Small sample of the play Los Suplicantes by Silvia Zarco, performed at the Almuñécar Grecolatino Theater Festival 2022.
Las Suplicantes is the heart-rending story of an encounter between two generations of women
stricken and united by tragedy.
Young women from the East, escaping their forced marriages, claim political asylum on the shores of a Europe that doubts whether the humanitarian conflict is their problem, their struggle… Europe doubts whether or not the humanitarian conflict is its problem, its struggle…
The war will later shake the same conflict zone where the Mothers of the West took in the refugees.
West sheltered the refugees.
They are now looking for the bodies of their sons, fallen in battle, begging for the return of the dead, so that they can mourn them with dignity and dignity. The dead, so that they can mourn them with dignity.
The tragedy with a female plural name beats in the present. The women lead the struggle, but alongside them, close by, the men of the close at their side, men with free lips. The catharsis will be collective or it will not be.
The Suppliants is a fusion of two Greek tragedies written 26 centuries ago, in which two groups of women were already pleading for the right of women already pleaded for the right to decide about their bodies, the right to asylum and the right to recover the missing dead. To recover the missing dead. Demands that today we must shamefully continue to demand.
In an exercise of necessary sorority, Las Suplicantes arrive to reencounter us as human beings, valuing the legacy of the human beings, valuing the legacy of the classical texts as a cry that challenges us and that demands from us as humanity the decency to humanity the decency to react against injustice.
With the production of Oedipus, Teatro del Temple is staging its 50th (fiftieth) show. It is a round number and perhaps therefore a good reason to look back to the origins of theatre.
Until now, Greco-Latin drama has not been part of the company’s trajectory, having great milestones in other types of classics, both from the Golden Age and the 20th century.
It is therefore a good moment to look back to the origins and make Oedipus another of the shows in the essences of the Teatro del Temple, which seeks in the classics a way of reflecting on the present.
Because we see in Sophocles’ play not only an essential theatrical challenge, but also that we discover in it, in spite of that we discover in it, despite the temporal distances, a way of speaking about what is happening to us today, and not only because it not only because the play is based on a society beset by an epidemic, but also because Oedipus is a profound reflection on responsibilities and what we want and what we don’t want to see.
What we want and what we don’t want to see, what we assume and what we don’t want to assume.
Teatro del Temple, whose stable team are Carlos Martín, Alfonso Plou and María López Insausti,
was founded in 1994. Since then, it has produced 49 shows, consolidating a human team and an artistic hallmark.
It has been present all over Spain and in numerous international theatres and festivals.
International festivals. Its plays combine its own dramaturgy (with works about Goya, Buñuel, Picasso or the Machado brothers) with the staging of contemporary authors (Gabi Ochoa contemporary authors (Gabi Ochoa, Luis Araújo, Antonio Orejudo or Jordi Galcerán among others).
Without forgetting the universal repertoire (from Shakespeare to Lope and from Lorca to Valle-Inclán).
With them, he has won important awards, such as the Max Award for Best New Show for Picasso Adora Adora de Picasso. For Picasso Adora la Maar and four other nominations for other shows.
Among many of his other works, we can highlight the staging of: Los Hermanos Machado, Don Quijote somos todos; La vida es sueño; Transición; Luces de Bohemia; Vidas enterradas; Vidas Bohemia; Buried Lives; Advantages of Travelling by Train; Buñuel, Lorca and Dalí; Macbeth and Lady Macbeth; Goya; Rey de la Reina Sofía; The Macbeth; Goya; Rey Sancho… Teatro del Temple has worked in parallel in the preparation of different events.
From the direction and scenic design of tours for Bunbury or Loquillo to the work with dance companies such as those of Erre que dance companies such as Erre que Erre, Roberto Oliván, Rafael Amargo and Miguel Ángel Berna.
As Temple Audiovisuals, he has produced several audiovisual productions, spots and short films, including short films, including Meninos do Rio, nominated for the Goya 2015 and the documentary El precio de la risa. Documentary El precio de la risa (The Price of Laughter).
Since September 2012, it has co-managed the Teatro de las Esquinas since September 2012.
Oedipus is the ruler of a city ravaged by an epidemic. The augurs of the place predict that the disease will not end until the murder of the previous ruler, Laius, is solved.
Ruler, Laius, is solved. Oedipus takes the lead in the investigation of a crime that remains unsolved.
and the different witnesses and clues end up bringing the truth of the facts: It was Oedipus, without knowing it, who killed.
Oedipus, unknowingly, who killed Laius, who also happens to be his father, and Oedipus’ current wife, Oedocasta, is in fact his mother.
His current wife, is actually his mother. This terrible news will drive Yocasta to suicide and Oedipus to
blind his eyes, unable to bear the sight of his destiny and assuming banishment as his