The show El Castillo de Lindabridis, co-produced by Nao d’amores and the National Classical Theater Company, has just premiered at the Comedy Theater in Madrid with the integration of the Great Devil’s pincers from the Los Carochos masquerade in two scenes of the assembly.
The person in charge of handling this diabolical device is the character of the Faun who appears with this deterrent weapon, to fight with the knights-errant, in the first and last scenes of the representation.
It is a novel-chivalric comedy of great artifice belonging to the court theater: elaborate poetic language, music, dance, costumes, fantastic beings, but built on a tangle typical of cloak-and-dagger comedies.
The director of Nao d’amores, Ana Zamora, has covered this work by Calderón de la Barca and directs a story full of fantasy in which Princess Lindabridis, to inherit the throne of Tartary, must marry a knight who can defeat his brother Meridian in a tournament. With that goal, in search of the husband who best suits her desires, she travels the world in a flying castle.
The main protagonists are two women who take the initiative through different adventures, sword fights, mythological beings, songs and dances. A party in which the audience is an important part of the world that is recreated on stage and in which live music, scenery, costumes and object work are of great importance throughout the 80 minutes that this event lasts. staging.
The tongs of Los Carochos are used by the character of the Faun in the first scene of the performance “fighting against the knights-errant who have gone to liberate an island, in the middle of Egypt, from the power of the Faun, the character who has the most profound monologues , in the Calderonian style”, in the words of Ana Zamora.
The second time this extendable instrument from the Riofrío de Aliste masquerade appears on stage is in the final duel, “the tournament to which the entire performance goes, because all the knights-errant must fight for the love of Lindabridis until they end up facing each other. with the Faun who kills them all, except Princess Claridiana,” summarizes the director.
The artistic director of Nao d’amores is satisfied with the dialogue established in the actions of the Faun with the tongs since, in her opinion, “it gives this performer a much more interesting character, with greater personality, as it is a such a complicated character.”
For Ana Zamora, last National Theater Award winner, “the use of a weapon like tongs, which is an element of props, could not be more earthly and more popular because it anchors to the earth the character of the Faun who is conceived for a performance. courtesan although, suddenly, this transforms into a small popular masquerade”
Lindabridis Castle is a work full of this type of dialogue. It presents a stage made of wood, very artisanal, and is performed in a large Italian-style theater, full of velvet and red seats. “The same thing happens with the compositional elements of these characters, designed for court theater, to be performed at the court of Philip IV, although they finally become a community act which is what the festivals are ultimately about and what for “We are the theater,” explains the creator of the montage.
The staging of Calderón’s show is closely related to traditions. “There is an obvious reference to the world of opera dei pupi, of the Sicilian puppet theater, which is the great popular theater that has kept the stories of knights-errant on stage. But both its aesthetics and the plastic also bring us closer to the game of scenography that draws on other popular traditions from very different areas, from the ancestral Alistano celebrations such as Los Carochos to those from other parts of the Mediterranean.
Once premiered in Madrid, the show El Castillo de Lindabridis will arrive at the experimental room of the Miguel Delibes Cultural Center in Valladolid, on April 20.
2024-02-13 08:33:37
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