Infinith tre heads to Beijing with Kafka’s Ape- Sept. 3-6

Beijing anticipates Montreal tour de force performance

Infinith tre presents

Kafka’s Ape

At the Qinglan Theatre, no. 24, Dongsi Shitiao, Dongcheng District, Beijing

Starring Howard Rosenstein; Adapted and Directed by Guy Sprung

Performed over 100 times to critical acclaim, Kafka’s Ape is one of Infinith tre’s most successful plays, seen in Montreal, Toronto, New York, Stratford, Edinburgh and Tokyo… and now Beijing!

Excerpt from the original performance: Kafka’s Ape; brief interview with actor Howard

Local independent theatre company Infinith tre is proudly taking its critically acclaimed Kafka’s Ape on tour once again, this time to Beijing, China. Powerhouse Howard Rosenstein is riveting in adaptor/director Guy Sprung’s captivating play. This mesmerizing production plays September 3-6 at theQinglan Theatre in central Beijing.

I deliberately don’t use the word ‘freedom’. ‘Freedom’ is a powerfully seductive word which your so-called civilized world uses very cleverly, very effectively, to entrap and occupy whole continents.”– Redpeter

Based on Franz Kafka’s short story “A Report for an Academy” (1917) and adapted by Sprung from the original German, Kafka’s Ape upends the notion of civilization and what it means to be human in a world of routinized inhumanity. “The relevance of the play’s anti-war themes, negative portrayal of mercenary militarism and war-for-profit has a strong resonance for Chinese audiences,” said Sprung. The show is an unnerving satire on ‘otherness’ and the compounding growth of private military companies. Fueled by bloodlust and alcohol,Rosenstein stars as keynote speaker and primate, Mr. Redpeter, in a theatrical tour de force. This classic tale of freedom, power and alienation is more current than ever.

For more information on Kafka’s Ape in Beijing:

Infinith tre’s mission is to develop, produce and broker new Qu bec theatre that is as entertaining as it is relevant, beginning with the belief that live theatre is an essential part of society’s democratic discourse and that great theatre speaks to and about its own community.

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