{"id":10948,"date":"2022-09-05T12:40:39","date_gmt":"2022-09-05T12:40:39","guid":{"rendered":"https:\/\/discoveralmunecar.com\/?p=10948"},"modified":"2022-09-05T12:40:40","modified_gmt":"2022-09-05T12:40:40","slug":"festival-de-theatre-grecolatin-a-almunecar-2022","status":"publish","type":"post","link":"https:\/\/discoveralmunecar.com\/fr\/festival-de-theatre-grecolatin-a-almunecar-2022\/","title":{"rendered":"Festival de th\u00e9\u00e2tre Grecolatin \u00e0 Almu\u00f1ecar 2022"},"content":{"rendered":"

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Petit extrait de la pi\u00e8ce Los Suplicantes de Silvia Zarco, pr\u00e9sent\u00e9e au festival de th\u00e9\u00e2tre Grecolatino d’Almu\u00f1\u00e9car 2022.<\/p>\n

Las Suplicantes est l’histoire d\u00e9chirante d’une rencontre entre deux g\u00e9n\u00e9rations de femmes, frapp\u00e9es et unies par la trag\u00e9die frapp\u00e9es et unies par la trag\u00e9die. Des jeunes femmes de l’Est, fuyant leurs mariages forc\u00e9s, demandent l’asile politique sur les rives d’une Europe qui doute que le conflit humanitaire soit leur probl\u00e8me, leur combat…<\/p>\n

Une Europe qui doute que le conflit humanitaire soit son probl\u00e8me, son combat… La guerre secouera plus tard la m\u00eame zone de conflit o\u00f9 les M\u00e8res de l’Ouest ont accueilli les r\u00e9fugi\u00e9s. L’Occident a abrit\u00e9 les r\u00e9fugi\u00e9s.<\/p>\n

Elles recherchent maintenant les corps de leurs fils, tomb\u00e9s au combat, suppliant le retour des morts, afin qu’elles puissent les pleurer dignement les morts, afin qu’ils puissent les pleurer dignement.<\/p>\n

La trag\u00e9die au nom f\u00e9minin pluriel bat au pr\u00e9sent. Les femmes m\u00e8nent la lutte, mais \u00e0 c\u00f4t\u00e9 d’elles, tout pr\u00e8s, les hommes du \u00e0 leurs c\u00f4t\u00e9s, proches, les hommes aux l\u00e8vres libres. La catharsis sera collective ou ne sera pas.<\/p>\n

Les Suppliantes est une fusion de deux trag\u00e9dies grecques \u00e9crites il y a 26 si\u00e8cles, dans lesquelles deux groupes de femmes plaidaient d\u00e9j\u00e0 pour le droit de se marier de femmes plaidaient d\u00e9j\u00e0 pour le droit de d\u00e9cider de leur corps, le droit d’asile et le droit de r\u00e9cup\u00e9rer les morts disparus de retrouver les morts disparus.<\/p>\n

Des revendications que nous devons aujourd’hui honteusement continuer \u00e0 r\u00e9clamer.
\nDans un exercice de sororit\u00e9 n\u00e9cessaire, Las Suplicantes arrivent pour nous retrouver en tant qu’\u00eatres humains, en valorisant l’h\u00e9ritage des \u00eatres humains, en valorisant l’h\u00e9ritage des textes classiques comme un cri qui nous interpelle et qui exige de nous, en tant qu’humanit\u00e9, la d\u00e9cence de r\u00e9agir contre l’injustice l’humanit\u00e9 la d\u00e9cence de r\u00e9agir contre l’injustice.<\/p>\n<\/div><\/div>[vc_empty_space][vc_single_image image=”10858″ img_size=”full”][vc_video link=”https:\/\/youtu.be\/dSxla_6WT8s”]

\u0152dipe
\nAvec la production d’\u0152dipe, le Teatro del Temple met en sc\u00e8ne son 50e (cinquanti\u00e8me) spectacle.
\nC’est un chiffre rond et peut-\u00eatre donc une bonne raison de se pencher sur les origines du th\u00e9\u00e2tre.<\/p>\n

Jusqu’\u00e0 pr\u00e9sent, le drame gr\u00e9co-latin ne faisait pas partie de la trajectoire de la compagnie, ayant de grands jalons dans d’autres types de classiques, tant de l’\u00e2ge d’or que du XXe si\u00e8cle.<\/p>\n

C’est donc le bon moment pour revenir aux origines et faire d’\u0152dipe un autre des spectacles de l’essence du l’essence du Teatro del Temple, qui cherche dans les classiques un moyen de r\u00e9fl\u00e9chir sur le pr\u00e9sent.<\/p>\n

Parce que nous voyons dans la pi\u00e8ce de Sophocle non seulement un d\u00e9fi th\u00e9\u00e2tral essentiel, mais aussi ce que nous y d\u00e9couvrons, malgr\u00e9 les que nous y d\u00e9couvrons, malgr\u00e9 les distances temporelles, une fa\u00e7on de parler de ce qui nous arrive aujourd’hui, et pas seulement parce qu’elle non seulement parce que la pi\u00e8ce a pour cadre une soci\u00e9t\u00e9 en proie \u00e0 une \u00e9pid\u00e9mie, mais aussi parce qu’\u0152dipe est un profond mais aussi parce qu’\u0152dipe est une profonde r\u00e9flexion sur les responsabilit\u00e9s et sur ce que nous voulons et ce que nous ne voulons pas voir.<\/p>\n

Le Teatro del Temple, dont l’\u00e9quipe stable est compos\u00e9e de Carlos Mart\u00edn, Alfonso Plou et Mar\u00eda L\u00f3pez Insausti, a \u00e9t\u00e9 fond\u00e9 en 1994. Depuis lors, il a produit 49 spectacles, consolidant une \u00e9quipe humaine
\net une marque de fabrique artistique. Elle a \u00e9t\u00e9 pr\u00e9sente dans toute l’Espagne et dans de nombreux th\u00e9\u00e2tres et festivals internationaux.<\/p>\n

Ses pi\u00e8ces combinent sa propre dramaturgie (avec des \u0153uvres sur Goya, Bu\u00f1uel, Picasso ou les fr\u00e8res Machado) avec la mise en sc\u00e8ne d’auteurs contemporains (Gabi Ochoa auteurs contemporains (Gabi Ochoa, Luis Ara\u00fajo, Antonio Orejudo ou Jordi Galcer\u00e1n entre autres).<\/p>\n

Sans oublier le r\u00e9pertoire universel (de Shakespeare \u00e0 Lope et de Lorca \u00e0 Valle-Incl\u00e1n). Avec eux, il a remport\u00e9 d’importants prix, comme le prix Max du meilleur nouveau spectacle pour Picasso Adora Adora de Picasso.<\/p>\n

Picasso Adora la Maar et quatre autres nominations pour d’autres spectacles. Parmi ses nombreux autres travaux, nous pouvons souligner la mise en sc\u00e8ne de : Los Hermanos Machado, Don Quijote somos todos ; La vida es sue\u00f1o ; Transici\u00f3n ; Luces de Bohemia ; Vidas enterradas ; Vidas Boh\u00e8me ; Vies enterr\u00e9es ; Avantages du voyage en train ; Bu\u00f1uel, Lorca et Dal\u00ed ; Macbeth et Lady Macbeth ; Goya ; Rey de la Reina Sof\u00eda ; Le Macbeth ; Goya ; Rey Sancho…<\/p>\n

Le Teatro del Temple a travaill\u00e9 en parall\u00e8le \u00e0 la pr\u00e9paration de diff\u00e9rents \u00e9v\u00e9nements. Depuis la mise en sc\u00e8ne et la conception sc\u00e9nique de tourn\u00e9es pour Bunbury ou Loquillo jusqu’au travail avec des compagnies de danse comme celles d’Erre que des compagnies de danse telles que celles d’Erre que Erre, Roberto Oliv\u00e1n, Rafael Amargo et Miguel \u00c1ngel Berna.<\/p>\n

En ce qui concerne Temple Audiovisuals, il a r\u00e9alis\u00e9 plusieurs productions audiovisuelles, spots et courts m\u00e9trages, notamment courts m\u00e9trages, dont Meninos do Rio, nomin\u00e9 pour le Goya 2015 et le documentaire El precio de la risa.<\/p>\n

El precio de la risa (Le prix du rire). Depuis septembre 2012, elle cog\u00e8re le Teatro de las Esquinas depuis septembre 2012.<\/p>\n

Synopsis<\/h5>\n

\u0152dipe est le souverain d’une ville ravag\u00e9e par une \u00e9pid\u00e9mie. Les augures du lieu pr\u00e9disent que la maladie ne cessera pas tant que le meurtre du pr\u00e9c\u00e9dent dirigeant, La\u00efus, ne sera pas r\u00e9solu.<\/p>\n

Le meurtre du souverain pr\u00e9c\u00e9dent, Laius, est r\u00e9solu. \u0152dipe prend la t\u00eate de l’enqu\u00eate sur un crime qui n’est toujours pas r\u00e9solu et les diff\u00e9rents t\u00e9moins et indices finissent par apporter la v\u00e9rit\u00e9 des faits : C’est \u0152dipe, sans le savoir, qui a tu\u00e9…<\/p>\n

C’est \u0152dipe, sans le savoir, qui a tu\u00e9 La\u00efos, qui se trouve aussi \u00eatre son p\u00e8re, et la femme actuelle d’\u0152dipe, \u0152docasta, est en fait sa m\u00e8re. sa femme actuelle, est en fait sa m\u00e8re. Cette terrible nouvelle va pousser Yocaste au suicide et \u0152dipe \u00e0 aveugle, incapable de supporter la vue de son destin et assumant le bannissement comme sa condamnation.<\/p>\n<\/div><\/div>[\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

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