Automatically translated from Basque, translation may contain errors. More information here. Elhuyarren itzultzaile automatikoaren logoa

Fire and smoke, together

'Toto' | NOIZ: urtarrilak 15 | NON: Gezala aretoa (Lezo) | Egilea: Mafalda Bellido | Itzultzailea: Kepa Errasti | Konpainia: Hika teatroa | Zuzendaria: Agurtzane Intxaurraga | Aktoreak: Miren Gojenola eta Asier Hernandez // Argazkia: Hika Teatroa
'Toto' | NOIZ: urtarrilak 15 | NON: Gezala aretoa (Lezo) | Egilea: Mafalda Bellido | Itzultzailea: Kepa Errasti | Konpainia: Hika teatroa | Zuzendaria: Agurtzane Intxaurraga | Aktoreak: Miren Gojenola eta Asier Hernandez // Argazkia: Hika Teatroa
Zarata mediatikoz beteriko garai nahasiotan, merkatu logiketatik urrun eta irakurleengandik gertu dagoen kazetaritza beharrezkoa dela uste baduzu, ARGIA bultzatzera animatu nahi zaitugu. Geroz eta gehiago gara, jarrai dezagun txikitik eragiten.

Expectations are higher when it comes to a premiere. The public has no reference whatsoever to the work and hopes it will be good for its staging. Pressure and nervousness are greater, therefore, for creators, but this does not have to be negative. The first one occupies a special place in the experience box. On January 15th, I had the Sunday, the rain without wanting, and the audience sat very well, thrilling the first time in the chest.

Unconditional, endless and loyal love. Faithful and unilateral. Blind and dependent. Iconic, mythical, romantic, heroic. Realistic? Natural? I don't mean an affective-sexual relationship between two people, but one that shows a dog with its owner. Against the game that the play has used, because its game is to talk about love with the excuse of a dog, the relationship of Mai and Joselu. Toto makes an escape when he was with Joselu, a former Maire couple. They just left the relationship, but they reunite because they have a dog in the bathroom, in shared custody. They had it. Or they will. Because we don't know anything about animals because they don't know how much verbal time to speak. But the past, the present and the future have room in the work, mixed the three, like the thought of the characters. In the meantime, they are told theirs and the two, they hold him to account and put the pain on the responsibility of the other. Cries and noises, trying to fill gaps: physical and emotional. Personal and plural. Me and us in two parts.

Dog love is not the only symbol that uses the play. He also mentions apples and chamomiles, representing responsibility, care and concern. Nature, work of years, fruit, tradition and life. Start and end of the representation. Wood, fire and smoke.

In this work the viewer cannot be distracted because the literary language he uses can no longer be heard superficially. Why it first incites and then builds history. For the actors, it is surely not easy to follow the rhythm they use, as they are not silenced at any time. The word is very important in this work. The scenography has little weight, they are symbols, they move in a single moment, they are sorted or joined. Audio is also fine. And two actors. They've created an easy theater play to move to any theater or any corner. But being simple shouldn't be confused with being superficial.


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DEBT

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When and where: 25 October, Gazteszena (Donostia).

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IN
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R02JP008.litCuenta=Extract Account(s)

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Maider Mourgiart and Paul Laborde
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