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About Eyes of Rumanian deer Which is the specific "reality" of theater? The way of creating a (theatrical) reality which does not represent nor reproduce real life. We propound to introduce elements of "real" nature (natural orange trees, juices) in a fictionalized plot (with traits of fantastic nature). A "reality" belogning to theatricality that does not mainly lean on action. Narrating through images composed from real elements, from word and time dealing. Creating more than an illustrative meaning, a poetic link between characters and context. A work of different gazes convergin on a same reality. The real event does not neatly reach its outline because of different crossing perceptions: the woman-mother image intercrosses the idealizing gaze of her daughter (Rumanian female singer), the hostile gaze of her son (drunkard woman coming from a low-class enviroment) and the envious gaze of her husband (stuborn, dangerous woman along with being a foreigner). A play crossed by the idea of constantly reduced places and senses. Future connotes an idea of shortening. Plantations being reduced to potted orange trees. Mother, to an eye; delivery, to menstruation; fire catastrophe, to a natural plague. The complexity of man's need (and its reality), to the obsession of nutrition (the juice). Last place: the breast of a woman (daughter-mother-sister). A condensation of senses that presuposses the passage from tragic (the story tells the myth of Dionysius and the Furiae and Persephone's myth: abduction and alteration of natural processes and cycles) to a naturalization. There is a growing tragic occurrence up to scene V, which in the post-scene stops, a new orden being constructed (another naturalness) The story tends to repeat itself with some variations, with an innovative element that always introduces a reductive perspective. On account of that fact, more than following a linear story plot (causality) we rather work the scenes as unities by themselves. Scenes function as transversal categories. What happens at the present time is a mixture and a kind of synthesis of the inherited, of something that has already been built and an effect of innovation. This transformations allow the passage from a configuration to another. The idea of possible simultaneity of the scenes (or at least their casual happening in certain order), the indifference of their links and the coexistence of past elements and their alteration lead us to try insertions as a device for scenic construction. The three characters are constantly on stage. They meet and miss each other in two strolling places: a tree and a musical equipment. There is no outside. The outer side in only a reference. An account of past. It belongs to past. In its turns, present time is a short, small, reduced, slow and deteriorated time. In some sense it is also unreality, a non existing time, because it is basically occupied by stories of the past. Future time is anyhow the most uncertain and suffocating time. It supposes reduction to the limit of desintegration, annhilation, nothingness. It is the main indifferentiation. Vulnerability crosses the whole story (the characters being exposed to past-present, catastrophes-natural cycles, chance-fate, invariability-innovation, necessity-freedom, differentiation-uniqueness, konwledge-mistery, revelation-forgetfulnes. We propose to create this sensation of vulnerability and asphyxia of the characters and their context, based on a work of modelling time. Feeling the passage of time. From the initial vertigo of the first stroll, that which sets up the trip between two times, to the reaching of flattening, stillness. To feel the stench of pestilence. Rot and dry have specific odors which install in the work from morosity, through handling an space reduction to the point of asphyxia. TECHNICAL INFORMATION
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E-mail: Bcatani@argentores.org.ar Espacio cedido por ARGENTORES |