In Pelaios -e -La -d, in this monastery of the 12th century of the Cistercian Order, a new adventure of the SeaVian company Nao d’Amores, director Ana Korora, the National Theater Prize in 2023 occurred. The proposal created by the theaters of the channel, which was in the remnants of the Church, in its apesis, in Glayster and her Madas. The true ritual from the found sounds and recreated in the era, when the Christian faith returned to its origin.
Among the impressive ruins of one of the head of the Christian faith Medievo, the cast of the company represented several scenes with the texts of Gonzalo de Berceo, songs restored from the time and music of percussion, Chirmias, chromeros, regale, feeders, saltor and other drugs. The scenes of luminous Christianity, which recreated excerpts around the Virgin Mary, the Eucharist, the death of Christ and His Resurrection.
The public traveled with actors to space, stopping for each scene in another corner, which carries slow pace, the ritual of drums made in wooden and drums. The audience that could feel crazy about the religiosity of the work. Usually it is impossible to see the theatrical proposal of pure research with such a clear supply of the Christian faith. As if obvious, as the protection of the village of white fences, where God lives in front of Paramo de la moral God is in the house From Nika Cave, it was the Nao d’A Loves bet for the theater and the concept of the world, where it corresponds to transcendence and faith. IN To the echoThe scenes are not presented as the salvation of the past theater or historical time, but live and share.
Firstly, the Nao d’Anores approach to this Christianity, which he drinks in the sources of Cister, is important, the order established in the eleventh century, but dates from the principles of the Benedictine order of the eighth century, which detects poverty and work as a source of existence. And this is more at a time when in the theater and in other arts the spread of work in mysticism, especially the Spanish Spanish language. Those who are not exempted from love for the flower and reaction of the post -industrial society, where a person, more and more loneliness, sees in tantric movements and the desire for transcendence the answer.
The Assembly of Nao d’Orres is bright, and it emphasizes the joy of all translators, the joy of life in the community, the exchange of admiration for creation and life. For this joy of the musicality of the texts of Berceo, such as texts Virgin DuelFor example, what is the climax of Master de Cleereía and where the word is full of joy and pain. Actors, especially Elena District, Carlos Segi, Raf Ortis and Alejandro Pau, print viability and dam in these medieval poems that manage to resurrect them, is worth it.
But this work is gathering, not only the intention of Zamora in the investigation of the Christian faith to many synodes, encyclic, war, inquisitions, divisions and dogmatism; But also return to the beginning, at the birth of the theater in Spain. This company has already released an impressive Auto de Los ReyesWhich is the first game in Spanish. Here again, an attempt to move on to this initial moment in order to explore the meaning of a picturesque event and act.
The trip has a complete immersion, such songs as the Thirteenth Code of the Century, concluding nuns, are restored, the instruments are almost disappeared and trying to feel, feel and speak in the production in the primary, significant, necessary, found. There is no memory of something that it is not known how it was done, but the repair of inspiration.
Ana Khokora says that for this project he also studied in the poor Polish theater, Jerry Grotovsky, who was looking for the main actor, the “holiness of the actor”, who has complete delivery and authenticity, but not in a religious sense, but through personal and physical research. The method of action in this work is not similar to the fact that Grotovsky, more bodily, expressionist and dark. Performance in To the echo This more arises from musicality and erasing the text, but this search is understood.
In the work of stress, the figure of the spiritual father of the Order of the Castrete, the Frenchman Bernardo de Claraval, who is interpreted by Bilbao Juan Diaz de Corker Errador. He, along with Virgin Mary, Elena Raos, will be directed as a wirdil in Divine comedy Dante, but instead to nine circles of hell, to lighting. He will do it through the song, with a motionless and elegant voice of the fall.
Resurrection
After the Discola scene, with humor processed with humor, the work reaches its climax when you reach the central nave of the church. There, the audience is already pulling the sound of the rite and the ceremonial rhythm of the play. In a sense, this is accompanied, wishes. Preparing to consider the core of the Christian faith: Resurrection.
When Pablo de Tarso first arrived in Athens, Areopago, he was well accepted. There he could say who was an “unknown God” and His teaching. The Stoics and Epicureans carefully listened to him, even true interest, until Paul spoke of the resurrection of Christ. At this moment, they leave the inextric sorcerer and half threw it. In the resurrection of Christ, perhaps he lies the greatest radicality, even today, the Christian faith. The ability to save death.
In this trance of frost, wrapped in an impressive ship of Santa -Maria La -Real, a ship without a roof, with only arches and those where the stars could be seen on the night on the full moon, took one of the most beautiful scenes of work, but also the most destructive with the Christian tradition.
The reservoir of Christ is delivered, and Peter, James and John fall asleep in his ventilation. But Jesus does not resurrects his body, but becomes a newborn in Mary’s hands. We do not see the bodies of the Risen Christ, but for Christ risen in a new life. The Epistle of the Resurrection changes, moving from literal to metaphorical, where death is not an end, but, in turn, a generator of life. A powerful message that, perhaps, even the Stoics of the 1st century would have accepted, and this, of course, has more recognition in modern society, as well as like.
From there the end is wonderful. The new resurrected Christ, who is a newborn, who Mary Meds in his hands turns into a small sphere, from which the thread reaches Bernardo de Claraval, which welcomes him, since the apostles greeted the Holy Spirit in the form of the Language of Fire. He continues to irradiate the threads of this sphere, which remains an eye that sees everything on the Cayado de Claraval, the threads that the cast uses to form folk and general dance. The united people under the non -anthropomorphic god, closer to this primitive, original Christianity, to which work wants to approach. Closer to the logo, which controls and gives life than the god of fear of the Pentateuch.
Thus, the experiment of this Nika Cave -de Tablance, Ana Zamora and his troupe ends. An experiment that will be based before Sunday and the 18th will have three other performances in a new place: the Santa -Maria -de -Sierra monastery, in the collaboration of Hermoso, Seavia. A work that moves away from limited Liturgies, from accessories and apparatus, to give us a play that is faced with what is divine in man and land. Nao d’A Loves is another face of the moon of this other large company of the believing theater of this country, La Zaranda.