Biblical neotrash at the Grec Festival

Biblical neotrash at the Grec Festival
Biblical neotrash at the Grec Festival

The Old Theatre It has been characterized as a unique space. A room to display all kinds of performances. The only stage in the city of Barcelona in which everything that eludes any convention is shown. CAÍN loops i did it again This is the show that will be performed starting today and can be seen until Sunday, four performances framed within the festival program. Greek. A project that has been evolving for two years and has been seen in Figureres, Valencia and even Chile. Its perpetrators, the members of, as they like to call themselves, Nina Orsini’s team They are part of the Nave Ivanow residency program and this has allowed them to chain exhibitions and residencies in other cities. A young company in which its members: Rita Capella and Margarit, Quim Spanking, Belda Enric Lizano y Eduard Olesti (playwright of this show and renowned poet who has won the Amadeu Oller Prize and the Ausiàs March Prize for poetry who will recite this Friday, July 5th at the Poetry and + Festival) have excelled individually and now present their first collective adventure.

Quim Palmada, Rita Capella, Belda Enric and Eduard Olesti / Photo: Carlos Baglietto

A show, in which the Iaioflautes also participate Eric Manchia Benito y Marta Pérez Torne, which, born from various premises, has evolved into a story neotrash which has the figure of Cain as its protagonist. A hybrid stage proposal (performance, dance, theatre…) with a title that resonates with Britney Spears, in which body and movement serve to talk about concepts such as frustration, loneliness, creation or energy drinks. The company uses the myth in order to explore the relationship between Ancestryunderstanding it as tragedy, the theater and repetition, and a contemporaneity expressed through the performance. Those of Nina, will try to knock down that fifth wall that we have in front of us in a proposal that makes mockery of autofiction, which exalts the condition of theatre as a showcase of human misery and which uses violence as a way of denouncing the bourgeoisification of the stage of our cultural context. Evil is the element that structures the world, and pain is its staff, so both are made evident on stage. How can we respond to violence if not with more violence? This is the question that hovers over a production that uses a host of Christian references to explain itself: from the figure of Cain that gives the production its title to a washing machine that seems to have stigmata. What if we question the figure of a Yahweh who turns us all, to be children of Cain, into murderers?

Before moving on to talk to the protagonists of the show, it should be noted that The survival of the Antic Teatre is still in doubt. After Ada Colau’s announcement a little over a year ago, while still mayor, that she would guarantee continuity, no further details are known. The current municipal government has not decided what the formula will be to guarantee the future of the facility. A wait that is experienced with uncertainty from within.

How do you create a piece as a collective?

Eduard Olesti: Although there is a text, it was not previously prepared. Everything came together. At a certain point we decided that we wanted an actor who could play the role. And that was Enric.

Rita Capella: This project came out of a conversation between Eduard and Quim. What we were clear about from the beginning was that we wanted to tell the story of a character who was going through a journey.

Quim Spanking: We started from a previous project in which the idea of ​​everyday violence, embodied in a washing machine, was fundamental. We went beyond the washing machine, but we didn’t forget it, and that’s why we included an actor.

We wanted to problematize the idea that theater always repeats itself. That led us to the Bible, we wanted to develop a conventional narrative

We interviewed the stars of the show CAÍN loops i did it again / Photo: Carlos Baglietto

How do you come to Cain, though? What motivates you to talk about this figure?

AND THE: We wanted to talk about the idea of ​​failure, but also about loneliness and guilt. We also wanted to problematize the idea that theatre always repeats itself. That led us to the Bible, without wanting to develop a conventional narrative. We wanted to explore a character.

R.C: A character that could also be us. The idea of ​​the constant circle, the idea that everything that is repeated is also a propositional idea.

Q.P: We wanted to mix many different things. Many languages. And that’s why we needed an actor.

Belda Enrique: I joined later. I met them at the Institut del Teatre. I arrived with a very clear structure and I adapted to the style. I got into the coherence of the show, which goes through many languages, but always ends up arriving at the same coherence.

When we talk about performance, what do you mean?

AND THE: You see a character who negotiates with the audience because he has to explain his story. That opens up a lot of questions. We were interested in the idea that Cain appears to us and wants to do a performance. That is, it is about understanding it on different levels, not so much that Enric will do a performance for us today, because we thought that was of little interest.

Q.P: It’s a very fun piece!

R.C: Cain has intended a fun game. There is also a power game.

B.E: “Now that the audience has come, I will explain everything I want to tell you.” The character will vomit out his miseries.

AND THE: The phrase “someone applaud my pain” is repeated a lot in the work.

You are residents of Nau Ivanow, which is one of the few places that hosts residencies. How have they helped you?

R.C: In everything. In addition, this Grec has scheduled three more proposals that come from a residence at the Nau. We, but also the Mis Bragas Foundation, which will be at the Espai Lliure and the creation of Montse Isla, which will be at the Mercat de les Flors.

AND THE: Not only to have a place to rehearse. The Nau Ivanow has been with us at all times. Even in legal and judicial matters. Also to find all the other support to put on the show. And finally to present a project that has been running for almost two years.

L’Antic always has a clear idea of ​​what it offers, it is one of the clearest programmes in the city. Because it has a lot of freedom and has been a benchmark for what we want to do.

CAÍN loops i did it again It will be performed from today until Sunday at L’Antic Teatre / Photo: Carlos Baglietto

I imagine, however, that the economic conditions set you apart from the rest of the Grec proposals?

AND THE: Thanks to the residency, the four of us have been sent to Chile, with an international residency program that is a great thing. There we have met many people with whom we are trying to create a great network. We have found complicity and ways of understanding their ecosystem. And you learn about a reality that, evidently, is not that of large productions.

Q.P: I’m a big fan, I think we all are, of the Antic programming. You know what you can find and what resources you can use.

R.C: Yes, the Old One does not fail.

AND THE: El Antic always has a clear idea of ​​what it offers, it is one of the clearest programmes in the city. Because it has a lot of freedom and has been a benchmark for what we want to do.

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