The Royal and the Abbey Theater co-produce the world premiere of Marie

The 7 performances of the play will take place at the Teatro de La Abadía between January 9 and 17, at 7:00 p.m. (Sundays, at 6:00 p.m.)

The next January 9th will take place in the Theater of the Abbey he World Premiere of Marie, ‘contemporary tragedy’ born from the collaboration between three renowned artists born in the 80s: the composer from Madrid German Alonso (1984), the Alicante playwright Lola blasco (1983) –National Dramatic Literature Award, 2016– and the Sevillian stage director Rafael Villalobos placeholder image (1987) – Arts and Letters Award of the Princess of Girona Foundation, 2019.

The production – the first collaboration between the Teatro Real and the Teatro de la Abadía – proposes an investigation into the murder of a prostitute at the hands of her partner through the story of several characters and the author’s reflections, which analyzes the homicide from different perspectives, giving visibility in Marie to all Marie, forgotten and nameless victims who constitute the axis of the tragedy.

The libretto

An author –alter ego of Lola Blasco, whose reflections appear in the work recorded with his own voice– intends to write the libretto of an opera focused on the reasons that led to the soldier Woyzeck to murder his partner. Spinning your meditations, intuitions and guesses with the statements of the various witnesses, reconstruct three different scenarios for the same crime.

In the dramaturgical structure of the work, conceived as a Stations of the Cross of the protagonist, three planes are intertwined, corresponding to three times and three different languages: he here I’m, with the author’s reflections while investigating the murder (electronically recorded text); last remote, with the memories of the characters who have lived with Marie (theater); and a ‘time revived’, with the triple recreation of the murder scene (operatic language).

For the construction of the characters, Lola Blasco has scrutinized not only the drama of Büchner, but also the operas Wozzeck and Lulu by Alban Berg, or literary myths of ‘Othello’ to Carmen’, from the Bible to Goethe, which appear explicitly or hidden in the evolution of the drama.

The music

The sung parts of Marie are written for countertenor and soprano, –Xavier Sabata and Nicola Beller Carbon (Jordi Domènech and Valentina Coladonato, January 10) -, whose voices are used in all its registers: natural voice, imposted and vocal fry.

In addition to electronic music and prerecorded texts with the voice of Lola blasco that appear throughout the work, the score assembles different musical sources, from baroque to rock and electronics, in a fluid sound osmosis in which the use of elements from Alban Berg’s operas and quotations of recognizable or submerged themes stands out. that have inspired the composer.

In his second stage work, German Alonso retell the ensemble OCNOS Project, this time with Diana Muela (flute), Olga Morral (accordion), Pedro Pablo Chamber (saxophone), Gustavo A. DominguezOjalvo (bass clarinet) and Pedro Rojas Ogáyar (electric guitar), who use all the potentialities of their instruments in the service of dramaturgy.

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