FRAGOR

An empty scene and the everyday lights. The lights of the highway, of the alleys, of the dining rooms and the kitchens. The lights that we have made ourselves and turned on and that do not serve to illuminate, only to repeat some gestures. The gestures do not say anything either: they are a mysterious code through which we glimpse bodies that perhaps in another light could love each other. At the beginning of the 21st century, it has become clear to us that behind the screens of televisions and computers there is nothing: the light enjoyment of publicity that hides the fragrance of nothingness. There is no difference between the stage and the audience: everything is a scene: some of them are sat down and watch; others sing, move; others control mixing boards and lights. Something like a post-technological show dealing with the war of the sexes as it is now: an empty scene and the everyday lights. And darkness. Real darkness. Nothing can be seen. You hear the footsteps of those who should love each other moving, looking for each other to fight. Tasso's splendid episode reminds us of this (for 400 years): the armor of the other is pierced only with a sword, only the lovers recognize each other in the agony where the pleasure of victory and the despair of irreparable loss. Eduard has imagined an afterlife of solitude, the winner’s solitude, his empty theatre. The music is electronic, now all music is electronic: Bach on the CD at home. And the singing is perhaps the only tear in this spectacle.

Music & Libretto Eduard Resina. Stage Direction Claudio Zulian. Soprano Carmen Sánchez, Neus Calaf. Contratenor Xavier Sabata. Scenic Space & Lights Claudio Zulian. 

With the support of the Instituto Nacional de las Artes Escénicas y la Música (INAEM).