- What is reality?- It's that thing that when you stop believing in it, it doesn't disappear. (Philip Dick)
The word Reality, a term with a certain prestige but increasingly difficult to retain, appears in human language relatively recently, just over 1000 years ago. The Greeks did not have a word for this condition, and individual and collective existence was rule by the fantastic logic of myths: stories constructed through a process that articulated forces arising from the inside and whose extraordinary images produced a concrete effect on consciences in order to orient people in the material life.
The origin of the word Reality it’s found in the ancient Roman Empire, to define the most varied forms of things and acts that truly exist, until it eventually settled down in the semantic field of what we define today as the real. It is within the logic of a people with a vocation for empire that the need for an imposition of being was born.
Despite the colonisation of the material and objective domain, the concept of Reality is problematic in essence, as a ductile and constantly moving construction in the human task of emancipation from nature. Shared existence, environmental conditions, the evolution of language allow us to construct every day a presumably controlled world where we can live in the best way, according to our desires and needs: I’m the world as I am a part of the world.
This work wants to translate on stage the image of a parallel and subterranean story, where are the effects of what is found between the folds of material life and between all the gaps and paths that ghostly cross existence and that compose that layer below the surface that also speaks about humans, both individually and collectively.
Neither images nor words have managed to capture the impression of reality that accompanies life. Faced with the evidence of this landscape of failure, Una imagen interior is a poetic exercise that explores the principles of the concept of fiction in constant dispute with the unquestionable gravitational law to which bodies are subject.
In this work El Conde de Torrefiel proposes the eroticism of the imagination as a radical alternative to the fictions and images that control us.The bodies on stage work with materials and words to construct possible landscapes before the spectator's eyes, halfway between the fantastic and the concrete, to poetically expose the somatic effects of time, space, and stories, to establish a dialogue between the possibility given by the potential of desire against the tyranny of language as a tool that establishes laws and shared values.
The artefact presented in the theatrical space, a primitive place for fiction, intent to represent an impossible resolution to invoke on stage the powerful and essentially conflictive energy of existence.
Concept and creation El Conde de Torrefiel in collaboration with the performers Direction Tanya Beyeler and Pablo Gisbert Text Pablo Gisbert Performers Gloria March, Julian Hackenberg, Mauro Molina, David Mallols, Anaïs Doménech and local performers Set design & costumes Maria Alejandre & Estel Cristià Sculpture pieces Mireia Donat Melús Robot design José Brotons Plà Light design Manoly Rubio García Sound design Rebecca Praga, Uriel Ireland Costumes El Conde de Torrefiel Set construction Los Reyes del Mambo, Isaac Torres, Miguel Pellejero Sceneshifter Miguel Pellejero Technical coordination and direction Isaac Torres Sound technician Uriel Ireland Tour lighting technician Roberto Baldinelli Text translators Martin Orti, Marion Cousin, Nika Blazer, Alyssia Sebes Production and administration Haizea Arrizabalaga Executive Production CIELO DRIVE Distribution and tour management Caravan Production, Brussels
With the support of ICEC - Generalitat de Catalunya; TEM Teatre Musical de Valencia; Centro Párraga de Murcia Coproduction Wiener Festwochen (Vienna); Festival d’Avignon; Grec Festival (Barcelona); Conde Duque (Madrid); Kunstenfestivaldesarts (Brussels); Grütli - Centre de production et de diffusion des arts vivants (Geneva); Teatro Piemonte Europa / Festival delle colline Torinesi (Turin); Points communs - Nouvelle Scène nationale de Cergy- Pontoise - Val d'Oise; Festival d’Automne à Paris; La Villette (Paris).
Thanks to Fernando Gandasegui, Marta Echaves, El Consulado (València), La Internacional teatral (València), Salva Gisbert and Amalia Donat