Csodakvintett [The Wonder Five] (2006-2008)
El Quinteto de los Milagros
Written and Directed by Carlos Rodero
Based on the Interlude The Wonder Show by Miguel de Cervantes
Translated by Karsai Gábor
Dramaturg: Duro Gábor
Props and Costumes: Balogh Renata
Music: Roberta Arruda
Production: Barsi Gizella
Interpreter: Nemeth Zsuzsa
Directing Assistent: Hajdók Ildikó
Directed by Carlos Rodero
A NEW MIRACLE
Csodakvintett [The Wonder Show], a Miguel de Cervantes’s one-act play. A miracle of theatrical revision.
A travelling troupe of four actors show up on stage: we do not know where they come from and where they’re going to. They set up their own small stage for an unspecified audience, which may be the same as the audience in the present, the audience of the performance. In particular, they play a resignation, unable to explain what -the old pieces recalling always repeat the same thing, as if this would oblige them the inexorable passage of centuries. They create the illusion as if the sight of spectators would be established as improvised play by Cervantes each figure and scene.
Csodakvintettben constantly raises one question: how the theatre is a mirror of reality, and not at all where is the “game” and “reality” and “role” and the “real-self” borders.
The answer of that question is -it could not be otherwise- everyone’s own answer.
The Marvelous Five is a supported camera show in the creative work of actors from a text that allows multiple readings of the same reality and, through different situations, it aims to provide the public an intelligent fun with winks to the present.
Four characters, actors in a traveling theater company that comes from ancient times, come on stage today from nowhere, without a specific direction and mounted his show for an unspecified public that may match the actual audience has come to see the play.
Act driven by inertia are not able to explain, perhaps recalling ancient representations in which they always did the same, as if now were forced to repeat after the inexorable passage of time. However, an unknown force to push them modernize their interpretation giving the game a parody of the contemporary world.
Act in the strict sense of action, it is what gives them life and this action is understood as stage game. We always get the feeling that they are improvising the play before the very eyes of the viewer, recreating each of the characters and situations intermission of Cervantes in a game of appearances between theater and reality constantly wondering if maybe this mirror that.
The actors, with fresh and dynamic performance style, inspired by the techniques of clown, maintain a constant dialogue with the viewer invoking what happens in the altarpiece as a parody of the characters that appear there and creating comic situations in which we laugh social prejudices and limitations as prototypes.
The actors are young talents who have studied at the Academy of Dramatic Arts in Budapest and started his career in a solid and secure in prestigious theaters as Katona Jozsef Vígszínház and supported by a team of Hungarian theater world . Bea Lass, Daniel Papp, Horvath and Japanese violinist Sándor Kadono Yuuna in this group of actors and Duro by Gabor drama, Renata Balogh of scenery and costumes and Hajdók Ildikó of steering assistance, with production Barsi Gizella directed by Carlos Rodero.
After its presentation in Pécs, in the framework of the International Days of Culture, this production is preparing to start its journey in Budapest and other cities.
TEXT & DRAMATURGY
The text comes from the interlude of Miguel de Cervantes, the Altarpiece of Wonders, which is the starting point for an experimental drama in which the reference is transformed into a series of proposals to bring it to modern times. The proposal is based on the idea of what would happen if the company proposes actors the original text, which teach the altarpiece in the seventeenth century, fooling anyone by hypocrisy or other interests lend your game, came on stage of today. Somewhat forgetful, perhaps for having been in a long slumber, they feel the need to recover its altarpiece, but also realize that they are in another time frame. So some improvisations with primitive elements undergo some transformations caused by the circumstances of our time arise.
Without being an adaptation or a free version, it intends to implement its proposals to the extent permitted by law scenic game.
The first version of the text was the basis for the actors to develop a series of improvisations that deepened and perfected these approaches. From this work the text was reworked to meet the final version in a team effort between director, playwright and translator.
Economy & High Performance
The scenic proposal is based on the idea that the scenery must create and configure the dramatic space in which the work and the physical space that develops power and gives meaning to the game players. The space arises directly from the needs of the drama. It is a sober space, stripped of any decorative artifice that allows the recreation of all the imaginary spaces that emerge from the work. Basics to show the essence of representation. The idea of empty space as a physical place where the theatrical ritual fires. An abstract scenario, defined and concrete at every moment thanks to the actors, music and some possible as simple concrete elements.
This conception of space obviously enhances the work of the actors, who thus become absolute protagonists of the show and celebrants of this ritual, even invoking spaces that are not presented to the viewer, shaping a complex props from working with a single object and turning their bodies in this invaluable tool to recreate all kinds of situations and emotional states.
The public should see the essence of the conflict reflected most clearly. Therefore, the strategy should be to build a simple and effective performance space that places the action while the stained poetic or metaphorical elements.
This type of space also helps to create a sense of timelessness, sometimes, universality and make metaphorical aesthetic that we pursue in our drama. It also greatly stimulate the viewer’s imagination.
Our goal is not to create verisimilitude through a detailed and thorough implementation stage, with maximum brought from reality, but of elements, through one of them, powerful enough, and the actor’s work, evoking the rest without losing the sense of verisimilitude.
If we define real space with concrete elements, only the actors’ play, the interpretation supported by the strict rules created by the drama, and recreate suggest another imaginary space.
Dressing space, action and emotions
Plays a significant role in the staging. Greatly helps create spaces on the bare reference scenario we propose.
Clothing should reinforce the ideas presented to the sets and perform different functions within the show.
1. Characterize the characters in the two suggested times. It has paid special attention to the process of documentation and sketches of the costumes will be designed from the characteristic fashion models in the seventeenth century. However, the intention is to stylize the reference to universal and recognized in any culture.
2. Establish the emotional or affective relationships between the different characters in the play, so special attention to the particular type of costumes for each scene and each character will be.
3. Mark the chronology of events over time within the work.
4. To characterize the characters within their profession, social class, economic status as well as its relevant psychological characteristics.
5. To create a specific atmosphere in each scene.
The Organic sound: from the insides of the story
Music is an integral part of dramatic language in our proposal.
It is one element of the dramaturgy of the show.
Our proposal is that music always occurs during the live performance, ie, with a violinist and percussion elements without the use at any time of the pre-recorded music or sound effects.
And it is born directly from the action without their function is never merely decorative or illustrative. The musician is also a character in the play with the harmony between the two elements is total.
The first function of music is to compare and contrast the two worlds of work, not only in the temporal plane, but also in the emotional essence of each.
Describe feelings and characterize the psychology of the characters in each of the situations that cross and create an atmosphere for some of the most characteristic situations.
We pay special attention to percussion as it is a rich element to create effects and atmospheres you can give special timbres and sounds to every situation and at all times.
The differences will be strengthened by the arrangements of each piece will have as main objective to characterize different situations.
Opening Night in Pécs [Örökség Fesztivál] with Radnay Csilla
Opening Night in Tivoli Theatre [Kamara Színház] with Stefanovics Angéla
photos: Mihály Erika
Opening Night in National Theatre with Lass Bea
photos: Perjéssy Gábor & Sallai András