La terra udola – Diari de Girona

a kind of local legend of which there are still remnants, with autobiographical contributions from the interwoven performers, and a chilling and trapping violence are the basic ingredients of a story rooted in the territory that emits echoes miles away, Bruels.

The show with which the Empordà company La Llarga won the Adrià Gual award and which was very well received at the Grec 2019 and Beckett has finally arrived in Girona. It was Friday and Saturday at La Planeta, after a tour cut short by the pandemic that began in January at home in Figueres.

Because if anything is the montage written and directed by Oriol Morales is a story that emanates from the Empordà to get everywhere, a story that bears the name of the howl of the bitón that resonates as a curse on the wetlands, a story that burqa in the collective memory and family amnesia to approach the catastrophes behind the bucolic landscape.

As important is what he explains – a crime that arose from the miseries of war that neither grandparents nor parents explain and that the grandchildren want to dig up – as the form, fantastic.

The rawness of a story that weaves inventions and truths contrasts with the simplicity of the four actors, who narrate it almost like someone telling a story by the fire, sprinkling it with their own (or not) experiences.

They do so almost horizontally on a white canvas, the clean stage devised by Ona Grau, turned into a model on which houses, large fires and intimate scenes are rebuilt with little more than small objects, a camera and mud.

With these tools they project on a screen images and textures that evoke a dark past that has been hung by silence, connecting the technological world of the present with those wounds that are still, infected and unclosed, on earth.

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