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The plays of Alvaro García de Zúñiga don’t have characters. His theatre is constructed by the actors who, using theatrical convention, interpret his texts and create a stage ready for a multiplicity of interpretations within which anything is possible. His works are, therefore, a variable geometry because they can be represented by one person or by many. | The plays of Alvaro García de Zúñiga don’t have characters. His theatre is constructed by the actors who, using theatrical convention, interpret his texts and create a stage ready for a multiplicity of interpretations within which anything is possible. His works are, therefore, a variable geometry because they can be represented by one person or by many. | ||
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| + | The theatre is nothing but cinema… | ||
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| + | The theatre opens the parenthesis: The actors – reactors – all show off. Give birth to a window that is one from an airplane, because the theatre flies/steals. We fly/steal. High. At the same time in an airplane the passengers watch a catastrophic film and then make one. And the plane crashes into the theatre in the middle of the presentation. Everyone is dead. At the autopsy we open the skull as we would open Pandora’s box, and we close the parenthesis | ||
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| + | Sur Scène et Marne | ||
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| + | Musical theatre, polyphonic, broadway boogie woogie. In the Scene/Seine and the Marne is a “how (do) we say musical”, as the author maliciously says. Forced to be isolated in the Scene/Seine, the actors are fed up (Marne), sinking, they lose the North. | ||
| + | _ reading concert by Jean Pierre Robert (double bass) and Alinea B. Issilva, Festival Musica Viva 1999 Lisbonne | ||
| + | _ polyphonic lecture by Dominique Parent and Arnaud Churin, Institute Franco-Portugais de Lisbonne, May 2003 | ||
| + | _ polyphonic lecture by Dominique Parent and Arnaud Churin, Word Marathon, Toulouse, May 2005 | ||
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| + | Theatre Impossible | ||
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| + | Lamentably – alas and alak – after months and months of writing, rehearsals, re-writings, discussions and serious discussions about the content of the piece Theatre Impossible - and also the question of whether or not it has any (contents), that it may not be entirely obvious - the team/cast arrived at the conclusion that it is absolutely impossible to mount “Theatre Impossible” as forseen. | ||
| + | This impossibility, paradoxically, more than a pebble in the shoe, fits like a glove, or better said with the rhetoric of the tongue, unpredictably permits us to present, on the dates (fruit) foretold, a shoe, a hand and a tongue. It is already that. | ||
| + | - With Leopold von Verschuer created at ACARTE, Gulbenkian Foundation, Lisbon, November 1998 | ||
{{Voltar}} | {{Voltar}} | ||
Revision as of 16:50, 6 April 2007
The plays of Alvaro García de Zúñiga don’t have characters. His theatre is constructed by the actors who, using theatrical convention, interpret his texts and create a stage ready for a multiplicity of interpretations within which anything is possible. His works are, therefore, a variable geometry because they can be represented by one person or by many.
The theatre is nothing but cinema…
The theatre opens the parenthesis: The actors – reactors – all show off. Give birth to a window that is one from an airplane, because the theatre flies/steals. We fly/steal. High. At the same time in an airplane the passengers watch a catastrophic film and then make one. And the plane crashes into the theatre in the middle of the presentation. Everyone is dead. At the autopsy we open the skull as we would open Pandora’s box, and we close the parenthesis
Sur Scène et Marne
Musical theatre, polyphonic, broadway boogie woogie. In the Scene/Seine and the Marne is a “how (do) we say musical”, as the author maliciously says. Forced to be isolated in the Scene/Seine, the actors are fed up (Marne), sinking, they lose the North.
_ reading concert by Jean Pierre Robert (double bass) and Alinea B. Issilva, Festival Musica Viva 1999 Lisbonne
_ polyphonic lecture by Dominique Parent and Arnaud Churin, Institute Franco-Portugais de Lisbonne, May 2003
_ polyphonic lecture by Dominique Parent and Arnaud Churin, Word Marathon, Toulouse, May 2005
Theatre Impossible
Lamentably – alas and alak – after months and months of writing, rehearsals, re-writings, discussions and serious discussions about the content of the piece Theatre Impossible - and also the question of whether or not it has any (contents), that it may not be entirely obvious - the team/cast arrived at the conclusion that it is absolutely impossible to mount “Theatre Impossible” as forseen. This impossibility, paradoxically, more than a pebble in the shoe, fits like a glove, or better said with the rhetoric of the tongue, unpredictably permits us to present, on the dates (fruit) foretold, a shoe, a hand and a tongue. It is already that. - With Leopold von Verschuer created at ACARTE, Gulbenkian Foundation, Lisbon, November 1998