Portal de Abaran
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COMPANY: MORFEO TEATRO
A CRITICAL FIERCE TO THE IBERIAN MACHISM UNDER THE GLASS OF THE SPIRIT
"I'm doing something new, different from my previous works, this theater is not representable for actors, now I'm writing theater for dolls, it's something I title Esperpentos, it's looking for the comic side in the tragic part of life itself. painful scene, perhaps brutal, for the spectator a simple grotesque farce. "
This statement by Valle-Inclán himself in an interview to the press serves as a pretext for staging to start our version of LOS CUERNOS DE DON FRIOLERA, one of the three "esperpentos" that make up his great work Tuesday of Carnival.
In Los Cuernos by Don Friolera, a Spain of the early twentieth century is portrayed in which Valle-Inclán criticizes the moral prejudices of the loss of honor by "the horns";
For that reason, he pretends, and with great irony, mocks his characters and his behavior as a Sanetero symphony, in an unprecedented satirical parody that provokes cruel and unbridled laughter about the macho tradition of the Spaniards.
The story tells how Lieutenant Astete -don Friolera-, receives an anonymous warning him that his wife is cheating on him.
Returned crazy by the jealousy of his frivolous wife, Dona Loreta, tempted by a chulapo of halftones and neighbor, the barber Pachequin, and instigated by a malicious neighborhood, plot to take revenge.
The daughter of both, Manolita, enters the scene just when the alleged "cuckold" will kill the innocent lovers, tame the anger of his father.
However the pressure of his military colleagues obfuscates him in the depths of his pride, and resorting to an ancestral code of honor, and pistol in hand, he commits to commit the crime, shouting "In the corps of carabinieri no There are bastards! "
Valley also makes a review of the atmosphere of the underworld and popular classes, the connivance of smugglers and army officers, ultimately a ruthless portrait of the deteriorated moral consistency of Spanish society and the atmosphere of frustration after the loss of the Colonies.
It also reniega Valley of the intellectual and political conservatism of its time, of the religious prudery, and of the preservative and proud Spanish literary tradition from Cervantes to its days.
In his words: "In literature we appear as bloodthirsty barbarians, then we are treated, and we see that we are sheep." ...
But above all that pessimism Valley unloads its most powerful weapon of seduction, laughter.
A devilish laugh that resounds over our heads, that we can not contain from the beginning to the end of the absurd "esperpento", that heals us of any affection, an eternal and anarchic laughter with which he himself gives example: "All our art comes from knowing that one day we will pass, that knowledge equals men much more than the French Revolution.I am like that poor man, who, when the cacique asked him what he wanted to be, answered: I, deceased ";
the cosmic laughter of the Esperpento.
Our set - a gauze paired with collage painting technique that allows different sets of transparencies - is inspired by the series of paintings "Elegy to the Spanish Republic" by the painter Robert Motherwell, belonging to the New York School of Abstract Expressionism in the middle of twentieth century.
Faced with these pictorial gauze manifests the presence of a great teatrine of puppets of time, carried on a human scale, where the scenes of the grotesque are developed.
In this series of paintings that Motherwell paints, when visiting Spain after the civil war and being impressed by the tragic consequences of the conflict, it is a tribute of the painter to his admired Spanish artists, Picasso and Miró, choosing the form of "pictorial elegy" as ritual of mourning in the manner of Lorca in his poetry, rooting the expressiveness of his tragic black forms hiding a luminous background, with the culture and tradition of the Spanish baroque and as transmitter of an emotional abyss.
ARTISTIC TEAM
Author: Ramón del Valle-Inclán
Dramaturgy and Direction: Francisco Negro
Comedians: Francisco Negro, Mayte Bona, Felipe Santiago, Adolfo Pastor, Santiago Nogués and Mamen Godoy
Costume design: Mayte Bona
Set design: Regue Fernández Mateos
Technical director and lighting: José Antonio Tirado "Pachi"
COMPANY: MORFEO TEATRO
a production of MORFEO TEATRO, in collaboration with MONTSE LOZANO AND GLORIA MUÑOZ
Source: Agencias
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