DON'T MAKE IT A PLAY

O como esto es un trabajo serio

Teatro Comandini | CESENA

2022

EN

As a story or discourse that is composed from the absence, the purpose is none other than to propose a simulacrum, a fire that is stoked from the non-presence. There, in a non-place. The inertia of Dorothy’s journey to the country of Oz as the palpitation of an unbalanced, fragile, romance-speaking border machine, which in the inertia of the tornado declares itself the enemy of a plastic that dies in the spectacle of self-consumption.

“When I see you act, you make me feel that life is really very hard, you make art seem like a real job, a serious job”. 

For the sake of repetition, the scene is composed in fractal vignettes where art and artist, dependent reflections of each other, transit and confront each other according to the merciless direction of a faceless silent audience -inter faccia-. Three performers draw in the intermediality and interdiscipline, a discourse that pretends the foolishness of the nonconformist: this is a serious work. And they emphasize it. They transit it. They articulate it.

It is born in the depths of the creator’s urgency. From the virtual of his capital situation. Here three horizons that we would swear dissonant: the virtual, the capital and the artistic. The multiplicity of voices that Elena conjures, because art, once exposed and stripped of its monastic confinement, invokes and ritualizes the human; the piece is a cartography of memory, of its emptiness. Let us open up then, of what unites what the meridians separate, it is a map that in pieces reveals a human statement that makes use of its technological virtue as a bridge and register, as a channel and to receive it.

The piece does not pretend anything else but to present the absence, the artist and the art.

ES

Como historia o discurso que se compone desde la ausencia, el fin no es otro que el de proponer un simulacro, un incendio que se atiza desde la no presencia. Ahí, en un no lugar. La inercia del viaje de Dorothy al país de Oz como palpitar de una máquina border desequilibrada, frágil y de lengua romance, que en la inercia del tornado se declara enemiga de una plástica que muere en el espectáculo del autoconsumo.

Cuando te veo actuar me haces sentir que la vida es en realidad muy dura, haces parecer al arte un trabajo de verdad, un trabajo serio”. 

Por aquello de la repetición, la escena se compone en viñetas fractales donde el arte y el artista, reflejo dependiente uno del otro, transitan y se enfrentan según la inmisericorde dirección de un público silente sin cara -inter faccia-. Tres performers dibujan en la intermedialidad y la interdisciplina, un discurso que pretende la necedad del inconforme: este es un trabajo serio. Y lo remarcan. Lo transitan. Lo articulan.

Nace en lo hondo de la urgencia del creador. De lo virtual de su situación capital. Aquí tres horizontes que juraríamos disonantes: lo virtual, lo capital y lo artistico. La multiplicidad de las voces que Elena conjura, pues el arte, una vez expuesto y desnudo de su encierro monástico, invoca y ritualiza lo humano; la pieza es una cartografía de la memoria, de su vacío. Abrevamos pues, de lo que une lo que los meridianos separan, es un mapa que a pedazos revela un statement humano que echa mano de su virtud tecnológica como puente y registro, cómo canal y receptarlo.

La pieza no pretende otra cosa que no sea presentar la ausencia, al artista y el arte.

IT

In quanto storia o discorso che si compone dall’assenza, l’obiettivo non è altro che proporre un simulacro, un fuoco che si alimenta dalla non-presenza. Lì, in un non luogo. L’inerzia del viaggio di Dorothy nel paese di Oz come palpito di una macchina di confine squilibrata, fragile, romanzesca, che nell’inerzia del tornado si dichiara nemica di una plastica che muore nello spettacolo dell’autoconsumo.

“Quando ti vedo esibirti mi fai sentire che la vita è davvero molto dura, fai sembrare l’arte un vero lavoro, un lavoro serio”. 

Per amor di ripetizione, la scena si compone in vignette frattali dove arte e artista, riflessi dipendenti l’uno dall’altro, si attraversano e si confrontano secondo l’impietosa regia di un pubblico muto e senza volto -inter faccia-. Tre interpreti attingono all’intermedialità e all’interdisciplinarità, un discorso che finge la follia dell’anticonformismo: questo è un lavoro serio. E lo sottolineano. Lo transitano. Lo articolano.

Nasce nel profondo dell’urgenza del creatore. Dal punto di vista virtuale della loro situazione patrimoniale. Qui sono presenti tre orizzonti che giureremmo essere dissonanti: il virtuale, il capitale e l’artistico. La molteplicità di voci che Elena evoca, perché l’arte, una volta esposta e spogliata del suo confinamento monastico, invoca e ritualizza l’umano; l’opera è una cartografia della memoria, del suo vuoto. È una mappa che a pezzi rivela un’affermazione umana che si avvale della sua virtù tecnologica come ponte e registro, come canale e ricevitore.

L’opera non pretende altro che presentare l’assenza, l’artista e l’arte.

Title
Don’t Make It A Play (O como esto es un trabajo serio)

Company
Colectivo Cistifellea, Mierda Bonita Produciones

Duration
30 min

Direction and Media design
Elena Tilli

Drammaturgy
Vera Rivas

Sound Design and Original Music
Nicolas Cristancho

Interpreters
Leonardo Diana, Cesar René Perez

Presented at:

Teatro Comandini, Cesena
Italy, 2022

Foto:

Federico Masi

 

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NICOLAS CRISTANCHO

Composer, pianist, guitarist and percussionist specialized in Jazz and Afro-Caribbean music. Creator of soundtracks for audiovisuals and performing arts.
Song writer.
Double degree in Jazz Piano from the Universidad Javeriana de Bogotá, Colombia and the Escuela Superior de Música de Catauña, Spain.

Nicolás is the co-founder of the Cistifellea Collective together with the director and stage designer Elena Tilli, in which he works as a sound designer, performer, and writer. His practice of improvisation and his capability to connect directly with the performers in real-time offers unique possibilities to the process. He also loves to experiment with what the participation of the public can offer to sound by developing specific tools for interaction and building custom-based small-scale instruments. By using software and electronic sounds, together with live played instruments, Nicolas allows himself a fullscale exploration that together with his wide versatility as a musician and composer, opens up a high level of complexity that translates into a beautiful, inspiring and sometimes provocative experience for the public.

Nicolas is also a singer-songwriter, leader, and manager of the independent musical project Yurgaki since 2005.

Composer and co-producer of the projects Candombe Tierra, Sones de Marimba, Chonta Dura, in Barcelona.
His work has been presented internationally in countries such as Ecuador, United States, France, Italy, Croatia, Romania, Ecuador, Morocco, Azerbaijan, Colombia and Spain.
Nicolás also works as an educator for children, youth and adults. He promotes Afro-Caribbean music around the world through concerts and workshops where he spreads various musical genres, disseminating traditional music and transforming it through his own compositions.

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ELENA TILLI

Elena is a multidisciplinary artist.

She insists on the body as the epicenter of scenic language while creating experiences for the spectator.

Elena is the co-founder of the Cistifellea Collective together with the musician Nicolas Cristancho, in which she directs, and builds scenery, machines, and media design. She is also a video designer in the theater and her collaborations have been seen at The Kitchen Theater in New York, at the Barichstaadt Opera in Munich, and in public theaters in Barcelona.

After graduating in mechanical engineering (MA), Elena completed her education at Yale School of Drama studying Technical Design and Production and Design for Theater. She completed the three years program held by Claudia Castellucci at Scuola Conia Raffaello Sanzio focused on the Theory of Scenic Representation.

Elena creates visual experiences combining elements of video, sound, and light for a variety of artistic applications. Her practice merges the research of the surrounding elements combined with curated improvisation to find new possibilities throughout the process, always guided by the commitment to find in the collaboration a unique and essential value.

In 2022 she received a scholarship from Daku, Berlin. She holds a scholarship from the Favoriten Festival (2022), Dortmund. She is a fellow of the Beyond Gravity project of Theater Im Depot, Dortmund. She is a fellow of the Digital Body program at the studio Lake Studios Berlin. In 2021 she receives a scholarship from the Akademie für Theater und Digitalität, Dortmund.
In 2019, Elena received the residency offered by Troikatronix-Isadora and LakeStudio Berlin. During this time she created the short piece Ex Matrice Corpora.

With Cistifellea she directed the shows A&D Presence of Absent (2022), Don’t Make it A Play (2022), Asuntos Humanos (2021), Todo Bien Todo Tranqui (2021) El Silencio no Existe (2020).

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