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[[Exercices de Frustration]] | Exercises in Frustration
 
[[Exercices de Frustration]] | Exercises in Frustration
  
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While leaving a plastic installation and passing by the cinema, we arrive at the theatre to pose a pile/heap/bunch of questions: Why does a surveillance camera transmit its images to a childs bedroom? Who put the television in a cinema? What’s the link between a voyage to Remscheid and Pina Bausch? Why does a documentary voiceover tell you of the last row? Who was the man in the hotel corridor? His ancestors in Argentina from the time of the dictator, were they really Swiss? Why does Pina Bausch accept to dance with you? But does she play football? How many years later can a spectator help her brother to prepare for his suicide now? From where comes the language inextricably sinuous/serpentine of the Romanian Jewish emigrant Gherasim Luca and what misguided soul/madperson/idiot thought they could translate it? Can there be a poetic of failure? Where is a/the labyrinth?
 
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- Created at the Theatre am Neumarkt, Zurich, January/February 2006
 
  
  
 
{{Voltar}}
 
{{Voltar}}

Revision as of 11:09, 5 June 2007


Alvaro García de Zúñiga's plays 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:


Le Théâtre n'est que du Cinéma | Theatre is nothing but cinema…


Sur Scène et Marne


Théâtre Impossible | Impossible Theater


Lecture d'un texte pour le théâtre | Reading of a text for the Theatre


Conférence de Presse | Press Conference


radiOthello


Pièce a Conviction | Piece of Conviction for soprano, saxophonist and jealous woman (wife?)


(M)oral play


“A long long time ago, before putting an end to her days by throwing herself into a sausage maker while singing the final aria of Madame Butterfly backwards, the greatest diva of the Milan Kabuki Theatre, soprano Yo-Tampoko No-era, knew a man…” - concert-reading by Yumi Nara, Daniel Kienty and Reina Portuondo, Festival Nova Musica, December 2004


Exercices de Frustration | Exercises in Frustration


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