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performance length: min
no language barrier
Cooperativa Gimnástica México Polaca Hernán Cortes (MEX / PL)
assistant directory: Edgar Maldonado
directory, scenography and music processing: Zbugniev Szumsky
gymnasts: Pedro Arredono, Victor Camas, Laura Furian, Olga Guitiérrez, Bárbara Lazara, Maria Luna, Raúl Mandoza
life music (bandoneón): Raúl Vizzi
music: Katarzyna Klebba a Pawel Paluch, national songs from Italy, Israel and Poland
narrator: Gabriel Figueroa Pacheco
production: Bárbara Lazara a Laura Furian
assistant directory: Edgar Maldonado
directory, scenography and music processing: Zbugniev Szumsky
gymnasts: Pedro Arredono, Victor Camas, Laura Furian, Olga Guitiérrez, Bárbara Lazara, Maria Luna, Raúl Mandoza
life music (bandoneón): Raúl Vizzi
music: Katarzyna Klebba a Pawel Paluch, national songs from Italy, Israel and Poland
narrator: Gabriel Figueroa Pacheco
production: Bárbara Lazara a Laura Furian
Close your eyes and feel the yearning for gymnastics.
Hernan Cortez is a gymnastics’ teacher.
The spectacle is a spied on lesson – a record from a school diary. The eight ideas of exercises illustrate eight watchwords: tango, childhood, demonstration, emigration, fable, motorization, love, suicide. Venue: rented hall. Reason: gymnastic competition. Objective – question: who laughs at my fears.
“Before they ignite the lights I would like to tell you something about myself. My name is Hernán Cortes. I am a gymnastics trainer. I am about to present to you a series of gymnastic exercises that will allow you to tame your fears. Please do not expect a simple illustration. In this frame of work the illustration comes from the sweat of the gymnasts.”
This is about a map arising from a banal thought and from fragmentation. Within this space 7 actors and a musician are trapped within their own creations, condemned to repeat them in the same way in which they were conceived. Thus, they will have to resort to memory, and to restore the reasons and sensations that lead them to their creations. Only in this way will they reach their objective: to tame their fears.
The play, when combining these 7 map-tones, forms a spatial symphony that includes several pictures at the same time. It is a chaotic symphony that travels from the particular to the general. What do they mean to tell me? That is the recurrent question…and the answer lies within each member of the audience, since with so many planes of action at the same time, the questions imposed by the play public would be: Why did you choose to see that action instead of that other one? Why do the movements −coming from the most immediate imagination of the interpreters− linger in your memory and you want to execute them in order to express yourself?
Declaration: \"The executed banality can mutate in depth, in far gone memories, in uncertain sensations that evoke something that we cannot articulate in its entirety.
This is a communion with the spectator; each and every one will form its own composition and will decide which picture will come afterwards.”
In the scenic expression the fears and precision converge. The fear for reach precision. Without it there is no gymnastics, and deprived from gymnastics the fear is not tamed.
In every performance there is a mystery at play because there is no guarantee that the fears will find solution. You and us will know whether or not the gymnastics was successful, whether fears were domesticated... or not.
Hernan Cortez is a gymnastics’ teacher.
The spectacle is a spied on lesson – a record from a school diary. The eight ideas of exercises illustrate eight watchwords: tango, childhood, demonstration, emigration, fable, motorization, love, suicide. Venue: rented hall. Reason: gymnastic competition. Objective – question: who laughs at my fears.
“Before they ignite the lights I would like to tell you something about myself. My name is Hernán Cortes. I am a gymnastics trainer. I am about to present to you a series of gymnastic exercises that will allow you to tame your fears. Please do not expect a simple illustration. In this frame of work the illustration comes from the sweat of the gymnasts.”
This is about a map arising from a banal thought and from fragmentation. Within this space 7 actors and a musician are trapped within their own creations, condemned to repeat them in the same way in which they were conceived. Thus, they will have to resort to memory, and to restore the reasons and sensations that lead them to their creations. Only in this way will they reach their objective: to tame their fears.
The play, when combining these 7 map-tones, forms a spatial symphony that includes several pictures at the same time. It is a chaotic symphony that travels from the particular to the general. What do they mean to tell me? That is the recurrent question…and the answer lies within each member of the audience, since with so many planes of action at the same time, the questions imposed by the play public would be: Why did you choose to see that action instead of that other one? Why do the movements −coming from the most immediate imagination of the interpreters− linger in your memory and you want to execute them in order to express yourself?
Declaration: \"The executed banality can mutate in depth, in far gone memories, in uncertain sensations that evoke something that we cannot articulate in its entirety.
This is a communion with the spectator; each and every one will form its own composition and will decide which picture will come afterwards.”
In the scenic expression the fears and precision converge. The fear for reach precision. Without it there is no gymnastics, and deprived from gymnastics the fear is not tamed.
In every performance there is a mystery at play because there is no guarantee that the fears will find solution. You and us will know whether or not the gymnastics was successful, whether fears were domesticated... or not.
ABOUT THE PROJECT: This project is the result of the confluence of Teatr Cinema of Poland and a group of Mexican actors graduated from the Diplomado Teatro del Cuerpo (Diplomat on the Theatre of the Body). Both groups got together, first in October, in the city of Querétaro, as part of the Encuentro Internacional de Teatro del Cuerpo (International Festival of Theater of the Body 2005), and in Michalowice, a small town in the Sudety mountains, the official site of the Polish company, in December of the same year. There, a workshop was organized as part of the academic activities of the DTdC. After a month of creative coexistence the wish to create stronger bonds leads us to present a more ambitious project, one that would allow us to maintain some level of continuity in our endeavors and to fortify the creative ties among ourselves and, best of all, to all work together in order to create a binational company. Thus is how COOPERATIVA GIMNÁSTICA MÉXICO-POLACA HERNÁN CORTES was born.
http://www.myspace.com/cooperativamexicopolaca
TEATR CINEMA was founded in 1992 by Zbigniew Szumski. The style of Teatr Cinema is characterized by a vibrant poetry between normality and abstraction, inspired by paintings by René Magritte, texts by Samuel Beckett, and art from the Dadaists. Teatr Cinema is considered to be one of the most internationally renowned representatives of the theater scene in Poland.
Jerzy Lukosz, one of the best known contemporary authors and playwrights in Poland, had this to say about the work of Teatr Cinema: \"Someone once said that ninety-nine percent of everything that calls itself art is not art at all. If I can say something with certainty, then it is this: The work of Teatr Cinema is part of that one percent the skeptics have reserved for art. Kantor and Marthaler are in good company here.\"
http://www.myspace.com/cooperativamexicopolaca
TEATR CINEMA was founded in 1992 by Zbigniew Szumski. The style of Teatr Cinema is characterized by a vibrant poetry between normality and abstraction, inspired by paintings by René Magritte, texts by Samuel Beckett, and art from the Dadaists. Teatr Cinema is considered to be one of the most internationally renowned representatives of the theater scene in Poland.
Jerzy Lukosz, one of the best known contemporary authors and playwrights in Poland, had this to say about the work of Teatr Cinema: \"Someone once said that ninety-nine percent of everything that calls itself art is not art at all. If I can say something with certainty, then it is this: The work of Teatr Cinema is part of that one percent the skeptics have reserved for art. Kantor and Marthaler are in good company here.\"
