Willem Dafoe Stars in Fragmented Theatrical Experiment at Venice Biennale

VENICE, Italy — Willem Dafoe‘s latest performance at the Venice Biennale Teatro stirs mixed reactions, showcasing a two-actor piece alongside Simonetta Solder that relies heavily on fragments from index cards written by the late playwright Richard Foreman.

In this directorless experiment, Dafoe and Solder engage in an unconventional dialogue while sitting on a circular mound encircled by shattered glass. Their initial act involves drinking from a glass before shattering it on the surrounding debris, symbolizing an ongoing repetition that traps them in a hurtling cycle of fragments.

The piece lacks a cohesive narrative, instead presenting a blend of seemingly random thoughts around themes of time, sleep, and shoes. Dafoe and Solder alternate reading the index cards quickly, with paradoxical phrases like “Nasty is nice” and “So tired I woke up” interspersed among unexpected homilies.

Despite their expressive performances, the dialogue’s lack of structure leaves audiences questioning the intent and impact. “Language is a bitch,” Solder remarks, capturing the essence of the work’s fragmented nature, particularly challenging for English speakers when the actors switch to Italian.

As the performance unfolds, questions arise about the audience’s role in piecing together a narrative from the chaos. With jazzy music and playful lighting, one might hope for a lively dance—yet Dafoe and Solder refrained until their final bows, leaving a lasting sense of missed opportunities.

Though ambitious, the performance reflects an old-fashioned approach to storytelling in an experimental context, ultimately inviting audiences to ponder the absence of a deeper emotional connection.