PABLO FIDALGO LAREO
PREMIERE May 2017 Artium Vitoria
June 2017 Teatro Maria Matos Lisboa
February 2018 MARCO Vigo
1.EVERY UTOPIA IS THE SILENCED STORY OF A CRACK IN HISTORY
2.A CRACK IN HISTORY SIGNALS THE POSSIBILITY OF A DIFFERENT WAY OF LIFE
3.ANARCHY WAS A DIFFERENT WAY OF LIFE THAT DID NOT REMAIN AS A POSSIBILITY.
4.ANARCHY WAS A DIFFERENT WAY OF LIFE THAT REMAINED OUT OF THE STORY
5.THE STORY OF THE ANARCHISM DISAPEARED FROM HISTORY BUT REMAINED IN THE BODIES
6.THE BODIES TOUCHED OTHER BODIES, AND OTHER BODIES AND OTHER BODIES…
7.THE STORY REMAINED IN THE GESTURES OF THE BODIES
8.THE GESTURES PASSED FROM ONE BODY TO ANOTHER, AND TO ANOTHER AND TO ANOTHER
9.AND THEY ARRIVED TO US
10.THE ANARCHIC GESTURE IS IN US
A project in three parts
Someone is looking at history…
We are born without being able to look. In the first months of life we have to train our eyes to be able to see clearly. The first part of our project must be to look, to re-educate our eyes. We look at history searching for what is erased and we try to find a language to be able to describe it, to rescue it. The history is imbued of the look of each one of us, of our bodies that recognise – in these places where we pass, in these bodies that passed by us- the existence of small cracks to look through.
We will re-educate our eyes to see the history, looking for these resistance gestures: the laugh in inappropriate moments, the killings in Vitoria in 76, a football match in Vilanova de Arousa in 82, the Kurdish communes in Rojava, the death of Blanquita, the lack of money, the letters from the grandparents, a trip in carriage in the region of Cantabria, a trip by foot along the Guadiana river, a trip to Patagonia, the friends who will not able to live from their art, the Durruti column, Simone Weil writings, Casas Viejas, the anarchy occupies the place of religion, what religion? The conscious workers, Enzensberger gestures, Antonio B. El Ruso, the old people that still live to tell it, the love gestures, the impossible communities, the impossible childhoods…
Someone acts the history…
We call the others –spectators- to watch the history, to see the anarchic gesture, to make that vision recorded in his bodies and in other bodies, and others and others.
The play is the central part of this project. Over a blank space the bodies will be read as a brutal text about a country that will never be what it could have been, but it has to bear the gestures of those that do not forget, of those that read, of those that do not want to be trapped by a lying time.
In a country where history is hidden, where it does not exist the transmission because the dictatorship and the transition imposed the oblivion and silence for everyone, where the school erases the past, the theatrical gesture, the creation of an exceptional space – the crack-, the presence of these bodies seems to be the only hope of relation with the history that we can offer.
Someone re-publish the history…
South of Spain, in the 30s. Illiterate peasants learn by heart newspaper articles and anarchist movement pamphlets to transmit them from one to another. That was the beginning of the revolution. To read: 2018, coinciding with the presentation in MARCO Vigo we will leave a memory of the project (Text of the videos and performances) and critical texts about the project in a publication designed by Ana Teresa Ascensão.
If “in the root of the what we know and what we are there is neither the being nor the truth but the exteriority of the accident” (Foucault) then we shall not look for a perfect origin and essence but for the deviations, the small defeats, the calculation mistakes, the fainting, the absurd conforming the genealogy or the root of (Herkunft) of anarchy.
The word is not enough to explain the anarchy experience. The story of the powerful, the story of the winners, has strangled the anarchist story. It has created the illusion that there is no history to tell or it has deactivated all the different life experiences under the label “utopia”, meaning what cannot exist, what cannot remain.
However, all the genealogies are inevitably written in the bodies. Where to look for the traces of utopia but in the gestures of the bodies imbued of history? Bodies from which, in a determined moment, emerges (Entstehung) other different way of life, a crack in the dominant story.
The history of anarchism is in the gestures that have survived, in the bodies that are imbued of history, even if they are pushed aside from it. It is a search of those gestures, a search in historical and current bodies and gestures from which it emerges the anarchist story.
This is also, understanding it in the same way as Lepecki, the file cannot be stored, it has to move, an invitation to current artists of different disciplines to act and to update these gestures on the stage.
Anarchy existed, anarchy remains, the gestures never disappear completely, we need to discover in our own bodies the marks inherited from anarchy.
CREATIVE TEAM AND PRODUCTION CREDITS
A project by Pablo Fidalgo Lareo
Featuring Idoia Zabaleta, Loreto Martínez Trancoso, Juan Navarro
Production Sofia Matos/Materiais Diversos
Coproduction Teatro Municipal Maria Matos Lisboa, MARCO Vigo, Proklama Artium, TNT Terrasa, Teatro Rivoli Porto
Support Azala (Álava)
Support to the creation and production Amalia Area
Pablo Fidalgo Lareo (Vigo 1984) is a writer, theatre creator and independent curator. He has written the poetry books La educación física (Physical Education) and Mis padres. Romeo y Julieta (My Parents: Romeo and Juliet) both of them published by Pre-textos. His book La Retirada (The Retreat) won the prize Injuve de poesía 2012. He has presented his work in different countries and festivals around the world. He created the plays O estado salvaxe. Espanha 1939 (2013) (The Savage State. Spain 1939) and Habrás de ir a la Guerra que empieza hoy (2015) (You will have to go to the war that starts today) chosen as best show of 2015 by the Portuguese newspaper Público. He participated in the project PANOS (Culturgest, 2015) with the play Só há uma vida e nela quero ter tempo para construir-me e destruir-me (There is only one life and I want to have time to construct me and to destruct me). His texts for the theatre are compiled in Tres poemas dramáticos (Three dramatic poems) (Ediciones Liliputienses, 2015). He regularly works with Ana Borralho and João Galante. He has curated cycles of performance arts for MARCO (Vigo) and Alhóndiga de Bilbao. He is the Artistic Director of the Festival Escenas do Cambio, at the Cidade da Cultura, Santiago de Compostela. He works and lives in Lisbon.
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