Excerpts from the press review

Excerpts from the press review - Translated from the French by The Google Automatic Translator

and seen by ...

"Alvaro de Zúñiga is a musician. Or it was originally, before transferring the score in the floor. He studied violin with Sergio Prieto and Norbert Brainin. Now it has abandoned the ropes and rubbed his bow on words. And on languages, the possibilities of various languages. Because there are several languages at Alvaro de Zúñiga. It is currently seeking the French language. " (Antonio Tabucchi) - see full text

"... texts Álvaro are landscapes, in the sense that the playwright Michel Vinaver makes a distinction between the texts machines (which are the workings of a story, with action and outcome) and texts landscapes (which offer a exploration of a state, a situation, a language). Reaching the scene, the texts of the Álvaro contaminate the actor becomes actueur, words are his target or his weapon, since everything is in double-edged sword in that universe. As humor, pervasive, and the jubilation of the language are another setback for a certain despair conveyed by the absurd. " (Eric Pessan) see full text

Alvaro García de Zúñiga is a Don Quixote of languages, also those of cinema and theatre. The first piece that I read was called Theatre Impossible. There was no character or action. When I m'étonnais a few mistakes french, not only did it not at all worried, but every question confused by my side he added immediately. "If so many people around the world speaking languages that they do not there is no reason why it is not possible to the theater." Alvarisation took its course. (Leopold von Verschuer) see full text

"Alvaro is no drama, no literature, no film or music or art: it is simply the Alvaro. This applies also for its approach to the main raw material with which it works: language. His favourite is undoubtedly the French because he feels strongly abroad. And he likes strange that he would give his vote to give voice. He also enjoys the "I "With which he plays constantly as can be seen for example through the dedication he made himself part of the" Manual ":" to myself, because the only time we talked about my talent was abducted on ta, only said it was slow. "(Teresa Albuquerque) - ver full text

I could not hear bent on his violin, but what I have seen him in theatre and cinema, makes me his reflection in the mirror wrapped in an aura of eccentricity, which alone can enable a singular talent. Seeing the excellent documentary he has just carried out on the Hall of Battles Palace Fronteira, I understood that the consistency of its knowledge and its sensitivity, without betraying the playful phrasing that grows so well, is a dominant feature of his portrait. Tender, beautiful, rare. -- (Maria João Seixas) see a french | full text]

on radiOthello

A superlative is provided in this staging: It's' Othello 'most strange that we have ever seen in Zurich. And it must be that this happens when a man of theatre and cinema from Uruguay (national language: Spanish), living in Lisbon (national language: Portuguese), having studied the violin in Cologne and philosophy in Paris and writing coins french achieves a classic English for a room in Switzerland. Alvaro García de Zúñiga did not simply mounted the timeless with current means. But he wrote a new piece around the old Shakespeare: "RadiOtello" - a pass to peak for the troupe and international amateur experience of the scene Zurich. (Alexandra Kedves) Tages Anzeiger 22.02.08

on Press Conference

The play Alvaro García de Zúñiga is on this elevator music of politics, on that fatal for the trickery of speech covers so often. The author identifies a number of these incisive series of words in situations innofensives and apparently joviales, as in the case of commédiens talking about the atmosphere of the film they are promoting, and reveal how doe, despite celebrity ahead, was available at all on the plateau and even warm. Such discour wins to be amplifé ad nauseam, to be offset by exhaustion, but Zúñiga has other targets to shoot down and the play is gaining momentum in the pseudo-frame geopolitical grotesque that follows. The objective, however, is the same: forms of public persuasion, énnoncées endless reveal, in expressing Lautréamont, "a huge amount of importance nule." Whether all this is done with a wonderful comic verve leaves us in the particular situation of wanting to hear more of what so often we do not want to listen. (Mr. António Feijó) - see complete Portogofone XII 2007

on Theatre Impossible

"Theaterzwang" begins with verbal acrobatics

A man asks questions - question. While s'imaginant issues concretely. If that step one, can be seen hopping. (...) "OmU" [oas-t. "] - As original with subtitles. O is played on the stage, U happening in bright letters in the upper right under the ceiling. U comments and criticism which is played down in O. Many of these comic hundred minutes of verbal acrobatics fabulously intelligent develops from the tension that is created between the text and bright actor in flesh and bones. (Westfälische Rundschau, 22 April 2002)

Torture fun: staging purification

In the best moments of Dada this meta-monologue, however, clarified by gestures, we believe hear Heidegger in costume Schwitters to Kanak criticism of Wittgenstein. (…) This irony staging tries to draw as Münchhausen by his own hair of the existential bourbe where she lets herself voluptuously réengloutir a moment later. It is a delicious agony, but the ordeal is part of any genuine purification. (Berliner Zeitung, 12 April 2002)

on The Theatre is just Cinema

The Theatre is what humans want to destroy

"It is the return of Alvaro de Zúñiga, the author of Impossible Theatre, which for more than an hour, flooding the room with an irresistible humor. Prejudices theatre, its references, artistic pretensions and "serious" theatre, everything is jeopardized, deconstructed, turned upside down "(Público, 19 March 1999)

The follies and dylemnes attacking players

"The actors are bad and what is on stage is of no importance. The theatre is a "pie" and just a good love story to captivate the public. But if the author wants "The theatre is that the film" (...) the result :(...) an hour of surrealism verbal and mental. The public is conquered and embark in this delirious comedy that turns into a film. "(Jornal de Notícias, 19 March 1999)

A surprise called Theatre

"Imagine if someone decides to take the word" Theatre "and to join anything that can join this concept; pairs more spontaneous the foolish. The result is an unbelievable result of puns ranging from the amusing terribly intelligent. (...) Apart from puns "The Theatre is the Cinema" is also pure enjoyment in the realization stage. With a pace very fast game which uses several media to diversify as much as possible what's happening on stage: video, images recorded live and projected on the big screen, through a wall in which the actors stick, literally , Remaining suspended in corégraphiques positions. "(Correio da Manhã. March 18, 1999).