On Thursday I went to see MY VERY PRIVATE MESSIANIC FESTIVALS, Felicia Zeller (Thursday, 21 Alley-Humahuaca Space 3759: 4862-1167) Melville, fantasy and bodies Brilliantly translated
by Borges, the story (or novella) Bartleby, the Scrivener of Herman Melville can foresee the dark Kafkaesque fantasies gray and endless bureaucracy. The plot is simplicity overwhelming: Bartleby, a clerk, in the opaque financial district of New York of the nineteenth century inexplicably fails to make the first one, then another and then another of the simple tasks of copyist. Under the slogan "I'd rather not" well-intentioned and in the eyes of the narrator, his reticence becomes mystery, becomes metaphor, allegory and finally touches bursts into the shimmering range of meanings that stands as one of the most remarkable pieces of art of his century and its author.
The bureaucratic world, the office dark, complicated secret laws, would be installed later in the literature and theater as a leading light in the topic of alienation. For local theater, the arc is historically significant, enough to mention this classic Roberto Arlt, revisited until today, The desert island, and the latest production of Tolcachir notable playwright, Third Corps (to read the review in this blog, click here.)
The horror-sometimes explicit, sometimes suggested, is simply double closure: suppose that you can no longer leave the office, or understand that there is nothing out more and more offices.
plot summary
Germany, welfare agency. A former employee has stopped coming, the folders with their cases accumulate on his desk. Three office colleagues remain as they can in their work, supported by the word and doubt. The echo of their voices is body.
speed
word vital reality, the world and people, is a memory in these worlds, a reference, a mediated story: we never see him directly, only what someone brings someone mentioned, something that in the best case, is suspected to have an impact on the here and now, but what ever we are never safe.
word vital reality, the world and people, is a memory in these worlds, a reference, a mediated story: we never see him directly, only what someone brings someone mentioned, something that in the best case, is suspected to have an impact on the here and now, but what ever we are never safe.
Choice Percy Jiménez director on the rich text of the German Felicia Zeller, is speed. The speeches continued to flood the office, the word rattles like a machine, making it difficult to understand. The bodies remain. The work as becoming or expectation of an action freezes, especially in my very private messianic festivals looks like a plastic plant. So goes or, rather, remains. Until, suddenly, the installation is broken.
space and mobility
After the first third of the work, those bodies, which include rhetoric and curiously the body of an echo or consciousness that wanders back-breaking pace: the word is idle and stops, returning to understanding. Dialog appears, or inability. The bodies referred to each other, the word embodies, the threads of the plots (referred to) becomes visible, a flask of alcohol is visible on the lips wrong, listen, understand, to a family of seven children whose claim to the agency attorney controller, a malnourished boy, a family-bashing, or at least draw suspicion.
The paradox
And with this return to the story and the reference, closes the circle of impossibility. Perhaps at some point a character says what the work consists, as if there would be enough: we are unable to help everyone all the time. The images of reality "social" in the sense of government intervention on family life very private - are as strong as distant, veiled folders and saturated voices of the "assistants." Well maybe just bruises and fractured bones of a child abuse charge relief.
And with this return to the story and the reference, closes the circle of impossibility. Perhaps at some point a character says what the work consists, as if there would be enough: we are unable to help everyone all the time. The images of reality "social" in the sense of government intervention on family life very private - are as strong as distant, veiled folders and saturated voices of the "assistants." Well maybe just bruises and fractured bones of a child abuse charge relief.
The welfare issue is the paradox that allows Zeller / Jiménez separate discourses of bodies and reconsider the impossible. As one ecstatic lament the end of Melville whose echo does not shut up: Oh, Bartleby, O Mankind!
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