Mathematics is described as the science of pattern and music as the art of pattern, both using meditation within the process of contemplation developing own language of symbols.
1881 brings together an impressive array of talent from local theatre, storytelling, and game design, with each piece of the experience working seamlessly to draw the audience in. The show balances immersion with voyeurism, making you feel both like a participant and an observer — like a puppeteer manipulating the strings, while also being the marionette caught in its dance. Its exploration of Malta's past dependence on external forces resonates with the characters’ own struggles, offering a sensory journey that's as much about reflection as it is about emotional engagement. It’s truly an unforgettable ride.
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1881, an immersive theatre experience by Teatru Malta, isn’t your typical theatre outing. The production takes place in a crumbling mansion, Villa Bologna, and presents an alternative version of Malta in 1881 — where time and space warp, history is reinterpreted, and the apocalypse looms. This review will try to balance the intricate elements of the show while hinting at its historical echoes, without spoiling too much of the experience. The delight lies in the unexpected, in discovering hidden corners of the narrative, and making choices that will ultimately shape your journey.
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The show kicks off with a masquerade ball, set in a Malta stricken by a deadly plague. Participants are given masks and cloaks, entering a world where the island’s fate mirrors its historical past: dependent on external sources for survival, yet grappling with the forces of scarcity, control, and power. The situation is dire — this is not just a celebration but the last hours before an inevitable end.
Much like how Malta’s population in centuries past relied heavily on imported grain for survival, the characters in 1881 face an impending collapse of their own world, fighting against forces beyond their control. The idea of scarcity and dependence is deeply embedded in the production, reflecting Malta’s own historical dependence on outside forces for sustenance during the Knights of St. John era and later under British rule.
As in the real Malta of the 18th and 19th centuries, where the Grandmaster controlled the wheat trade and the Università was both a supplier and a regulator, the world of 1881 is defined by its restrictive systems and the desperate, often conflicting choices made by those trapped within them. Will you surrender to hedonism, like Mistress Mari, or cling to science and hope for a future? The audience is invited to make choices, to immerse themselves in the world’s intricate webs — just as the Maltese citizens of the past were caught between the control of their rulers and the uncertainty of their external dependencies.
After donning my robe and mask, I entered the mansion and immediately felt the weight of the atmosphere, a delicate blend of historical tension and surrealist fantasy.
The beauty of this production lies in the unpredictability of the vignettes that unfold before you. Each part of the house offers a new chapter of the narrative, with different characters performing rituals, quests, or disturbing acts. The narrative is non-linear, so each participant will have a different journey. I deliberately avoided aligning with any one faction, choosing instead to infiltrate every scene I could. This approach, like the Maltese population’s historical choice between hedonism or survival under foreign control, allowed me to witness the dramatic tension between the characters as they navigated their fates.
The Survivor (Nicholas Jackman): Jackman’s performance was one of the most unnerving. His intensity as a character driven by survival instincts, constantly on edge, was palpable. The tension between this character’s actions and the world around him made for an incredibly engaging experience. Like the Maltese of the past, Jackman’s character was constantly at the mercy of forces beyond his control.
There is so much to love about 1881 that it's hard to know where to begin. The costumes (designed by Luke Dimech) and set design (by Sven Bonnici) were exquisite — each room felt like a new world unto itself. The small, quirky details, from the props to the faintly sinister aromas in the air, created an immersive experience that fully transported me to another time and place.
The sound design (by Yasmin Kuymizakis) and lighting (by Toni Gialanzé) were masterfully executed. The soundscapes, particularly during the quiet, reflective moments in the garden with Eve, heightened the sense of being lost in another dimension, while the lighting added layers of mystery and tension. The blending of these elements made the experience feel deeply tactile and real.
At no point did I feel like I could predict what would happen next. Just like Malta’s historical vulnerability to external forces, 1881 thrives on its unpredictability, forcing you to adapt, question, and make choices.
Maltese Theresa Zammit Lupi with a Phd in the conservation of manuscripts from London, has made a cutting-edge discovery while working at the Special Collections of the University Library at the University of Graz, Austria.
The discovery was made during her work while she was inspecting a fragment originally found in 1902 in El Hibba, Egypt. Theresa Zammit Lupi’s has discovered that codices of papyrus, with bindings running through the centrefold, existed as far back as 260 BC. Dating back to times pre Christ, this could be the oldest book in the world. The fragment was first part of a notebook, and includes legible Greek text describing beer and oil taxes. It was later recycled as wrapping for a mummy.
While this is a preliminary dating, the oldest book is a great archaeological, and historical evidence found to be some 400 years older than what was previously thought to be the earliest sample with evidence of stitching in book form.
The Zhuangzi and Tao Te Ching are considered to be the two fundamental texts in the Taoist tradition. The Zhuangzi uses the word "Tao" (道) less frequently than the Tao Te Ching, with the former often using 'heaven' (天) in places the latter would use "Tao".
1 "Carefree Wandering" 逍遙遊; Xiāoyáo yóu
2 "On the Equality of Things" 齊物論; Qí wù lùn
3 "Essentials for Nurturing Life" 養生主; Yǎngshēng zhǔ
4 "The Human World" 人間世; Rénjiān shì
5 "Symbols of Integrity Fulfilled" 德充符; Dé chōng fú
6 "The Great Ancestral Teacher" 大宗師; Dà zōngshī
7 "Responses for Emperors and Kings" 應帝王; Yìng dì wáng
8 "Webbed Toes" 駢拇; Piān mǔ
9 "Horses' Hooves" 馬蹄; Mǎtí
10 "Ransacking Coffers" 胠篋; Qū qiè
11 "Preserving and Accepting" 在宥; Zài yòu
12 "Heaven and Earth" 天地; Tiāndì
13 "The Way of Heaven" 天道; Tiān dào
14 "Heavenly Revolutions" 天運; Tiān yùn
15 "Ingrained Opinions" 刻意; Kè yì
16 "Mending Nature" 繕性; Shàn xìng
17 "Autumn Floods" 秋水; Qiū shuǐ
18 "Ultimate Joy" 至樂; Zhì lè
19 "Understanding Life" 達生; Dá shēng
20 "The Mountain Tree" 山木; Shān mù
21 "Sir Square Field" 田子方; Tiánzǐ fāng
22 "Knowledge Wanders North" 知北遊; Zhī běi yóu
23 "Gengsang Chu" 庚桑楚; Gēngsāng Chǔ
24 "Ghostless Xu" 徐無鬼; Xú wúguǐ
25 "Sunny" 則陽; Zé yáng
26 "External Things" 外物; Wài wù
27 "Metaphors" 寓言; Yùyán
28 "Abdicating Kingship" 讓王; Ràng wáng
29 "Robber Footpad" 盜跖; Dào zhí
30 "Discoursing on Swords" 說劍; Shuō jiàn
31 "An Old Fisherman" 漁父; Yú fù
32 "Lie Yukou" 列禦寇; Liè Yùkòu
33 "All Under Heaven" 天下; Tiānxià
Zhuangzi rejects the distinction between the human and natural world.
Read moreSaħħara’s Tethered is a debut photography exhibition presented in Splendid Gallery located in Strait Street in Valletta. Sahhara’s selection of twenty images showcase the merge of a landscape aesthetic and human form. Highly precise and aesthetically engaging, Sahhara’s work is both classic and timeless.
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"The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves. The meeting of two personalities is like the contact of two chemical substances: if there is any reaction, both are transformed." Carl Gustav Jung
With Take//Two's ROLLING in an exciting TV Talent Show produced by Abigail Mallia and Carlos De Battista where 20+ actors compete in an acting adventure, or an #ActorChallenge exploring Drama, Comedy, Shakespeare, as well as improv!
Enter Rolling, a noble quest to give actors of all ages a shot at fulfilling their dreams.
It is hosted by Abigail Mallia and Carlos De Battista who direct the Twenty//Two ambitious actors through their professional paces. The three finalists now may pursue acting as a professional career. They had auditions, an acting coach, a screen writer, and at the end of the series, for the three standout contestants, a showcase performance, attended and observed by professionals.
The actors are in their 20s and their stories are nicely varied.
