The Song of Inanna

Among the research directions highlighted in the first Festival curated by Willem Dafoe stands out a connection to the 1975 Biennale Teatro led by Luca Ronconi, which brought to Venice a significant representation of what was then known as the New Theatre. That edition showcased both the North American scene—most notably the Living Theater—and avant-garde voices from Northern and Eastern Europe. Among the key figures celebrated by the 2025 Festival, fifty years later, is Thomas Richards: director, pedagogue, actor, and witness to one of the 20th century’s most pivotal theatrical experiences—the legendary Workcenter founded by Polish master Jerzy Grotowski in 1986, in Pontedera, Italy.

A creative institute for lifelong artistic education, the Workcenter became a destination for actors and directors seeking new expressive paths. It carried forward the legacy of Grotowski’s earlier laboratory theatre in Wrocław, Poland, which laid the foundation for his “poor theatre” philosophy – centering the actor-spectator relationship and stripping away all that is superfluous. Appointed director in 1999, Richards – whom Grotowski called his “essential collaborator”—led the Workcenter until its closure in 2022. He then gathered a group of performers from different cultural, aesthetic, linguistic, and artistic backgrounds into a new company: Theatre No Theatre.
With them, he now brings to Venice the European premiere of Inanna, a creative project that revives an ancient Sumerian poetic cycle inspired by the figure of the High Priestess Inanna. Central to Sumerian mythology, Inanna is not only a divine figure but also embodies femininity, spirituality, and inner strength. Her story – marked by journeys, trials, and tribulations – reflects the complexity of both nature and the human condition.
Theatre No Theatre’s work on these ancient texts began with their translation into the native languages of the company’s performers (including Spanish, English, Korean, Italian, and Hebrew), and continued with the creation of sonic textures inspired by traditional chants and storytelling methods from each culture of origin. With meticulous attention, the group has constructed a performance that seeks to transcend the barriers often raised by linguistic and cultural differences.
Remaining faithful to the pedagogical nature of his work, Richards will also lead a workshop as part of the College. Meanwhile, Spazio Cinema – the Festival’s section dedicated to documentary and film contributions from guest artists – will screen Action, the last performance Richards created under Grotowski’s supervision.