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INDUOTEATRO INDUOTEATRO PRODUCTIONS born in late 2009 of the encounter three theater professionals Andaluz, José Manuel Sánchez “Andreu”, director of scene (producer) who has in his curriculum more than thirty theatrical directed spectacles. Pilar Jiménez, actress and set designer, co-founder with Andreu of the companies “Amaranta Teatro” and “D’accion Merx”, which for 15 years developed the theatrical labor in multitude of andalusian scenes obtaining the consideration of company revelation at the end of the 90s, and Chico Garcia, actor and licentiate in dramatic art for the High School of Dramatic Art of Malaga. From the foundation has established clearly his principal objective inside the theatrical activity attending to the most important and essential aspect of any representation: the interpretation of the actors in the theatre of text. His shows range from comedy to drama of the great classics. INDUOTEATRO PRODUCTIONS has come to consolidate within the Spanish theater sector in just a few years, as a theater company specializing in Greco-Roman Theatre and Spanish classical theater, with a unique style and distinctive theatrical language in continuing research. This exponential growth in their productions is due to the development of a corporate structure seated on two pillars, the management apparatus whose business ethics pursues theatrical consolidation as a cultural product adaptable and responsive to social and economic reality around us, and artistic department is firmly committed to bring to the stage where THEATRE productions poses to the viewer a cultural experience that reflects in the interest of this by approaching again to the theatrical. A sample of this business growth is participation in the last two editions in the INTERNATIONAL FESTIVAL OF CLASSICAL THEATRE OF MERIDA, with its shows, MEDEA (2011) and FEDRA (2012) as well as an increase in the number of performances by different national Roman theaters. Also in 2013 INDUOTEATRO PRODUCTIONS has been invited by INTERNATIONAL THEATRE INSTITUTE (ITI) to participate in the 17th INTERNATIONAL FESTIVAL OF ANCIENT GREEK DRAMA of Cyprus, thus beginning a new business career in the export of the Spanish theater beyond our country. In this business development INDUOTEATRO PRODUCTIONS has carried out in August 2013 and 2014 the production, management and direction of the CLASSIC THEATRE FESTIVAL OF ESTEPONA and the FESTIVAL THEATRE OF BENALMADENA. Through these years of work INDUOTEATRO PRODUCTIONS has taken to scene eight spectacles, TENORIO’S SHADOW (december 2009) by Jose Luis Alonso de Santos, interpreted by Chico Garcia and where the critique has emphasized his interpretive work. At the beginning of 2011 INDUOTEATRO release MEDEA of Euripides under the direction of Andreu and with Pilar Jimenez to the front as protagonist. In this new spectacle the company submerges in the mythical classic tragedy of Euripides, to take to scene an assembly where classic tragedy and flamenco join in a scenic perfect balance between both kinds. It is also in March 2011, and coinciding with the world day of the Theatre, when INDUOTEATRO releases his third spectacle I.OEDIPUS, contemporary tragedy based on the myth of Oedipus, with Chico Garcia’s original texts from the works of Sophocles and Seneca, and led by Chico Garcia and Pilar Jimenez. At 2012 INDUOTEATRO PRODUCTIONS produces HIPPOLYTUS for the 16th European Greco-Roman Theatre Festival of Mérida and INDUOTEATRO PHAEDRA, premieres at the 58th International Festival of Classical Theatre, the roman theater of Regina. Andreu is the director and the actors, again, Chico Garcia and Pilar Jiménez. For 2013 INDUOTEATRO PRODUCTIONS has settled a score to settle with the Spanish Classical Theatre of the Golden Age, with its new production NO TEASING WITH CALDERON a show created from the comedy "No teasing with love" and mummery "Visions of Death "by Calderon de la Barca. At 2014 INDUOTEATRO PRODUCTIONS has released two new shows, the comedy “ARS AMANDY” where Chico García returns to appear as a soloist actor following the technique of “jongleur” to bring the public the play of the great universal poet, OVID. And the espectacle “PROMETHEUS”, the most risky production and provocative for the time being. Again included at the 60th International Festival of Classical Theatre, the roman theater of Regina. By 2015 two productions of INDUOTEATRO have been selected and invited to participate in two international festivals, thereby demonstrating that the international market has been able to see in these productions the risky work of updating the classics, to demystify classical heroes, and bring them closer to the spectator of the XXI century without losing the essence that made these works immortals. In 2015 INDUOTEATRO PRODUCTIONS has been invited by the INTERNATIONAL THEATRE INSTITUTE (ITI) to participate in the 19th INTERNATIONAL FESTIVAL OF ANCIENT GREEK DRAMA of Cyprus, to represent PHAEDRA under the title of the original Greek HIPPOLYTUS. Also in this year has been included in the programming of the 61 INTERNATIONAL FESTIVAL OF CLASSICAL THEATRE OF MERIDA, the comedy ARS AMANDI. The play was performed on the night of August 7, to more than a thousand spectators in the secondary venue of the festival in the Roman Theatre in Regina. Over the summer 2015, after being selected the tragedy in flamenco MEDEA, for inclusion in the network of Romans theaters Andalusia, he was represented in the Roman Theatre in Malaga during the days July 24, 25 and 26 with great critical acclaim and spectators. CLYTEMNESTRA THE TRAGEDY OF A GREEK QUEEN Certainly the Queen of Mycenae, Clytemnestra, is one of the most attractive and enigmatic characters of Greek mythology. In a hypothetical judgment, face a insensible audience and unwilling to believe his words, Clytemnestra is shelling his life until the critical moment of the murder of her husband, Agamemnon. Here the show begins, It is taking shape around the figure of this singular character, tortured by memories, and in no case repentant of his acts. Orestes, her son, denounced him to the authorities for her to be tried and convicted, although history has condemned it for centuries. But the stories, do not always tell the truth, any narration, any tale, hide the true story. Clytemnestra was not murdered by his son, as we have been led to believe the mythological legends and literatura. She was denounced and judged. She Exiled consume their days locked in a prison remembering his life. The real tragedy of this Greek queen, is the fact that nobody has dared to tell her story. The story of a woman who, tired of faithfully serve the desires of a man, decided to change the course of his life and become the sole owner of its destiny. The circumstances have forced her to make decisions in a matter of state when women were forbidden to comment on the politics of a government. She has occupied the place of Honour who had the Greek heroes for governing the empire of her husband. The man she killed. But she has no regrets, it is too late for repentance. Now, is not the same submissive woman who obeys the orders of a man, even when it comes to sacrifice their children. Now, Clytemnestra, return to tell us about his story... of his life. Even if it must be judged forever. After the death of Agamemnon, Clytemnestra governs in Mycenae. This woman, educated to politics and philosophy, she wants to establish a libertarian government based on the individual's right about himself, against the dictatorship imposed by Agamemnon. The return of Orestes and his intention to head the government of Mycenae to return to lead the people to the previous dictatorship, would lead clashes between the followers of Agamemnon and Aegisthus which turned into a civil war. Only the becoming aware of the reality lived in Mycenae during the exile of Orestes, could cause him to change its ideology and accept the new liberal winds that they made their way in Greece. With the decline of the Mycenaean era and the end of palatial period, Greece begin to direct their destiny toward a democratic government in which the people would be involved in decisions of state. But for this still have to spend some centuries. These conflicts and the period of confusion in the city-state, has made us to look at the moments of bewilderment that live at the start of any postwar period. CLYTEMNESTRA Since the declaration of Clytemnestra takes place once the governments have been overthrown, we would be at a time of social tension awaiting sentencing. Every war brings a stage of depression and economic crisis affecting all social strata and which carries a kind of a slave freedom. Neorealism emerges in Italy as a response to repression that is subjected art under the governments of dictatorships. Both his aesthetics and the ideology of its creators portray perfectly the dark period that is Greece to the decline and fall of the Mycenaean culture and the end of the palatial period. Clytemnestra, Agamemnon and Orestes belong to a society in decline which has lost all his privileges. Each of them represents perfectly the different levels that culminate the top of the social pyramid. The militaristic repression represented by Agamemnon; the situation of the woman fighting for their freedom and rights in the character of Clytemnestra; the confusion that young people are subjected to the radical repression depicting Orestesas a product of the new bourgeoisie, debated on stage to acquit their consciences. All are innocent and all are guilty. Guilty of his own egoism as survivors of an era. Even poor Orestes, more concerned to clear his conscience of guilt, which act altruistically by his countrymen. But under all that political struggle for the power, under all that game appearances, under all that patina of age, are only the miseries of human beings who have not doubted for an instant to destroy, devastate and murder cruelly, to secure a second of happiness. CREATIVE AND TECHNICAL CREW Original play by Chico García based on the different versions of the myth CAST CLYTEMNESTRA Pilar Jiménez ORESTES Chico García Ana Fernández (Cover of Pilar Jiménez) Photography Graphics Design Costume Design Setting Design Light Design Making Set Lighting & Sound Technician Assistant Direction AGAMEMNON Jesús Luque Rafa Berón (Cover of Chico García) Yanira Díaz R&S Graphics Andreu Antonio Díaz Pilar Jiménez Andreu Pilar Jiménez José Luis Schimio David Ojeda Chico García Direction Andreu THE ARTISTIC TEAM Pilar Jiménez, Chico García and Jesus Luque are the protagonists of this new performance INDUOTEATRO PRODUCTIONS. This cast, backed by their good work and recognized by the public and critics, face again on stage to a dialectical battle over the existence, frustrated love, rancor and loneliness. There could be no better triumvirate to represent these characters. PILAR JIMÉNEZ Actress. graduate Dramatic Art by ESAD of Malaga in 1988, has participated as a actress in over 40 spectacles in all genres and different formats, as a specialist in the construction and theatrical performance of dramatic and tragic characters. For his interpretive work on the character of Medea received the award for the Best Actress in 2011. Both national and international press been highlighted his work on the characters played. CHICO GARCÍA He is Protagonist of A3 TV series "The Secret of Old Bridge", is bachelor of Dramatic Art in the Acting & Performance Specialty, by ESAD Malaga. Addition to the work done in INDUOTEATRO, he has worked as an actor in producing Pentación, FEDRA under the direction of José Carlos Plaza and sharing the stage with performers such as Alícia Hermida, Ana Belén. Chema Muñoz, Fran Perea. JESÚS LUQUE With more than 18 years as a theater teacher and coach of actors, his work as a performer on stage she led him to starring in the most representative characters of the universal dramatic literature. His personal view on the characters of Calderon, Shakespeare or Euripides have not gone unnoticed either for the public or for critique. ANDREU Stage director and actor. Graduated in Dramatic Art by ESAD of Malaga in 1988. With a career of thirty years and more than 60 shows directed. Formed with directors of renowned national and international including Miguel Narros, Antonio Diaz Zamora, Lluis Masgrau, Nicolás Núñez (director of UNAM of Mexico and member of ISTA), Torgeil Wethal (actor and stage director of Odin Teatret), Konrad Zschiedrich (director of the Berliner Ensemble) and theatrical researchers as Patrice Pavis or José Antonio Sánchez. THE PRESS SAYS ... Heard from the beginning stage to Clytemnestra, baring his soul as if his own judgment were, not in vain placing actors is perfectly orchestrated to look like a defender, a prosecutor and us who listen to their statements, there are two values that have wanted to convey through the story of Agamemnon's wife. One of them is the consideration of women, even their actions, they are more accurate or not, at the same level as men. Something that is very impressive to check in the toughest scenes of mother and child where men say, all you have inside but in the case of Orestes, that grudge is linked to the very idea of feminine weakness (...) the evolution of his own thinking it keeps only what he knows and is interesting to see from these stone seats jury, when all the points of view of the facts are known. And another important point is the political context from which occurs the whole story. Among the arguments that Orestes reproaches her mother, Clytemnestra, is the one who can not live in a world without order or a leader to make decisions for others. And his mother, a woman also which I think is important, is trying to open your eyes to a different reality ... For me, this is the most important of "Clytemnestra, a woman". There are parts that I would have obviated I understand to be included to change the rhythm of declamation and site change in the scenery and also the need for Agamemnon appears as a ghost from the past returns with a very light-colored clothing, the government proposal he wants to defend. But the speech of Clytemnestra and Orestes dealing with is so loud and clear, everything else left over me. Natalia Eseverri LA PRENSA HA DICHO ... We see a woman who has suffered humiliation and rape, which has had to survive by becoming tougher, stronger, acorazándose after a shell explodes resentment. But he swears that he has done everything for the sake of their children. And this is what the rod does not assimilate. Should we save? A crime is a crime. This version has the good idea of background, and this makes the dialectical confrontation between the actors is the exciting part of the show ... ... What traps us is to see that person who wants to be understood by someone who loves but sticking into a wall .... ... Chico Garcia has qualities to spare to catch the audience from the stage with conviction ... ... A representation with a staging and attractive concept ... Paco Hinestrosa ... At about 10 pm, when the day turns off the lights of the scene came on, and Clytemnestra and her son Orestes, gave the reasons why the classical Greek texts, myths eternal culture, work as well as good adaptations like this are made. Which breaks with the units of space and time launching a highly topical message about the tyrannies that prevail in the world and its consequences in people who suffer ... ... Magnificent performances of the actors, and the public itself, we were spectators and actors at a time of the work, which the protagonists are constantly directed to justify their actions in court to the story ... …The indoor bowling Carrizo, became an hour in a large theatrical stage on which appeared catharsis. For a moment we all feel close to this woman who was defending herself while all women of mankind; that son needed to know the truth about his life; and Agamemnon, her husband, who like all dictators, history will judge him. That's the magic of good theater, when you could hear the silence of the public to listen to a difficult text and perfectly declaimed by actors. An interpretation up to the theater and set design and costumes timeless solved very successfully. Antonio Odón Alonso MORE INFORMATION Learn more at the company website www.induoteatro.com