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MARX’SFANDANGO
Pre-production dossier
Work in process
1. WHO
PERFORMERS
Begoña TenaValencià sing (albaes, sing and jotas) and dance
Silvia NavarroBalance, air technique and dancing
Roge P. MagdalenoGuitar and strings, juggling and dancing
Manuel CondeTechnical lighting
Patrícia PardoClown, air technic, clarinet and dancing
MUSICAL ADVICEEnric Parreño
STYLE SINGING LESSONSTeresa Segarra
DRAMATURGY, TEXT Y DIRECTIONPatrícia Pardo
DRAMA, CIRCAND TRADICIONAL MUSIC FROM VALENCIA
•Music and DanceLive music: albaes, sing and jotas, as associated dances.https://www.youtube.com/watch?v=LiDogVw_Qco
•Slapsticks and MirrorClasic technique of clown: falls, accidents with objectsand imitation gags to perverthttp://www.youtube.com/watch?v=jhaqJXHIXiAhttp://www.youtube.com/watch?v=j5lU52aWTJo
• BalanceAcrobates technique : balance of hands, foots and in theair (trapeze)http://www.youtube.com/watch?v=BOPLTpEwTPs
• The textual deliriumPatricia Pardo’s Playwright contaminate with deliriummonologue and poetry, some of the most physicalnumbers as well as traditional songs presented.
2. DISPOSITIFS
3. WHATWe are surrounded by logical fallacies of invalid arguments or syllogisms in which the conclusion does not follow fromthe premises: "If I am human, so I'm mammal. I am a mammal, therefore I'm human "Although propositions are correct,the conclusion is not valid: Not all mammals are human. "Society not want criminals. Criminals are arrested by the police.Therefore, society wants cops "
The Marx’s Fandango is against fallacies, syllogisms against justifying inequality, exclusion, punishment. Claiming theperiphery, weakness, resistance. It escapes from the center of power, aggression, abuse, elegance. It understands theessence of communism again: "It’s Billy Elliot when challenging the bourgeois cultural spaces and claim their place in the ballet,demonstrating that the workers are not born to load and know dancing (...) Not because they want to reject the efforts of their parents,but simply to pay them tribute, because in the conservative reaction of the fixed, there isn’t proletarian advance, just sad passions "(JorgeMoorish, 2013)
Start creating ... finding with your own voice, with the search and thedebugging of your own voice.
Rethink and affirm the contemporary: Drinking from the classic circusand new circus, yes, but go further asking us where today is "The mostdifficult yet," what athletic ability or organic gag.
Humor and poetry, not because it is a binomial easy to write in handprograms aimed at programmers or public, but because I am a clownand worshiper of adolescence; clowns make you laugh, andadolescents, we know, are slaves of words and exact, precise, triggersimages.
To Want to create emotions in a public (or a section of the public)which who do not condenscention. Which had been used to foresee,that saw it coming, no matter how close they actually were the artistic,intellectual, aesthetic or muscle perfection.Contemporaneity in performing arts is no surprise, is the audacity to getthe "real" connection to the public now. A viewer do not accept inadvance, there isn’t a previous consensus.
4. PREVIOUS REFLEXIONS
Comissura (2010), Cia. Patrícia Pardo
Augusta (2007),Cia. Patrícia Pardo
