In a striking departure from the Hollywood spotlight, acclaimed actor Willem Dafoe returned to his theatrical roots this weekend as he opened the 53rd Venice Biennale's International Theatre Festival with a daring, scriptless performance that left audiences intrigued, bewildered, and deeply moved.
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Titled No Title (An Experiment), the production marks Dafoe's boldest foray into experimental theatre in decades. Staged without a traditional script, director, or linear narrative, the piece was developed in collaboration with Italian actress Simonetta Solder and draws heavily from the surrealist archives of legendary avant-garde playwright Richard Foreman.
The performance premiered Saturday evening at Teatro Piccolo Arsenale and launched the Biennale's theatre section, for which Dafoe serves as this year's Artistic Director. The overarching theme of the festival — Theatre is the Body – Body is Poetry — is more than a poetic gesture. It is, as Dafoe insists, "an invitation to destroy form and rediscover instinct."
An Anti-Theatrical Theatre
In No Title (An Experiment), Dafoe and Solder sit at the edge of a grated metal platform, surrounded by broken glass and subdued lighting. For nearly 90 minutes, they read aloud a shuffled deck of more than 600 index cards — each inscribed with a phrase lifted from Foreman's notebooks. The result is a collage of disjointed thoughts, internal monologues, and emotional static.
The absence of traditional direction isn't accidental. The actors intentionally rehearsed separately and allowed randomness to dictate the final performance. "Theatre has always been about control," Dafoe said in a post-show panel. "What happens when you surrender to chaos?"
Critics are split. Some hailed the performance as a cerebral triumph and a living homage to the late 20th-century experimental theatre scene in New York, where Dafoe trained with The Wooster Group. Others found the piece "oddly banal," arguing that the absence of dramatic arc dulled the emotional experience.
But Dafoe isn't chasing consensus. "This isn't a story," he explained. "It's a ritual."
A New Era for Venice Theatre
The Biennale's theatre segment, long overshadowed by its film and art counterparts, is receiving renewed attention thanks to Dafoe's appointment. His programming includes ritualistic performances, body-based choreography, and participatory installations — drawing from his years of experience working on both screen and stage.
Festival director Stefano Ricci described Dafoe's vision as "ferociously intimate," and one that seeks "to awaken audiences from the lull of spectacle." Future highlights include experimental dance pieces from Japan, minimalist theatre from Argentina, and a participatory street project in Venice's historic alleys.
Dafoe, who has made Italy his home for over 15 years, says this is more than a professional pivot — it's a return to essence. "I've spent most of my life inside someone else's character," he said. "This festival lets me be inside the moment."
