Why do we let ourselves fall into the endless darkness that close out the light of the stars. Why do we swallow the coldness that attach the sweet fatigue to our body and let ourselves sink towards the bottom. Why do we not fight back and strive to once again join the living world. And when we do – why do we always end up coming back. Back to the darkness. Back to the coldness. Back, back to the water.
We, who were washed away is a play about those who are faced with a choice: to survive the water or no longer exist for the surrounding world. In the play, the influence fears and dreams, loneliness and togetherness, despair or hope have on our viability will be explored.
The fairies live in a dimension, closely connected to ours by human emotion. Every single feeling, that is felt by men, will echo in the inner lives of the little people. Through the fairy dance we will experience the last 200 years of Irish history.
Through dance, non-verbal interaction and Irish folk music, we´ll explore the emotions connected to the woeful, passionate and dramatic events that characterized life in Ireland in the 19th and 20th century. And we´ll see it all through the eyes and bodies of the fairies. The Irish feared and respected the little people, because they knew how great influence they had on the human world.
But little did they knew, that the human world had an even greater influence on the fairy dimension. And that every dance of joy, scream of hunger, poem of romance and furious battle cry would create floods of emotions in the other world.
In the workshop characters will be formed from analyses of Irish folk music, and the players will create a common language of dance and non-verbal interaction. A language they´ll use in a epic tale of devastating famine, patriotic rebellion, blind hate, endless love and first of all; the hope for a better tomorrow.
At first the plane was just delayed, now it is gone from the monitors. Suddenly a message sounds over the loudspeakers: “Anyone waiting for passengers on Flight GO901, please contact information.”
People are waiting for their friends and loved ones, who are on a flight home. We follow the characters and their reactions from when the flight is merely delayed until the unthinkable happens.
The larp centers around the uncertainty of the fate of the ones you love and the thoughts that fill your head during that long wait. Participants are divided into groups to create the person they’re waiting for, and their own characters, with inspiration from the passenger’s luggage.
A larp for those who enjoy the silent tragic immersion into the fear for the loss of your loved ones.
You’ll have a chance to live as an egg. With egg-like contact with world, egg-like dreams and goals, egg-like purpose, egg-like destiny. It’s a roller-coaster of emotions. Players should be comfortable with some touching.
This LARP designed to be very emotionally intimate. Players might open the existential drawers, they haven’t reached in a long time. We will create a very sensitive and very connected community. We will experience the hope and hopelessness.
Disclaimer: NOT recommended for claustrophobic participants. NOT recommended for the ones who suffered a loss in close environment recently or for the ones with severe anxiety, depression.
The damage that was done and the treasures that prevail
By: Nina Essendrop & Kamilla Askholm Jørgensen
““I came to see” is about a search for a community, a search for life. A place where sound, touch and smell will be vital for your survival. Your instincts will need to be awoken, you can play with us, you can let out the nature inside you, be it flowers or stone. You need the touch of someone, you need the love for something. Wind and water will guide you. Earth and fire will make you dirty and burn your skin. Objects will be laid out for interaction and you go through steps where you might get closer to the community or further away, lost in surroundings.
“I came to see” is a abstract and physical larp about the power of nature and the connection with self, others and the surrounding environmemt. ”
By José Castillo Meseguer, Juantxi Rodriguez
Run by: Nast Marrero and Muriel Algayres
Dear Lucy is an epistolar larp.
It revolves around Lucy Westenra, seen through the eyes of those that knew her, while they witness her transformation from a bright young thing into a bloodthirsty, undead being. Through the larp, her dearest ones narrate with the help of letters each step of her vampiric transformation and finally discuss if they will be brave enough to put a stop to her unlife.
The main inspiration is the novel “Dracula” by Bram Stoker, published on 1897. Together with other influences like the film by Coppola (1993), “Nosferatu” by Murnau (1922) or “Carmilla“ by Sheridan Le Fanu (1872).
The larp focuses on Lucy, the only character in the novel that experiments a complete transformation. Also, the forgotten one in later adaptations.
This house hasn’t always been old or so empty. For a long time, many decades ago when your great-great-grandparents moved in, it was vibrant, full of life and conversation. Back then it didn’t need the wake of a funeral to fill it with family. And during the Blitz, how everyone came together to sing and dance to keep their spirits up.
It all happened here, in this house. The memories and ghosts of those times past permeate the very walls. Yet all seems forgotten now. The life of this house has changed so much…
In Life of a House, you will play three different members of a household in different eras – the Victorian period, World War II, and contemporary times. This is a low-key, realistic drama about a place and the people who have inhabited it. You will explore what it means to be part of a family and a community, and how such dynamics have changed over time and according to the social mores of the period.
By: Jeppe Bergmann Hamming and Maria Bergmann Hamming
Twelve people in a café on Montmartre at the end of the 19th century – all entangled in issues of love, beauty, freedom and truth. Day after day they live out these issues through their art, trying desperately to break free or to find that one true love.
Day after day goes past, and for each day another passed chance. But tomorrow… tomorrow will be different… Together we will create these 12 fates and live them out through the use of body, emotion, music and art rather than talking about it.
We play with our bodies rather than our heads. The scenario provides props and costumes needed for the scenario, but the player needs to bring a basic black set of clothes to wear.
The larp was written and played at Fastaval 2013 in Denmark, Black Box Horsens, Stockholm Scenario Festival, Grenselandet, “Playing to lose” (London), Metamorfozes Larp Festival.
Thin walls separate near-identical houses with near-identical families eating near-identical dinners. Smile. Eat your vegetables. Don’t raise your voice. And whatever you do, don’t let them hear the music. What would the neighbours say? An optimistic game about freedom and oppression in a society where parties are forbidden.
The game moves between realistic drama of a family dinner in near-future dystopian suburbs, and the surrealistic wild world of dance parties. Players will go between their role as a father, a mother, a son or a daughter, and the manifestation of their inner desires, expressed through movement, touch and colour.
Dancing, party, oppression, expression, freedom, family
By: Frederikke Sofie Bech Høyer, Charles Bo Nielsen, Hans Christian Skaarup, Nicolai Strøm Steffensen
Run by: Charles Bo Nielsen
This is a Blackbox adaption of Evan Turner’s Fastaval Freeform Scenario “Metropolis” from 2012.
Based on the dystopian sci-fi movie Metropolis from 1927, this theatre-style larp takes the players through a series of scenes describing the story of the collapse of the ‘Heart Machine’.
We’re in a world where suppressed workers dwell and labour beneath the surface of the earth, while the wealthy upper class lives in decadence in tall buildings reaching up in the sky. The saint-like Maria encourages the workers to use peaceful methods to improve their situation, but her efforts are in vain.
While each scene generally inhabits two to four characters, the remaining players make up the scenography the city. Being it the the heart machine, the bubbling pots of a laboratory, the city skyline or wealthy Sunday strollers in the park.
The genre is theatre-style larp where the players can decide on how the story develops, but only to a limited degree what happens. The larp uses various techniques to assist the players on remembering the story, such as full transparency, pre-scene ‘voiceover’ and information projected on a wall in the background during the larp.