‘Visione de la Cubanosofia’ (Dir: Nelda Castillo / El Ciervo Encantado / Cuba / 60 min)
“The unspeakable visions of Deer
Author: Rafael Eagle | Source: CUBARTE | May 22, 2008
“That elusive and magical deer
it is our cubanidad ”
Program Notes
“Cubanosofia Versions.”
(Cubarte) .- Just 80 people in the small room hold their breath. From the top, as it always does from the soul, Cuba speech. Groan. The myth strand breaks in each viewer. Mysticism (with the eternal magic of her spinning wheel) the braid. The Virgin atop a scaffold, shouting, screaming, suffering and people crammed in that room / Agora, Room / Country Living / Temple, suffer with it. From the heights holding a rope, a sort of umbilical cord that the Cuban has never abandoned. Teeth are squeezed hard. Thus begins the viewer “Visions of the Cubanosofía” the theater group El Ciervo Encantado , his eyes fixed on the top, on the Virgin of sepia beard, filled the sting of centuries, we, his Juanes everyone speaks. Los Juanes hold our breath and pressed hard, very hard, the teeth.
“Visions of the Cubanosofia” is a careful collage in which every picture, every frame, it interweaves with the smooth strand of the Cuban, that thread is history, sociology, literature, knowledge of (and) Cuba. Strand whose start and end strives to achieve what the Greeks once called anagnorisis. In doing Nelda Castillo, the director, launched this time the Group to explore texts Alfonso Bernal del Riesgo, José Martí, Fernando Ortiz , Severo Sarduy and Reinaldo Arenas, beyond their veils and sleepless nights, enter a network of light and shadow, gestures and moans, space and time, metamorphosed into a screen on which persist more pieces of that body is to be Cuban. “The deer …” stands on the Cuban scene as a restless creative laboratory, (re) development and exploration; actions such that all known real demiurge ever held in the interior of the skin that usually set boundaries. The texts are established as élan vital of the avalanche. And at the height of the rush we just created, (re) creating and exploring all. Country: flap made of earth sacred, heights, pain and time, seems to define this proposal.
In just over an hour just three players in a very small scene (which cleverly exploit the tricks of the three-dimensional) laboratory show that freezing is not the word that we sense because labor is the source word. Stage, lights, makeup, costumes, music and acting work in a warp are interlaced with each portion will be part of every moment while being everything. Especially vice versa. Revealing warp space / time, sort of black hole from which (every rule itself is forced beyond the mere physical to become the exception), this time emerging light.
Let us just two of the elements of the warp: scene and acting. “The deer …” offers a theater filled with codes, signs. Ritual Faerie where, as Umberto Eco says, urging disambiguate what you see and what you hear, which looks (and feels) much more than what you hear because it shows (and you want to feel) far more than you say. To each viewer is opened where the axis mundi imago is a mere scaffolding from (above and below) which strive to sacred symbiosis divine and human. Scaffolding: everlasting repair and workmanship that has been (and will) the via crucis of the nation. Scaffolding: axis mundi, axis and support, altar always passable border, modus vivendi. Altar and scaffolding, spirituality and art. Thus, always agonizing ups and downs, it takes the characters, between ascending and descending a whiff of centuries. The floor, stage, behind some bricks and dark. “Scaffolding for our spirituality or spirituality for our scaffolding? Virgin And there, on high, thundering and groaning. And next to Our Lady Julian Joseph Cubans, no less virginal and a longer human. A wide-eyed Martí, wandering slowly between the bars of the scaffolding, which descends to earth and ascend to the heights, which ends very high, even higher than the divine, to shine, there on the front of the yarey his hat, and scintillating fulminea, the star that illuminates and kills. Eduardo Martinez hits in that first vision that reaches the viewer unless it is rolled on the scaffold, the careful movement parsimony leaves in front of each look (along with the magic of makeup) the eternal face of the Apostle. Mariela Brito dominates the scene with his very personal gesture. And Lorelis Amores makes voice and body unleashes the ghost than a few of the sensations that sink and rise. The throaty, movement, voice and body, have been mixed in a bottle of aggression and painstaking study parsimony. These are the ingredients that probably favors Nelda Castillo in training actors. Scene and actors are in pairs, and complementary effort joins a music class and an efficient lights work markedly depending on tooling contexts. Telluric and winged the cubanosofía. Grinding body and spirit. The greatness is in sight, not white, ever said Lezama.
And curious, among the most personal name that gives face to the Group and now the flag chosen for the work, guess the tribute to two men who were, at once, patriots, intellectuals and doctors. Patriots to serve intellectuals to create and doctors to save. Here was a trilogy, from the grandeur of the verbs (which is true of the acts), delves into the heart of the Cuban. (1)
The deer, the antlers intact, is there. Quiet, scanning the air. He knows full of the poison from danger or misleading breath of hope, lift your head and not go away. His apparent weakness is also its strength. And his charm. On the ground, so traffic from above, it has become the star that lights up and kills. Yugo. Asceticism. No curtain, no applause. At the edge of the Virgin, the José Julián of Cubans climbed all through the bars of the scaffolding of one hundred and seven thousand miles and centuries. Terminus ad quo . John, called for three times the voice. And three times the room, aware that silence is complicity, just enough to babble: present.
Notes:
1. Esteban Borrero, the Liberation Army officer, doctor, writer, poet and translator, wrote in 1905, shortly before committing suicide, “The Deer delighted,” left us in 1899, according to Francisco López Sacha says, the first book of stories from Cuban. Alfonso Bernal del Riesgo, founding member of the first Communist Party of Cuba, a colleague of Julio Antonio Mella in the draft People’s University, was a renowned physician, psychologist and university professor. Author of texts on psychology and medicine, also wrote “The Cubanosofia, the foundation of the national civic education.”
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