María Elena López, Andrea Ordonez, Marco Bustos, Javier Cevallos and Roberto Sánchez "No pain" in his role debut in the sucre
We offer comments and feedback we gathered after the premiere of "No pain" at the Teatro Nacional Sucre.
's challenge
cruelty
Two murderers of children try in vain to escape their own mazes of guilt, while a troupe of three torturers, among clowns and entertainers of variety shows, gives an account of how the final web, which are entangled those who have bottomed out in our media society is made of the word. The relentless and merciless blabla media is everywhere with its superficiality and mediocrity and sets the benchmarks for judging. Both labyrinths, the inner and outer join. There is, therefore, output.
The express purpose of reaching the work outputs of different shaft in the elements of staging. In the set, consisting mainly of various segments of bleachers, recognizes the spirit of a closed world, even though the volume, the number of elements, in order to stage presence, makes sense indecision between the execution of a start or empty space, with scenery that relatively illustrate the maze. The costumes are functional and properly marked differences between the two groups of characters. Taking into account that the "fauna" in the media zoo is so rich in prototypes of ridicule, vanity and ignorance, perhaps greater precision in the locker room of the torturers media had helped to highlight the necessary contrast with the murderers. In future the management representations of scenes light show could also intensify, For if a theater minimalist, less is more, in a theater based on the grotesque and kitsch-versa. For the fever is plague, should become foul, loathsome. Very notable is the work of team of five actors, the action is rich and dynamic changes of intentions, even at times a bit run down, the team knows how to keep the viewer's attention till the end. Some individuals among youth of all stakeholders are consolidated as ex officio, issue of great importance for our theater environment.
Few dare creations in the current context to find a joint around its own theater of cruelty. "No pain" at codes made from black comedy. Get then cause a stir in the viewer particular, who seduces the laughter, though the world evoked by the comic action is cruel and inhumane nature. The greatest merit of this production, is in pursuit of risk and accept the challenge.
Javier Andrade Córdova
Sucre National Theatre Director Scenic
The first impression: a simple scenario and suggested the move, with modern forms. At least at first glance, one would not think the issue as complex and deep that was to be addressed. It's like we used to do comfortably and watch these scenarios too clean ¨ ¨, where what it is just to forget reality.
This is definitely not the case, specifically that simplicity, creativity in the various components, the sound environment, how well prepared indeed raw and the dialogue is going head sticking (literally) on a piece of this piece of earth, it is generally preferable not to look: the death of a child by their parents. Sure, at first glance, the most reprehensible act of this world, but more penetrating and sharp eyes, watching the most difficult sides view, it is clear that the only victim in this story (and many others) is not the creature.
This is seen from artists who are seeking temporary reach and aesthetically to the world and with its own identity, with its space, a double merit, rare to find items in the current proposals.
A sincere hug this young group, which is separated from the mass of art and click on our reality and, from modest material resources, but with much creativity and talent, offers and positions.
Maria Cristina Breilh Ayora
feel is complemented mental sequences transferred to the receiver, with the elimination of perceptual Euclidean space, by projecting invested vanishing points, placing the actors in the temporal evolution of approaches to the past in and out of this, advance from the past and present to trace amount to the claim of reaching the future goal that is truncated at a scale that leads to the same starting point. All this in a swarm of light and sound.
With little spectacular costumes, exacerbates the proceedings, balancing, based on the symbiosis between actor and character, very natural in some and exaggerations strong in others. The work itself is not spectacular, is significant and alternative worthy of being recognized as part of our production, which takes on greater meaning as we represent and can recognize and identify.
Angel Jacome
Master Design. PUCE professor
I've been in the closing function of "No penalty" on Saturday May 12 at the Teatro Sucre. I enjoyed from start to finish the work and I congratulate them all, since the work is intense. What a great job, congratulations!
Director Bernardo Mantilla Bolivar Theatre Foundation
long time ago that I found in our staging area so attractive as yours. An approach to death from a gritty and funny look overtly cynical, but sweet and resounding cynicism that can only populate the art. A territory of harshness and pain as he who dwells in our mind, a stunned world, I would say that hallucinated lucidity, to quote the words of our Prophet (Paul) Palacio.
Juan Pablo Castro
Social Communicator. Writer. Professor Salesian University
