2001. Musical performance.
An empty scene and the usual lights. The lights of the highway, of the alleys, of the dining rooms and the kitchens. The lights that we have made 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 for which we glimpse bodies that probably with another light we might love. In this beginning of the 21st century we still have clear that behind the screens of televisions and computers there is nothing: a slight pleasure of the advertising that hides the noise of nothing. There is no difference between the scene and the orchestra: everything is a scene: some of them are sitten down and look; others sing, move; others control mixing tables and lights. Some kind of postechnological performance that talks about the gender’s war as it is now: an empty scene and the usual lights. And darkness. True darkness. You can’t see anything at all. You can hear the steps of those who should be loving that move, they look for each other to fight. Tasso's splendid episode reminds it (for 400 years): you can only cross someone elses cuirass with a sword, only lovers are recognized in the agony where there is a mix of pleasure of victory and desperation for the irreparable loss. Eduard has imagined a future of loneliness, the winner’s loneliness, his empty theatre. Electronic music, now all music is electronic: Bach in a house CD. And the singing is probably the only tear of this spectacle.
Music & Libretto Eduard Resina. Scenic Direction Claudio Zulian. Soprano Carmen Sánchez, Neus Calaf. Contratenor Xavier Sabata. Scenic Set & Lights Claudio Zulian.
With the support of Instituto Nacional de las Artes Escénicas y la Música (INAEM).