Directed by Ana Ribeiro e António Duarte
Music by: António Duarte
Performed by Ana Ribeiro, António Duarte, Paula Só, Paulo Duarte Ribeiro, Victor Gonçalves
Photos by Alípio Padilha
Latoaria, February 2018
A piece about a system that needs figures of authority and figures that fight it. Each one in its role. The great house of dreams, the pyramids of power, the hierarchy of society. The bishop, the general, the Judge, the Queen, the chief of police, the revolutionary, the martyr, the slave. Staging, cinematographic and photographic pictures of revolutions, idols, miracles, and other songs.
A dialogue around the present day ...
Each one in its role: performers perform, the audience attends. Or is it the other way around? ...
Because, after all, we will not be repeating a loop... Jean Genet's text again... (?)
The "Balcony" was written between 1955 and 1957. It is inspired on Franco's Spain, in an Europe that sought to rebuild itself.
Deep on this fantasy house, the old perversities and dogmas exist only to satisfy their own fantasies.
Reinvent and survive.
The madame of the house leads and brings everything back to the beginning.
Webs of power relations and their hierarchies are always a good place to find stereotypes.
This is where we ended up living. There are revolutions on Facebook, the world seems to struggle on social networks, what is real seems distant. The fine line of what is real and what is fantasy disappears.
What defines the "real world" is no more than a set, props, and a wardrobe.
Here, where we are only the actors on the hierarchical structure of a play.
Does something ever change? Changed?
Genet shows that the real world and its revolutions are as illusory as the fantasies that those characters live in the brothel. It exposes our fear in getting out of our own fantasies, as if they existed only while we are representing our roles.
Outside, life goes on. Children go to school and people go to work.
Customers temporarily inhabit those places, those roles in society. If not you, others will take your place.
How to break this cycle, this loop?
Don't we all live in a big brothel? Where everything can be created and staged.
Love, people, critical thinking, songs to come... what remains? ... still.
Theater may not be revolutionary in itself, but it will always be a rehearsal for a revolution
Pictures taken by the audience on each performance night