Draconis Lacrimae

2.11 at 21:00 // tickets

Gouden Zaal, Beursschouwburg

 

 

Draconis Lacrimae is built upon the collective stories and creatures generated during a Fantasy Rol Playing Game campaign. Taking the detailed rules systems from these games as a starting point, the piece explores how representations of identity are saturated with fantasy and speculation.

Role-playing games function as textual and pre-digital tools of identity exploration and world-building, as they invite participants to occupy a liminal role located at the boundaries of person, player and character.

The characters and stories in Draconis Lacrimae are created from the intimate biography of each performer. The problematic staging of the performer’s identities, through fantasy tropes, questions how representations of gender, race or illness can create necessary categories that end up generating domination and segregation nonetheless. The fictional world created by the players-performers is the ground in which their diverse subjectivities can coexist and relate to each other without the burden of prejudices installed in realistic narrations.

The rules and instructions for the game can be found in the publication Draconis Lacrimae The Player’s handbook. Published by a.pass and designed by P.G. Howlin, the game is an invitation for the readers to play themselves otherwise and encounter otherness as an accomplice.

 

 

 

CREATION AND PERFORMANCE Anaël Snoek, Camilo Mejía Cortés, Joshua Serafin, Pablo Lilienfeld & Federico Vladimir

CONCEPT AND GAME DESIGN: Pablo Lilienfeld & Federico Vladimir
SOUND TALISMANS by Silvia Weidenbach
THE ALIEN DRUID MONOLOGUE by Sabina Urraca

THE ALIEN DRUID SONG LYRICS by Pythagoras (from Ovid’s Metamorphoses)
COROLIAN QUEEN Gustavo Gláuber
ILLUSTRATIONS Roi Pardo
LIGHT DESIGN Hadrien Jeangette
SCENOGRAPHY AND VIDEOS Federico Vladimir
MUSIC AND SOUND DESIGN Pablo Lilienfeld

 

CO-PRODUCERS Ayuntamiento de Madrid, Comunidad de Madrid

SUPPORTED BY wpZimmer, AC/E Acción Cultural Española, Spanish Embassy in Belgium

 

RESIDENCY SUPPORT wpZimmer, workspacebrussels, kunstencentrum BUDA, CC Jacques Franck.

 

THANKS TO Julia Rubies, Nathaniel Moore, Mario Barrantes, a.pass, Federico Protto, Laura Kumin, Javier Cuevas and Matías Daporta 

 

DRACONIS LACRIMAE THE PLAYER’S HANDBOOK, published by a.pass, designed by P.G. Howlin, with contributions by Sabina Urraca, Florence Shaw, Roi Pardo, Heidi Smith, Federico Protto and Nacho G. Riaza. 

 
Federico Vladimir:@federicovladimir
Pablo Lilienfeld: @pablolilienfeld
Anaël Snoek: @anaelsnoek
Camilo Mejía Cortés: @camilo_mejia
Joshua Serafin: @joshudoser
Hadrien Jeangette: @hadrien1401

We’ve been together since 2014. We live and work between Brussels and A Coruña.
Our work has become interwoven with our relationship, starting from intimacy to explore representations of collectivity that question hegemonic ways of belonging and of narrating ourselves. By using speculative fiction as a world building tool, we create spaces in which domesticity, recreation, marginality and desire converge. In our performances, films and installations, we collaborate with our relatives, friends, lovers, viruses, ghosts and other companions.
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Global Majority/
BIPOC separatist evening

The show on the first evening (15th April) is a separatistic evening for people of the global majority/BIPOC. So please only book that evening if you identify with those terms. The show on the 16th of April is open for all. ---- We, Adam and Amina Seid Tahir, see how the terms BIPOC and people of color are less fortunate in their attempts of combating white supremacist andimperialistic ideologies, since they form in relation to whiteness (those ”not of color”) and therefore keeps whiteness as the norm. We rather use the term people of the global majority since we aren’t interested in identifying in relation to whiteness or white supremacy. ---- The term Global Majority was coined by Rosemary Campbell-Stephens. ”Global Majority refers to people who are Black, Asian, Brown, dual-heritage, indigenous to the global south, and or have been racialised as 'ethnic minorities’.” 1 This term was created for people of the global majority to not have to identify in relation to whiteness and to emphasize the fact that these groups make up the majority of the world’s population, specifically 80%. ---- The reason for choosing to use the term BIPOC despite this, is because we’re aware that the term people of the global majority hasn’t received as widespread attention yet. And since our main goal for this showing is to welcome our siblings from the global majority for a showing without the presence of a white colonial gaze, we choose to use the term that seems to be most commonly used in this festivals locality. ---- 1. Global Majority; Decolonising the language and Reframing the Conversation about Race” by Rosemary Campbell-Stephens, 2020