EL DESARROLLO DE LA CIVILIZACIÓN VENIDERA
This is an updated Doll’s house devoid of anything that does not echo contemporary life. All that’s left in a society in decline is the private drama of Nora, whose financial problems and disappointments in love cannot be resolved.
Daniel Veronese taps into the truth of each confrontation, rekindling Henrik Ibsen’s play and exposing a South American bourgeoisie shaken up by the economic crisis, noting in passing that nothing has really changed between men and women over the past 150 years. The Argentine director brilliantly combines Nordic and Latin cultures, the pioneer feminism and the macho heritage.
His deeply ethical theatre is straightforward, unpretentious and uncluttered. Borrowing from the aesthetics of the telenovelas where the entire focus is on the actors, the performances ring true, a veritable lesson in acting. With spirited rhythm and remarkable composure, the actors create unrelenting tension, breathing new life into Ibsen’s play.
PRODUCED BY DANIEL VERONESE
BASED ON HENRIK IBSEN’S PLAYA DOLL’S HOUSE ADAPTED AND DIRECTED BY DANIEL VERONESEWITH MARA BESTELLI + MARIA FIGUERAS + ANA GARIBALDI + CARLOS PORTALUPPI + MARCELO SUBIOTTO SET DESIGNARIEL VACCARO + DANIEL VERONESE
PRODUCTION SEBASTIÁN BLUTRACH + THÉÂTRE CAMARIN DE LAS MUSAS (BUENOS AIRES)IN ASSOCIATION WITHIBERESCENA + PROTEATRO + INSTITUTO NACIONAL DEL TEATRO
PRESENTED IN ASSOCIATION WITH PLACE DES ARTS
PREMIERED AT THÉÂTRE CAMARIN DE LAS MUSAS, BUENOS AIRES, JULY 2009
WRITTEN BY DIANE JEANTRANSLATED BY NEIL KROETSCH
DANIEL VERONESE (BUENOS AIRES)
Nothing but the Truth
For the past two decades the director Daniel Veronese has been practising theatre in all its forms. He started out as an actor and a puppeteer before founding in 1989 the company El periferico de objetos, which made its first appearance at the FTA in 1999 with Maquina Hamlet, a puppet vision of Müller’s piece. That same year he was appointed artistic advisor for the prestigious Buenos Aires International Theatre Festival. He has also written some twenty plays (including Mujeres Soñaron Caballos) that have been translated into French, German, Italian and Portuguese.
He excels as a director of actors, stimulating them to visceral, energetic performances of precision and lightness. Audiences were enchanted by his first cycle of reworked classics. In an effort to render Chekhov contemporary and have his work resonate with modern audiences, he presented stripped-down versions of The Three Sisters and Uncle Vanya at festivals in New York, Tokyo, Madrid, Milan, Seoul and Paris. These were followed by Ibsen’s A Doll’s House and Hedda Gabler, which met with universal acclaim. In his ongoing pursuit to find the truth of each phrase, each word and each situation, he has also directed contemporary plays by Jon Fosse, Neil Labute and David Mamet.