The Cultural Center Ramón Alonso Luzzy of Cartagena will host this Friday, October 20, at 20:00 hours, within the activities of XII International Encounter of Cities of Enlightenment that is celebrated in Cartagena, the representation of the theatrical assembly 'El sueño de the reason "of Antonio Buero Vallejo, and that will be directed by Paco MaciÃ of the Railway Company.
This performance is organized by the Department of Culture of the City of Cartagena and the Escena Plan of the Institute of Cultural Industries and Arts of the Autonomous Community of the Region of Murcia (ICA).
The entrance will be free until capacity is completed.
'The dream of reason produces monsters' is the title of the engraving of the series of 'Caprichos' of the painter Francisco de Goya that inspired Antonio Buero Vallejo to create the play that takes the same name to criticize the isolation of the society of the moment, the decade of 1970, when it premiered, regarding the reality.
In 'The Dream of Reason', the author uses the painter himself to make a metaphor of what he wants to denounce through the deafness of the Aragonese artist and the experiences of the genius of Fuendetodos with his love, Leocadia, on the stretch end of his life in Madrid in the year 1823.
The work is set in the last weeks of residence of Francisco de Goya in Madrid just before self-exile in France and fix its residence in Bordeaux, in December of 1823. They are dark times for an old and pessimistic Goya, harassed by its fears, obsessions , grotesque fantasies and vital contradictions.
Goya escapes through his darker painting, 'Las Pinturas Negras' on the walls of his Quinta del Sordo, his own ghosts and the absolutist, cruel, repressive and suffocating pressure of Ferdinand VII who pursues liberals like him .
La Cía Ferroviaria assumes as its own the arguments of the author of the work, which defines its staging as "Total Work" and propose a show "that necessarily mixes several languages, all necessary, all belonging to the vital reality of the protagonist, Goya, which translated theatrically form a rich fabric of sensations for the spectator. The piece uses a historical text, on the one hand, to delve into the hurtful dual vision of reality that has confronted us in a fraticidal way to the Spaniards during almost two centuries and subjective, on the other, in relating the complex fear that seized Goya translated into a series of personal, social, political and metaphysical conflicts.
This production of 'The Dream of Reason' is used in addition to the paintings that have a significant space both in the evocation of Goya's paintings;
of the sign language that has led the actors to learn the first codes of signs for the deaf (Bonet alphabet);
of a sonorous space that evokes the universe of sounds and conversations of Goya with himself, expressed in the text in an unbridled delirium, and, finally, the esperpento that expresses a deep social criticism, satire, that enters fully in the work by the premonitory hallucinations of the protagonist, in which hybrid characters appear.
The staging mixes text, paintings made from the creative play proposed by the stage designer Ángel Haro, sign language and even the esperpento.
The piece includes passages in which the public becomes deaf when Goya is on the scene, because he does not hear the dialogue of the other characters, or only the hallucinatory sounds of his mind.
Source: Ayuntamiento de Cartagena