-
Authorship and production
Gabriel Calderon -
Translation
Joanne Sellent -
Scenography and lighting
Laura Clos ‘Closca’ -
Changing room
Adriana Parra -
Her
Ramon Ciércoles -
Interpreters
Pere Arquillué, Daniela Brown, Joan Carreras, Laura Conejero -
Place
Lliure Theater, Barcelona
We believed that the future would not be here. That robots would remain the iconography of a “science fiction” which, as its name suggests, would not come true. A little over a century since the Czechs Karol Capek will present “RUR” (Universal Robots … Rossum), the artificial intelligence collective is bursting into our jobs and our days. With the help of Gabriel Calderón, robots come to occupy the stage in this brave new world where leisure proves to be as unlimited as the risk of ruin at work. Following following Philip K. Dickthe author of the famous “Story of a Wild Boar” imagines androids capable of dreaming Barca’s Calderon.
In the theater of this dystopia which troubles our present, robots have gone from subordinate tasks to the interpretation of works: unlike humans, these replicants do not have to devote endless rehearsal sessions. Nothing is missing from the performances in front of an audience that prefers to ignore the robotic nature of the performers as long as the plays do not go beyond intermissions. The “human” actors are only responsible for supervising the functioning of their artificial transcriptions.
It is the art of Talía that the protagonists of “Ay!” Poverty will make us happy. Between humorous nods to the new division of labor which expels imperfection from its tasks, quotes from ‘life is a dream‘ either ‘The great theater of the world‘, by Calderón (Pedro), and the dreaming androids of Dick, by Calderón (Gabriel), pay homage to the theater which exudes the contradictions of human existence without the need for “emotional regulators”.
Joan Carreras, Laura Conejero, Father Arquillué And Daniela Brown They metabolize their characters with the choral confection that the work demands. Four interpretive registers which range from the excitement of Joan (television actor) to the classic solemnity of Pere, through the discipline of Laura and the youthful spontaneity of Daniela. The song’One more kiss, darling” from “Blade Runner” warns of an ending that we cannot reveal here. When you know the outcome, you will understand why misery can make us happy.
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