Espectáculo

Synopsis

Mario lives in a loft, converted into a home and an artistic studio at the same time. His specialty is painting. His life has long succumbed to stubborn reality. His elderly parents require his care, as well as his young daughter. Mario works hard to take care of them, although the task seems very complicated. Mario has never learned to care from no one.

Mario faces a self-learning journey at home, surrounded by the past, and with an uncertain future

About the creation

The new theater project of Marie de Jongh company is called “Ama”, and it is the result of a research work that began three years ago. With “Ama” the company marks a substantial change in form and substance with respect to previous jobs. It is a large-format show that is aimed, this time, at an adult audience from fourteen years on. The zero-mask is also used, a mask that goes beyond neutral, or more here, depending on how you look at it, since it lacks any feature that humanizes it.
We will maintain, in any case, a feature that has characterized the company: we do not use the word.

AMA speaks of the strength of fragile and scared people. It is a hymn to the epic beauty of mutual care. From the care of our elderly parents, those who are dying little by little, taking part of our own life with them.

AMA is a work of strong emotions rescued from the everyday, where the prosaic and the fantastic are intermingled, the magic with the memory, art and laughter, the absurd and the tragic.

The tone of the play

We have always been interested in the teams that discover or exposed human feelings.

“I don’t want to be a bother to you.”

Mi madre.

Therefore, we do not want to sweeten or make up the harshness of reality, although, we find it interesting to contrast it with surrealism and beauty, providing a color palette that makes our “moving pictures” pieces that can be enjoyed by a wide range of audiences. The fact that we are going to use the zero-mask opens up a poetic universe that is reflected in the form and content of the project.

To begin with, we would like to answer why we decided to use the zero-mask:

We like the idea that the zero-mask places our characters at the edge of the abyss. On the brink of “dehumanization”. We find it attractive because we believe that, in a way, we all live in that thin and fragile border. Beyond this is the Terrible, where the monsters we fear live. Or, in other words, beyond is madness, because we have that border within us.

This way, we walked throughout the show on this fine line. Where it is sometimes difficult to discern which side of the border we are on.

Synopsis

Someone imagines being someone else, puts themselves in their shoes, and then returns enriched by the experience. Through play, they pretend to be an animal, or a flower, a toy, water, or even the wind itself. A boy imagines he is a girl, a girl dreams she is a boy. Another girl is convinced she is a boy until she discovers she is a boy who realises she is a girl; she goes back to the moment she was born, imagines she is the mother of the newborn, then the mother’s grandmother and the grandmother’s great-grandmother, until she imagines she is a monkey. They investigate, they play, they get muddy, they discover that they are capable of being one and the other, a person who can be me, her, and you, without being forced to be one, her, or you.

This show highlights people’s ability to experiment with their bodies or their imagination, to play different roles, to interact with the world in different ways, to explore relationships, to try, to search. In short, the ability to explore different options and delve deeper into them. We see the need to reclaim this value in a distrustful society that tends to label everything in a hurry. That is why we claim the right to make mistakes and also to fail if we want to understand life in all its depth. Above all, we want to offer encouragement.

About the collaboration

ESNA is theatre and dance, because it is dance, but also theatre. The performers are dancers, but Jokin Oregi specialises in theatre and Eva Guerrero has spent a lot of time exploring the heterodoxy of dance. On stage, two bodies interpret a single person, just as two companies come together with the same goal: to imagine that we are others, playing.

Synopsis

Estrella is a girl, just six years old, who is on her way to become a world famous pianist. Thanks to the strong discipline of her parents, her virtuosity has reached a prodigious level for her age. Estrella is a happy star, so much, that she would never want to grow.

Director`s note

“Starfish have a peculiar characteristic: If they lose an arm, they are able to regenerate it, to recompose itself. Therefore, it can have a huge symbolic charge when we are talking about overcoming a loss; and in our show that is precisely what is at stake”

Jokin Oregi

Synopsis

When Martírio was little, she was afraid of many things, but there were two in particular that filled her with heart-wrenching terror: seeing someone unprotected and witches, those lonely, evil women who live in old huts high up in the mountains.

Martírio, wanting to protect her beloved little spider, overcame a lot of fears. This is how Martírio herself tells us, who, as an adult, has become… a “witch”.

A story of witches without witches, a story of brave people without brave people, a magical story without magicians, a story of children who are not so childish and adults who are not so adult.

History

“TXIRRISTI MIRRISTI, GERRENA PLAT, OLIO ZOPA, KIKILI SALDA, URRUP, EDAN EDO KLIK, IKIMILIKILIKLIK”

……sang Basque singer-songwriter Mikel Laboa in the 1970s and 1980s, and we all imagined a witch reciting the spell while preparing her miraculous potion.

In fact, the protagonist of Marie de Jongh’s new project is a girl who feared witches in her childhood but ends up becoming one herself.

She is not the only protagonist; words are too. For the first time, Marie de Jongh presents a non-gestural show, where words are an unavoidable dramatic element. We have done so by adhering to one of our main rules: choosing the best way to convey what we want to say to the audience.

And what do we want to share? We want to share a reflection on fear, its castrating nature, its relentless power over our decisions; but also that uncomfortable part of ourselves that defines us and with which we must live.

Synopsis

Xebas and Cocó are a clown duet with more enthusiasm than success. For their new show , Xebas decides to introduce an element which will make the performance shine: a real gorila. He is convinced that if he tames the animal and shows him different games, their luck will change and they´ll get the public´s applause.

Nevertheless, it won´t be the gorila who will learn from this experience; Xebas and Cocó will learn a lesson they´ll never forget.