Helena Pimenta is dismissed from the National Company of Classical Theatre with a young The life is a dream

The legacy of Helena PimentaLluís Homar, the new director of the CNTCLa National Classical Theatre Company presents a Lope de Vega twilight "And the greatest

Helena Pimenta is dismissed from the National Company of Classical Theatre with a young The life is a dream
The legacy of Helena PimentaLluís Homar, the new director of the CNTCLa National Classical Theatre Company presents a Lope de Vega twilight

"And the greatest good is small: that all life is a dream, / and dreams, dreams are". Thus concludes one of the monologues most famous of the Spanish theatre, which pronounced Sigismund at the end of the first act of " life is a dream ". With this summit, Calderón de la Barca started Helena Pimenta his journey to the front of the National Classical Theatre Company -in an exemplary mounting starred by Blanca Portillo - and with it closes. This time, however, he has directed the actors of the Young National Company of Classic Theatre -"the young", as it is known internally to the group-. "I wanted to somehow deliver the witness to these young generations, of a text that is fundamental, a treasure of dramatic art".

And is that "the more I read this text -it acknowledges Helena Pimenta-the more things I discover, deeper I plunge and more demonstrates to me -as are other works of our classic theatre - that is still part of our daily life. Reading "life is a dream" I understand things the human being that I do not recognize in my daily life".

"Calderon is an author, avant-garde -adds Juan Mayorga , author of the version that directs Helena Pimenta-. As a playwright, the best tribute that I can do is feel envy, especially by the freedom and the wisdom with which he practiced the theatrical fact; there is not archaeology, but a huge artist who anticipates his time ". He argues the playwright and academic, that what makes Calderon in current are the issues you are dealing with, which are "radically contemporary. In “life is a dream” speaks of the difficulty that we have to distinguish the reality of the constructs with the power of override; it is something that in these times of the “fake news” takes on a new meaning. Calderon also looks what it is that makes us human ; it does so through the process of humanization of Sigismund, who begins the work being a compound of man and beast, and gradually getting to its limits; he will be born in him a morality that leads him to the sacrifice, and forgiveness. Calderon argues that what makes us human is to understand that we all have a limit to our neighbors and we are also what we are for others And that is what makes us human is our capacity to forgive. All of this is presented on the four beams that hold the theatre: action, emotion, poetry and thought".

"there is in our theatre -concludes Mayorga - a character in which we are given to see the fragile beauty of the human as we see in Sigismund, "a man of the wild beasts and fierce men". Nor has it reached our language, in another work, it seems to me, the tension that runs through the verses of this tragic comedy".

The performers are the components of the fifth class of the Young National Company of Classic Theatre , a project will be fruitful, that have been a part of actors who today are in the first line of our scene. This circumstance makes the mounting that has created Helena Pimenta is very different from that presented seven years ago. "You have a concept coral , I have not wanted that there is an identification between actors and characters. In one of the monologues of Rosaura, for example, you see your other self, that is who the text says". There are issues also symbolic in this coralidad: the infinite loneliness of each character is not the only; it is not the Zygmunt, it is not the Polonium, it is not the Rosaura... there is Also a game choral voices which symbolizes that all are concerned". For assembly, essential in their way, Helena Pimenta has had Vicente Fuentes (advisor of verse), Eduardo Basque (sound design), Nuria Castejón (choreography), Juan Gómez Cornejo (lighting) and Monica Teijeiro (scenography and costumes).

Updated Date: 13 September 2019, 04:00

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