camila Gelardi
Head Technician: Jordi Mero
AD: Kolya Dam
With: Daniel Rived Magem, Blanca Valletbo, Marc Soler, Pol Hermoso, Aina Quiñones, Ariadna Cabrol, Timothée Kamba, Eloi Ortiz, Armand Lafita, Marta Albert, Enrique Monteoliva, Nina Mirez, Eladio Palomino, Raúl Moreno, Luis L. Anyo, and Manel Rived.
Photography by Oscar Matt.
A black mass chanting hymns, performing exhausting actions, and reenacting mythical moments from football pop culture.
Caravaggio was the first ULTRA.
200 years later, in Manhattan’s Astor Place, a riot left 30 dead and 120 injured at the doors of the Opera House. The cause of the brawl: a dispute between Edwin Forrest and William Macready over who performed Macbeth better.
Caravaggio became the first ULTRA after fatally mutilating Ranuccio Tomassoni’s penis during a game of pallacorda.
And the Astor Place was the last stronghold of violent struggle in defense of Shakespearean excellence.
This play is born from a memory. The memory of hearing 5,000 drunk Scotsmen silence 80,000 home fans on a Champions League night at Camp Nou. They did it by uniting their voices to sing the most beautiful anthem I have ever heard.
Pasolini said that football is the last sacred ritual that remains in our time. Is it absurd to exalt 22 people chasing a ball to the level of gods?
Perhaps it is... But how envious we are that they can truly move the masses.
This piece emerges from that impossible yearning—to bring the visceral energy of a stadium into the theater.
TEATRE KURSAAL
08/11/2024
MANRESA
The first production by Papeles Manifesto as a performing arts collective.
Playwriting and Direction: Daniel Rived Magem
Lighting Design: Àlvar Riu Dolz
Sound Design: Aire
Costume Design: Camila Gelardi
Head Technician: Jordi Mero
AD: Kolya Dam
With: Daniel Rived Magem, Blanca Valletbo, Marc Soler, Pol Hermoso, Aina Quiñones, Ariadna Cabrol, Timothée Kamba, Eloi Ortiz, Armand Lafita, Marta Albert, Enrique Monteoliva, Nina Mirez, Eladio Palomino, Raúl Moreno, Luis L. Anyo, and Manel Rived.
Photography by Oscar Matt.
A black mass chanting hymns, performing exhausting actions, and reenacting mythical moments from football pop culture.
Caravaggio was the first ULTRA.
200 years later, in Manhattan’s Astor Place, a riot left 30 dead and 120 injured at the doors of the Opera House. The cause of the brawl: a dispute between Edwin Forrest and William Macready over who performed Macbeth better.
Caravaggio became the first ULTRA after fatally mutilating Ranuccio Tomassoni’s penis during a game of pallacorda.
And the Astor Place was the last stronghold of violent struggle in defense of Shakespearean excellence.
This play is born from a memory. The memory of hearing 5,000 drunk Scotsmen silence 80,000 home fans on a Champions League night at Camp Nou. They did it by uniting their voices to sing the most beautiful anthem I have ever heard.
Pasolini said that football is the last sacred ritual that remains in our time. Is it absurd to exalt 22 people chasing a ball to the level of gods?
Perhaps it is... But how envious we are that they can truly move the masses.
This piece emerges from that impossible yearning—to bring the visceral energy of a stadium into the theater.
