THEATRE REVIEW
The question remains as to whether Calixto Bieito's version delves into Shakespeare's previous material of debauchery, experiences, history and dramatic poem.
PEDRO BAREA| Sunday, 20 February 2022
Erresuma/Kingdom/Kingdom' evokes the English flag raised in the 12th century, no less! Calixto Bieito chooses a Shakespeare with messages for today: neither power nor the most stubborn flags ensure sanity, and we are the prey of the poem of the seven inevitable ages, from childhood to senile puerility.
'ERRESUMA/KINGDOM/REINO'
Version, direction and space: Calixto Bieito.
Costumes: Ingo Krügler.
Lighting: Michael Bauer.
Filmmaker: Adrià Bieito.
Interpreters: José María Pou, Joseba Apaolaza, Lucía Astigarraga, Ylenia Baglietto, Ainhoa Etxebarria, Miren Gaztañaga, Iñaki Maruri, Koldo Olabarri, Lander Otaola, Eneko Sagardoy y Mitxel Santamarina.
Arriaga production; co-production: Español, Madrid; Principal de Gasteiz; Victoria Eugenia de Donostia; Muxikebarri de Getxo.
A neutral, geometric, white hollow. Simultaneous vignettes link planes with silent installation tactics. Bieito has a remarkable global sense, he fills spaces and overlaps passages. He spreads and accelerates Shakespeare, the wild card. Violence, blood spurts, deaths. It activates senses besides seeing and hearing: the abrasive light, the heat of modesty, lemon in the eyes, the pain, the disgust. It is like a recipe for avant-garde and the latest dramaturgies: sensory shock, deconstruction, post-drama. In any case, subjective creation, appropriation.
Bieito's are the much sought-after climaxes, which here are scraps but in Shakespeare are a dramatic process. Bieito's are the poles of attention in sometimes successful, sometimes arbitrary patterns. His are the links of cause and effect that thrill or frighten? The doubt is whether something improves and his artifice deepens that previous material of debauchery, experiences, history, dramatic poem, and adds understanding, or not.
Bodies and voices have to rephrase every twist and turn of concentrated texts. The head of the list José Mª Pou is a great theatrical native already in civilian clothes, an author's 'Falstaff'. And he shines in the cast that the hand programme brings out in alphabetical order: disturbing Sagardoy, the Gaztañaga who makes the horse of 'Richard III' the utopia, solvent Apaolaza, tragic Otaola, Maruri, Santamarina...
Macbeth said: 'life is a tale full of sound and fury, which means nothing'. Here it means excess, eroticism, fury, and life is told by an emphatic agitator: the irrepressible Bieito feroz.
Fuente: El Correo
Comments