Lars – a portrait of Lars Von Trier – is a contemporary prose piece, a journey inside the mental landscape of the Danish film director Lars Von Trier.

At the centre of the narration stands the complex relationship between Lars Triers' self-narration and the monstrous portrait given to him by the public media. Nevertheless, we are not interested in truth itself: we have taken possession of our point of view and smashed it against this contemporary myth. With these broken pieces of character, then, we fabricate our own narration.

Lars is also a meditation upon the biographic genre and especially upon the cinematographic Biopic. Compared to the latter, the relationship between the aim and mean are diametrically inverted. In fact, here the traditional object of the investigation – the life of a man - is actually the means of the representation - the theatrical narration.

Watching Lars undertaking a hypnosis session, we enter with him into a deep state of conscience alteration. In this dreamlike world, the monologues – obtained by assembling many actual interviews given by the director – are interwoven with physical and vocal parts. By means of abstraction and formalization, through a visual synthesis, we try to reconstitute the speech's original layers of meaning of meaning.

Given the patent performativity of Lars' research, we decided to consider him as a performer – it shall be enough to remember how all of his sets become an happening and how he always used his figure to animate the debate concerning the outdated cinematographic aesthetic conventions.

Once the director is considered as a performer, the focus of the research is naturally shifted onto the problem of the body of the artist and the relationship which stands between control and loss of control. This theme is developed on stage through some sculptures-prosthesis which hinder the actors in their movements. They represent the embodiment of the technical and formal limits, the obstructions, self-imposed by the director through his periodical manifestoes, which precede his films. These sculptures – created by Alessandro di Pietro – modify the actors’ scenic presence, transforming them into active symbols, which altogether shape a cubist portrait of the film director.

Willing to sabotage the routine of our expressive techniques and following Lars' “Vow of chastity” - Dogma '95 -we decided to impose on ourselves some technical limits in the creation of this show:

No images taken from the author's films are directly employed in the show No videos (monitors or projections) are employed during the show No Italian language -our mother tongue- is employed during the show The direction is part of the scene and the lights are moved by the performers It is forbidden to produce documentation of the work, which is not an organic part of its performative process The show can be displayed only by eating pop-corn.