The latest play of
La
Zaranda
Unstable
Theatre of Lower Andalusia
The
Regime of the Feed
(Necropsy
of a society)
 |
| La Zaranda |
The
Zaranda think about the world as a sham
Feeding
excess has triggered an epidemic in the pigsties and pigs devour each
other. With the factory sales drop, the layoffs begin and
despair and distrust grow among the employees. The fight for a
position, with the only horizon of an routinely and empty schedule,
with no other hope than a painless death, make the lives of pig and
man intersect, muddle.
Files, necropsies, the simulation of existence we represent, in which artists are forensics or forensics pretend to be artists, mere bureaucrats processing the official, scientific and financial nothing, not much, just the value set by the sale.
 |
| La Zaranda |
"Our
character is
preserved
as
intact as
our
ruin",
Mariano
José
de
Larra, Come back
tomorrow
(1833)
Necropsy
of a society
The
Regime
of the Feed,
the title itself already comes loaded with multiple resonances.
Without neglecting the tragicomic elements that characterize the
company, this is a hard, dark and rough work addressing uncompromised
the vision of the world as a simulation. A dramaturgically complex
work that represents a major step forward in the poetic and
conceptual path of La Zaranda.
 |
| La Zaranda |
With
a 36-year track record, La Zaranda
upholds its commitment to theatre and continues adding to its
creative and powerful portolio, which has led the company to
international acclaim. Using objects in a symbolic fashion, an
artform that is at once simple and poetic, with polished genuine
texts and knockout humour, this production is both contemporary and
alive.
Translation: Marianna Vivas Leal
Television
reports:
The
Regime of the Feed. (Necropsy
of a society)
by
Eusebio Calonge
featuring
Javier Semprún, Gaspar Campuzano, Francisco Sánchez and Luis
Enrique Bustos
director
and stage manager Paco
de la Zaranda
Music
Pablo Luna, preludio de El
niño judío; J.
N. Hummel, Concierto
para trompeta (II
Andante); Orlando Portocarrero y su banda, Alma
española;
Coro de monges do Mosteiro de São Bento e Coral Colégio do Bento de
Núrcia (Rio de Janeiro), Rorate
Caeli Desuper.
Lighting
E. Calonge
Transport
Coordinator
Eduardo Martínez
Poster
Andrew Polushkin Photo
and Advertising
Víctor Iglesias
Thanks
Loscorderos
sc
Distribution
Maite
Guisado (34) 670 28 16 43 zarandacat@gmail.com
For information on our earlier work, see:
☘
☘ ☘
WHAT
THE CRITICS SAID
They
once again teach us a lesson in theatre. LA
NACIÓN. Pablo Gorlero. Buenos Aires, Abril 2010
Full
of memory and an innate stage sense. Their theatre is intense and
full of imagery. Always stirring. LA
DÉPECHE. Jean –Luc Martinez. Toulouse. 2008
A
brutal and hair-raising story.
LA VANGUARDIA. Gregorio Morán. Barcelona 2009.
It’s
the type of work that makes the Latin Theatre Festival shine. NEW
YORK TIMES.- Richard F. Sherpard. New York, 19-IX- 1988
La
Zaranda ha lasciato una forte impressione sia per contenuti rivolti
al mondo del teatro che sta declinando verso la propia morte. REVISTA
SIPARIO.- Mario Mattia Giorgetti. Roma, 1993
It’s
pure and radiant hope. EL
PAIS. Marcos Ordoñez. Madrid. 2007
La
Zaranda are quite simply fabulous. LE
PROVENÇAL.- Marie Cross. Marsella, 1988
The
Teatro La Zaranda presented a masterpiece about lost man. KÖLNISCHE
RUNDSCHAU.-M. Golhz . Bonn, 1996
A
pure visual delight. LE
CLOUS DANS LA PLANCHE. Jacques-Olivier Badia. Toulouse 2008
“Zarandian",
a term that can now be used to describe the group’s style. HERALD.-
Norma Niurka. Miami, 1995
La
Zaranda brings the magic realism of the theatre to the audience.
KÖLNER
STADT-ANZEIGER.Berlin, 1996
Simply
moving. A new, unprecedented play. HORA
LIBRE. A. Pozo. Santiago de Chile. 2006
A
masterpiece of the stage. Benjamín
Bernal. Excelsior. México DF. 2003
A
must-see for any follower of the foreign plays that come to our
stages.
TIEMPO LIBRE. Fernando Moguel. México DF. 2005
An
oasis of poetic transgression, a theatre of the memory. REFORMA.
Vera Milarka. México DF. 2005
A
small world always on the verge of death that has nonetheless been
proving its endurance for 25 years. Bruno
Bert. Tiempo Libre. México DF. 2003
If
the recommendation “don’t miss it” has ever held true, it is
here.
Luis Jhon. El Economista. México DF. 2003
La
Zaranda takes the viewer to the limits of his/her emotional
resistance. REFORMA.
Dora Luz Haw. México DF. 2003
The
first word that comes to mind is extraordinary. Wílliam
Venegas. La Nación. San José de Costa Rica 2008
They’re
genius. Theatrical perfection. EL
PERIÓDICO. Maurice Echeverría. Ciudad de Guatemala. 2007
They
are extremely original. TRIBUNA.-
Aderbal Freire-Filho. Río de Janeiro, 1996
So
implausible that the limits between reality and fiction are literally
blurred. LA
NACION. Susana Freire. Buenos Aires. 2008
If
anyone asks what the theatre is, we need only point to La Zaranda.
DIARIO
CRÍTICA. Leni González. Buenos Aires 2008
I
admit I am a La Zaranda addict. DIARIO
VASCO. Roberto Herrero. San Sebastián 2007
At
last, the National Theatre filled up. An unforgettable event.
PANAMÉRICA:
Carlos Atencio. Ciudad de Panamá 2008
The
audience was shuddering; they knew they had borne witness to an
unprecedented theatre.
EL
PERIÓDICO.- Mario Monteforte. Ciudad de Guatemala. 1998
Outstanding.
Good, it is simply first-rate. DIARI
DE BALEARS. Javier Matesanz. Palma de Mallorca. 2008
The
best of the theatre in El Salvador 2007. Theatre that borders on
perfection. DIARIO
COLATINO. Hector Ismael Sermeño. San Salvador 2007
Stunning,
filled with heart-rending poetry and humanity. PRIMER
ACTO. Irène Sadowska . Madrid 2006
Incorruptible,
free, real, unique. Theatre made with blood, sweat and the journey
itself. LA
RAZON. Miguel Ayanz. Diciembre 2009
How
dreadful, how fun, how grotesque, and what a great ending. DIARIO
DE LA RIOJA. Ricardo Romanos. Logroño 2009
90
essential minutes of stage poetry. NOTICIAS.
Olga Consentinno. Buenos Aires, 2010
Images
and language in tune with the play’s intensity. CLARÍN.
Camilo Sánchez . Buenos Aires, 2010
A
superb spectral farce. As good as always. Again as always, my
enormous admiration and immense respect to you, maestros.
This is perhaps La Zaranda’s most “classic” show, and by
classic, I mean the most narrative, with a story that links
concentric cadences with secret ceremonies. Marcos
Ordóñez. El
País.
Babelia. Madrid. 30/X/2010
With
the words that Calonge puts into the mouths of Gaspar Campuzano,
Francisco Sánchez and Enrique Bustos – three amazing actors –
poetics does away with aesthetics, launching hard-hitting and
well-aimed punches that often arouse uncontrollable bursts of
laughter.
Here
at the Temporada Alta Festival, is the ultimate premiere of a
tremendous examination of death with a long life ahead. Joan-Anton
Benach. La
Vanguardia.
Barcelona. 19/X/2010
The
symbolic use of the objects and the spatial composition is
impeccable, one of the play’s most brilliant features. The fact is
that La Zaranda is really good and truly takes risks. Joaquim
Armengol. Avui+El
Punt.
Barcelona. 18/X/2010
This
is indeed a luxury: La Zaranda brings its latest show, fresh from
heaven, to Murcia. A new gift of the flesh and the soul tailor-made
for the audience.
Antonio
Arco. La Verdad. Murcia. 23/X/2010
Superb
acting and a text written by Eusebio Calonge brimming over with
genius. It’s highly unlikely that La Zaranda could ever let us
down. Eva
Torres Martínez. Artez.
1 /XI/2010
The
company upholds its own personal style and patent themes. With a rich
aesthetics, it displays a critical solemn and cutting desperation, an
image born out of essence, moving corpses along paths of morbid and
critical desolation. A ritualised ceremony that connects life with
death. María
José Ragué. El
Cultural del Mundo 31/XII/2010
Deep
words. Frescos, tableaus. Poetry. Soul. A thousand images and truths
as hard as fists. A poetic tsunami. After 32 years of work, the
company La Zaranda, Teatro Inestable de Andalucía la Baja, as
Inestable or
Unstable as life itself, continues to make its way, creating against
both wind and tide. The company has just received Spain’s National
Theatre Prize, a minimal nip from an ungrateful country. Miradas
2. TVE. 13/12/2010.
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