TCV EDIMBURG FRINGE 05.1 english

TUTTE CONTRO VERDI
Tutte Contro Verdi
Edimburg Fringe Festival 2015. New Town Theatre. 06 al 17 de Agosto
2015
written by
MANU GÓMEZ-ÁLVAREZ Y MIREN DE MIGUEL
original idea
MIREN DE MIGUEL
ISIFUERA production
EUGENIO DE OLABARRIETA 1
48014 BILBAO. BIZKAIA. SPAIN
0034 655 701 441
1
TUTTE CONTRO VERDI
introduction
This innovate operatic performance was
created based on an original idea by soprano
and actress Miren de Miguel about her own
conflict as a woman and an artist between the
arias she performs and the scenes and texts
written for women in the lyrical world of Verdi
and other composers. Miren de Miguel centers
her attention on operas of the master of
Busseto, Giuseppe Verdi, who created his
l i b r e t t o s o ff o f t h e w o r k s o f W i l l i a m
Shakespeare. The author notes a reality in
which either by illness or by the hands of
another, the destiny of the woman in an opera
is usually fatal and filled with suffering. They
are scenes of domestic violence. The other
extreme that typically appears is that of an evil
woman, or a malicious girl who takes
advantage of an older, wealthy man and then
laughs at him. It poses a conflict between
pathos and logos.
violence against women. The opera does not
only demonstrate men as being hierarchically
superior, but also that it is impossible for a
woman to decide her own destiny, being
repeatedly deprived of freedom at the expense
of what the man decides. As in the case of
Macbeth, Lady Macbeth is led to her death.
Tragedy! Life and death accompany the
women in this lyrical universe, and the opera
reflects this latent reality in current society that
has survived the passage of time.
But my profound admiration toward the lyrical
universe has me thinking, doubting, feeling…
about the beauty of the measure and the
dramatic text together…about the reflection
and flow, which, even now, lives on in the
women of today’s society. “My obligation as an
artist and a woman is to demonstrate my
indignation and to keep pondering it…” My “YO
SOPRANO” ( “I, Soprano”) part of me loves
and adores the bel canto, its sublime melodies
and harmonies, but in its notes and measures,
it carries text that wounds and hurts the “YO
MUJER” (“I, Woman”)part of myself. Only my
“YO ACTRIZ” (“I, Actress”) part of me is
capable of interpreting outraged female
characters that have been neglected by the
masculine figure and fight this grand
dichotomy on stage. This is the dilemma of my
life. Miren de Miguel, woman and artist, decides to
bring this conflict to the stage. She only has
questions, not answers. Maybe the answers
are to be found by the audience. To think or to
feel…that is a different dilemma.
Many say that these situations are due to the
tragic nature of this show, but what about the
domestic violence? To begin with, the influence
of Greek tragedy on the origins of opera
seems to provide some initial insight into this
phenomenon. “The opera permits men to give
voice to misogyny.” When lyrical theatre is
spoken about, each time there are more and
more experts warning about symbols of
Miren de Miguel
2
TUTTE CONTRO VERDI
CONTEXT
Ve r d i w a s i m p r e s s e d b y t h e
passionate literature that Shakespeare
created in Macbeth. He believed this
new concept was beyond music so he
called it "Parola Scenica".
We are also amazed by the concept
and this is one of the main reasons
why we chose the works of Verdi in
relation to Shakespeare.
Macbeth was the first link between
Verdi and Shakespeare. He also
permitted Verdi to discover new
horizons on the uncanny relationship
between the music and the vocal
expression.
Verdi identifies himself with the work
of Shakespeare since it creates a
conflict between the conscience and
the identity of the characters. Both of
them are worried by the meanness
present in humans, as well as the
desire of power.
"Parola Scenica" is a way of
appropriation of the psychological
impulses from the characters to then
emphasize those emotions until they
create a dramatic situation on the
stage.
Manu Gómez-Álvarez
3
TUTTE CONTRO VERDI
SCENOGRAPHY
The use of ropes is quite symbolic
since it is related to the concept of
knots, links, unions and separation.
There are fifty ropes referring to the
human fears, iniquity, prejudices...
But also to freedom, support, and
collaboration. And all of them are
used in different ways on stage.
every couple across the world is
linked by a red thread, so they are
bounded to love each other. It is an
endless and timeless thread.
So these ropes are definitely creating
links, knots, bonds, and unions along
with the supreme voice and acting of
Miren de Miguel to discover our
destiny.
The ropes are also very iconic
throughout the history of life, from
the Greeks to the Bible. Therefore is
not hard to understand the mystical
uses of them, from life to death.
Manu Gómez-Álvarez
The only red rope on stage belongs
to the aria of Carmen. There is a
popular tale based on the fact that
5O CUERDAS: 46 DE 3 M Y 4 DE 6 M VARAS HORIZONTALES:
14 + 14 + 14 = 42 VARAS VERTICALES 4 + 4 = 8
4
TUTTE CONTRO VERDI
INTRODUCTION. SCENE 01
The show started seven minutes before the official time to accommodate the projected audience with a
woman and the title of the work with music “Fusil” (July & Inigo d'Escrivan Ibaibarriaga).
0,00/7.00 (07,00 min)
FUSIL 01. Public entry
_____________________________________________________________________……………….
07,00/10,00
(03,00 min)
part time… 3,00 min
Macbeth - Overture (Preludio)
THE CONFLICT. SCENE 02
We chose the "Overture Macbeth" because it is a story where the paranormal element is important (witches,
predictions, spectra ...) and finally, a story in which is patent the worry about the destiny of men, and the
possibility to change it.
This time we talk about elitist and sexist power. This Overture represents women. The scene of Lady
Macbeth's madness situated the conflict of our WOMEN. ”Music against words." Verdi lives a conflict after
the death of his first wife and two children. Wanted to leave the composition after his first two operas and
failures. A beginning for "Tutte Contro Verdi" in which this scene of "Madness" shows the sane side of
things. THE CONFLICT.
Mujer entra en escena de espaldas apartando
cuerdas y agarrándose a ellas. Huyendo de si
misma. Está en un bosque. Se gira y descubre a su
público. Juega con ellas un instante, pero
inmediatamente se esconde en la diagonal izq
sintiendo las cuerdas como lianas, serpientes en su
cuerpo.Canta, grita… Decidida las aparta y va
hacia delante apartándolas en su camino.
5
TUTTE CONTRO VERDI
Con la música dulce hace dos árboles, izq y drch…
pero al instante la música aterradora le lleva
esconderse detrás de estos y del bosque. Sale de él
decididamente, de su pesadilla. Al rato y en la
calma recoge hojas de ellos que guarda en su
vestido, encuentra un fruto en uno de ellos y nada
más metérselo en la boca, coincidiendo con la
música final y aterradora, sale de escena doblada y
casi arrastras pronunciando una frase:
WOMEN
Sfar non puoi la cosa fatta..
10,00/11,42
(01,42 min)
4,42
FUSIL 02. THE STATEMENT
THE STATEMENT. SCENE 03
The man in the sexist world fails to understand or accept the presence of women on their planet
unexpectedly. The woman in a statement, claiming their space, their identity and desires. Only the
man's voice again, destroys any intention and willingness to vindicate herself.
Con la música Fusil 02, Mujer entra en escena y
decidida y enérgica deshace los árboles y estira las
cuerdas como para poner en orden en su vida. Las
cosas en su sitio y como ella sea. Mecánicamente, de
frente y de perfil. Manos por delante y por detrás de
las cuerdas. Excepto en una de ellas que parece que
sus manos se traban y no corren hacia abajo. Las
desplaza hacia abajo hasta que recoge la cuerda en
su tripa a modo de entrañas. Coge también las dos de
al lado y hace una gran madeja a la altura de su tripa
que deja caer en el final de la musca para dar pie al
aria del hombre. Temor ante su inseguridad de
emancipación y nuevamente humillación.
6
TUTTE CONTRO VERDI
11,42/12,28
(0,46 seg)
..… 5,28
Adriana Lecouvreur, Act I Bene.
HUMILIATION
HUMILIATION. SCENE 04
The voice and will of the man breaks the will of women. She collapses to the desires of man. Jewelry
that tie up and humiliates women that once again renounces her condition.
Una aria masculina le lleva otra vez a la sumisión y
humillación antes los deseos del hombre. Mujer
florero, mujer para satisfacer al hombre. Joyas,
vestidos. Mujer se hace con las cuerdas un anillo,
un collar y se mira al espejo forzada en un gesto de
gustarse avergonzada.
12,28/14,15
(1,47 seg)
…. 7,15
FUSIL 03. REFLECTION AND AWARENESS
REFLECTION AND AWARENESS. SCENE 05
Man and Woman. An unknown universe for both. Fears. Looks blurred. A huge space, a womb of
distrust. A distorted image of themselves. Who is who? The woman prepares the ballroom of our first
heroic woman, Violeta La Traviata.
Con la música Fusil 03 se despoja de sus joyas y
apariencia de mujer humillada y reflexiona con paso
firme y construye el salón de baile con cortinajes 3 al
fondo y tres izq y tres derch, ja cuatro cuerdas en el
centro sueltas.
7
TUTTE CONTRO VERDI
THE IRONY SCENE 06
14,15/16,07
(01,52 min)
…. 9,07
La Traviata Preludio
Si no diese tiempo hacer el salón continua en esta
parte. Dejar los del fondo para esta parte del texto.
entra en las cuatro cuerdas centrales y da el texto de
EL MISTERIO…a modo de retrato.
WOMEN
The mystery of love is greater
than the mystery of death
Farewell happy dreams of bygone days;
the roses of my cheeks are already faded.
Even Alfredos’s love is lacking.
To comfort and uphold my weary spirit.
Oh, comfort sustain my erring soul,
And may God pardon and make her his own.
Ah all is over, All is over now.
Happiness and pain will soon come to an end.
Neither flowers and tears will sit at my grave!
Neither a cross with my name will rest at my bones…”
... And if it had a name Violeta would not ... no ...
not even Woman ..
NO! It would be sacrifice
We are just a glorified portrayal
Showing up as an angelic being
In front of you, meeeeeeeeeen?
8
TUTTE CONTRO VERDI
LA TRAVIATA. escena 07
16,07/18,54
(02,47 seg)
…. 11,54
01. La Traviata "Addio del passato"
Farewell, happy dreams of the past,
The roses in my cheeks are already pallescent;1
I'm also missing Alfredo's love
Comfort, support for my tired soul
Oh, smile at the desire of the forsaken woman;
To her, oh, grant forgiveness; welcome her, O God,
Now it is all over.
Joys, sorrows will end in a short time,
The tomb is the end of everything for mortals!
My grave will have no tear or flower,
No cross with a name that covers these bones!
Oh, smile at the desire of the forsaken woman;
To her, oh, grant forgiveness; welcome her, O God,
Now it is all over.
Canta el Aria dentro del salón de baile. Juega
con las cuerdas centrales a modo cual fueran
hombres. Según va cantando el aria y llegando
al final va desmontando el salón de baile, es
decir desmontando los cortinajes de cuerdas,
Deja las del final si no diese tiempo.
LADINAS. escena 08
18,54/21,16
(02,22 seg)
…. 14,16
FUSIL 04
9
TUTTE CONTRO VERDI
Cuatro frases de 5 adjetivos. Con cada cadena de
adjetivos Mujer va construyendo trenzas con tres
cuerdas. En total cuatro trenzas. …Angeles,
demonios.. mujeres a público
18,54/19,47
(0,53 seg)
WOMEN
Ladino, astute, witches, perfidious, vindictive ....
Tied, isolated, abandoned, cheated,
Naive…
Jealous, sacrificed, possessed, victims, executioners, ...
Beautiful, sweet, crazy,
Whores, mothers ...
angels, demons ...
¡Women !
Just people who escape the horror of the nothingness.
You don´t love us, but
your own pleasure, and then you despise us.
19,47/21,16
(01,29 seg)
WOMEN
VIOLETA… DESDEMONA… TOSCA…
CARMEN, LIU…(y muchas más…)
Con cada nombre coge una cuerda y las va
reuniendo en su pecho con mimo y cariño.
10
TUTTE CONTRO VERDI
LAS VIOLETAS. escena 09
21,16/23,38
(02,22 seg)
… 16,38
FUSIL 05
WOMEN
Music before the word. My condemnation… words that have
become a hierogliphic of the ineffable Monteverdi, Mozart,
Beethoven, Wagner, Verdi and many others…
They opened a boundless imaginarium and this sonorous
alchemy makes me crazy deal with written words and actions of
our heroines … women who die absurdly,
but this sonorous lament remind us happy days. Not even the
sternest hearts can help but feel.
The musical time mixes with the mental, the dream time and
I just can…I have to go on singing, I die, if… feeling without
forgetfulnesses… and although the perversity of the words, tell
us that before of this Aurora, tired, I will close my eyes so he
continuous living… to never see him again! Should I submit
myself to live? I would like to remain pure and untouchable.
TURANDOT. escena 10
23,38/26,24
(02,46 min)
… 19,24
02. Turandot. Puccini Act 3 - Tu che di gel sei
cinta
En esta escena Mujer cantando aria desteje de
manera muy oriental y delicada las trenzas de
ladinas, quedando bosque y cortinas del fondo si
no dio tiempo a deshacerlas. Ad libitum
desmontarlas en turandot.… Termina aria en
diagonal izq. y de espaldas.
11
TUTTE CONTRO VERDI
JUDGMENT - ALLEGATION. escena 11
26,24/27,45
(01,21 min)
…. 20,45
FUSIL 06
.
Empieza el texto de espalda quitándose vestido,
brazos a vista desatando nudo justo en..”me crees
Honesta”. Para representar al hombre el vestido se
lo pone de capa y a la altura de los ojos, tapándose
la cara.. cobardía, amenaza. avanza hacia el centro
de la escena y proscenio. Al terminar esta
escena ..”Puta”…se va hacia el fondo de la escena
y en el centro
WOMAN
I have not deserved this.
I hope my noble lord esteems me honest.
MAN
O, ay; as summer flies are in the shambles,
That quicken even with blowing. O thou weed,
Who art so lovely fair and smell'st so sweet
That the sense aches at thee, would thou hadst
ne'er been born!
WOMAN
Alas, what ignorant sin have I committed?
MAN
Was this fair paper, this most goodly book,
Made to write 'whore' upon? What committed!
Committed! O thou public commoner!
I should make very forges of my cheeks,
That would to cinders burn up modesty,
Did I but speak thy deeds. What committed!
Heaven stops the nose at it and the moon winks,
The bawdy wind that kisses all it meets
Is hush'd within the hollow mine of earth,
And will not hear it. What committed!
Impudent strumpet!
12
TUTTE CONTRO VERDI
JUDGMENT - DEFENSE. escena 12….
27,46/29,58
(0,53 seg)
…. 21,38
FUSIL 07
Empieza el texto desde el fondo. Avanza con paso
firme simulando una modelo de pasarela. Posturas
y giros sensuales. Una vez en proscenio a público
de manera natural. Cómico.
WOMEN
If wives do fall: say that they slack their duties,
And pour our treasures into foreign laps,
Or else break out in peevish jealousies,
Throwing restraint upon us; or say they strike us,
Or scant our former having in despite;
Why, we have galls, and though we have some grace,
Yet have we some revenge. Let husbands know
Their wives have sense like them: they see and smell
And have their palates both for sweet and sour,
As husbands have. What is it that they do
When they change us for others? Is it sport?
I think it is: and doth affection breed it?
I think it doth: is't frailty that thus errs?
It is so too: and have not we affections,
Desires for sport, and frailty, as men have?
Then let them use us well: else let them know,
The ills we do, their ills instruct us so.
13
TUTTE CONTRO VERDI
…. JUDGMENT - DEFENSE. escena 12
WOMEN
Again, love breaks to human meanness. But, why are men
so pitiful monsters, garbage, dogs?
Too bad to have born Desdemona instead of Despina.
Lord Verdi, why didn’t you wrote Cossi fan tutte instead of Otello?
Mozart put these words in the mouth of Despina:
“One's as good as the other
Since neither's worth a thing.”
29, 30/29,36 (0,06 seg)
__
De espalda a público
Oh God! I never gave you a cause.
29, 36/29,58 (0,22 seg)
Muy despacio se vuelve capa en mano, altura de los ojos, amenazante, altivo y orgulloso. No
arrepentimiento. Va caminando hacia el fondo del escenario. Centrado. Terminado el texto se da la
vuelta y se pone el vestido delante atado al cuello. La manos libres. A modo de cartel película
AMADEUS.
MAN
But jealous souls will not be answer'd so;
They are not ever jealous for the cause,
But jealous for they are jealous: 'tis a monster
Begot upon itself, born on itself.
OTELO. escena 13
29,58/36,04
(06,06 min)
…. 27,44
03. Otello. Ave Maria
Al acabar el aria de OTELO la Mujer sale de escena y se cambia de vestuario. Se pone mllas y
corpiño negro. Prevenido maniquí y máscara.
Empieza a cantar de espaldas y se gira con el
vestido a modo de capa mortuaria. Juega y
coquetea con las cuerdas hasta que se fija en una
y como atraída por una fuerza mayor hace un
nudo de horca. Sube el nudo. se pone delante. lo
coge y se lo pone delante la horca. baja el nudo
hasta la altura de
la cara. Juega con
ella. Juega con la
muerte. Huida y
atracción.
14
TUTTE CONTRO VERDI
TRIBUTE TO WOMEN. escena 14.
36,04/37,42
(01,38 min)
…. 29,22
FUSIL 08
PANTALLA
En el 1,20 seg del corte metemos de un empujón
al maniquí con ruedas (hombre) con americana,
camisa blanca y corbata.
THE MASK. escena 15
37,42/38,12
(0,30 seg)
SILENCIO 30 SEGUNDOS
…… 28,52
SILENCIO
Mujer entra en escena con la máscara puesta y
cuando termina de decir…”quitarse la máscara”
se da la vuelta y se la quita. Seguidamente va
caminado hacia el maniquí y se la pone a este. Y
en “… Por que la ternura….. vanguardia…
sensibilidad…. no es una tragedia” se dirige hacia
la horca y la deshace.
WOMEN
What’s the real face of men?
Will they be capable of putting away their
disguises? To show their emotions?
Their vulnerability? Tenderness will have succeeded, then.
Tenderness it’s avant-garde,
Not a tragedy but the triumph of sensitivity.
15
TUTTE CONTRO VERDI
UN BELLO IN MAQUERA. MORRÓ. escena 16
38,12/43,38
(05,26 min)
….. 35,18
04. Morrò, ma prima in grazia
Este Aria la Mujer lo canta junto al maniquí
(hombre) en una coreografía-relación de amor y
odio. Me abraza con las mangas, le doy la
espalda, me pongo delante, detrás… bailo, lo
evito… me atrapa…
DISPARAGEMENT. escena 17 _____
43,39/45,41
(02.02 min)
….. 37,20
FUSIL 09
La mujer enfadada empuja continuo. paro estudio
ruta. empujo. paro estudio ruta. paro estudio ruta.
Me alejo. miro púalico. miro maniquí. voy a por el
y reprocha al maniquí (hombre) y le dice texto con
la estructura texto-empujón (4) el resto de texto lo
empuja de continuo haciendo un circuito entre las
cuerdas, golpeándose con ellas el maniquí. En su
destino está trazado lo va empujando hacia fuera
de escena, lado lazo Carmen. En te mueres… un
empujón sutil con un solo dedo, lo saca de escena.
WOMEN
Threatened love. Men, fathers,
brothers walk out of love.
Submission, resignation, rape, death.
Her destiny is already decided, yours too.
I’m sick!Society condemns women,
with no respect.
Ves! !Te mueres de la mano de una mujer!
16
TUTTE CONTRO VERDI
TOSCA. escena 18.
45,42/48,52(03,10 min)
….. 40,30
05. Tosca. Vissi d'artE
La mujer canta el aria de tosca Ad Libitum,
realizando al final del aria una torre con sus brazos
caminando de frente al público pero hacia atrás,
hasta el fondo. centrado… Y en el final se da la
vuelta, dando la espalda al público con sus cuerdas
atándola por detrás.
THE LETTER. escena 19
48,53/ 51,01 (02,08 min) silencio 48,53 anda mujer a proscenio (48,56) texto
…. 42,38
FUSIL 09
Desde el fondo de escenario, donde ha terminado TOSCA, avanza con paso decidido a modo de
pregonero hasta el proscenio y lanza primer texto. Con el sonido de la maquina de escribir empieza a
mirar a las cuerdas.
WOMEN
Giusseppe Verdi wrote a letter to Antonio Barezzi,
father of his first and deceased wife, Margherita Barezzi.
Then he went on living with Giussepina Strepponi,
a very talented singer.
He lived with her for seventeen years.
Giussepina was responsible for Verdi’s success,
but that’s another matter…
17
TUTTE CONTRO VERDI
…. THE LETTER. escena 19
La mujer terminado el primer texto va hacia las
cuerdas a buscar la carta, las palabras en el papiro
formado por las cuerdas encontrando en cada una
de las cuerdas las palabras de esta carta. La última
frase en escena lado derecho a público lado lazoo
rojo de Carmen.
WOMEN
“I have no problem exposing my house secrets.
In it lives a free and independent
woman who earns enough to meet our daily expenses.
Neither her, nor I have to
give account of our deeds.
We don’t know whether this is fair or not.
But who can Judge us?
We never did anything that I would be ashamed of.
CARMEN. escena 20.
51,02/52,58
(01,56 min)
….. 44,34
06. Carmen, Habanera L'amour est un oiseau rebelle
La mujer terminado el texto va hacia fuera de
escena a coger lazo o hilo elástico rojo con el que
bailaa y canta Carmen. Hace diagonal hasta izq y
hace bailar a las cuerdas blancas. Símbolo de amor
puro y eterno, verdadero… pero que es el amor?
un Chis.. no deja de interpretarla con humos,
despojando de toda tragedia. en el final se
envuelve en el hilo o tela roja.
18
TUTTE CONTRO VERDI
FINAL ODA Iº PARTE. escena 21
52,59/53,19/…(0,20 seg)….53,19/54,55…(1,36 seg)… 54,55/55,11…(0,16 seg)…. 55,11/56,18 (0,57
seg) Total_______(03,19 min)
….. 47,53
FUSIL 10…
La mujer terminada el aria de Carmen y se
desenvuelve del hilo o tela roja. y se tira al suelo
liándose con las cuerdas. Se levanta y a modo de
laberinto haciendo circuito rectangular va
lanzando el texto. ida y vuelta. Termina en el
fondo centrada.
WOMEN
Does a woman have to die because a man
took her for someone else? We are isolated in our walls.
Some think that is the norm, and men are the ones who
impede or restrict our freedom.
We are wrong, it is us who have to liberate
ourselves from our prejudices and fears.
Love and Freedom?
We shouldn’t wait for men to liberate themselves.
Your hidden femininity is the real secret of masculinity.
Ambiguity. Who are we? Man or woman? Victims or
executioners? We did not choose what we want to be,
And that’s what torture us.
19
TUTTE CONTRO VERDI
FINAL ODA. IIº PARTE. escena 21 _____MAGENTA100% . AZUL TURQUESA 100%. FRONTAL 100%.
55,11/56,18
(0,57 seg)
….. 48,50
… Fusil 10
La mujer desde el fondo va diciendo el texto
(primera estrofa) se queda fija en el centro En el
cambio de música Espatadantza. (Baskita.).
Siguiente texto. Siguientes texto hasta ¿Qué es el
amor?…. Slalom esquí.
ahora en ¿Qué es el amor? representa con las
cuerdas comicamente el texto último hasta “NAda
más que un juego….. que lo dice en proscenio y
para recuperar aire. Despacio y casi susurrando.
Ojo!! es teatro.. alto.. ja, ja. seguido aria Mozart.
WOMEN
We find ourselves through tragedy, comedy or drama.
Opera is full of meanings which touch the deepest realms
of our hearts with music and voice.
Forgetfulness does not exist, but memory transformation
does exist. Memories are never very loyal. They get mixed
up with our wishes.
It is time to be clear. The history of men and women in
Opera is riddled with
transgressions, sometimes moral, other times social.
In the opera, Carmen says that she has always lived free,
and that is the way she wants to die. Love and Freedom
make us better people. Love is capricious, but it
is always there, even if we don’t recognize it. Sometimes
we don’t expect it and it takes us by surprise. Be it for
vanity or for comfort, but let’s love.
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TUTTE CONTRO VERDI
MOZART. COSI FAN TUTTE. escena 22
56,18 /58/18 (2.00 min)
….. 50,50
07. Mozart Così fan tutte Act 1 Aria "In uomi”
La mujer desenfadada y con ganas de jugar, saca
su bufón o clown y salta de cuerda en cuerda como
al juego de los espejos de una feria y hace globos
o ramos de flores, dos. Saluda con la mano, se
esconde., juego esconderite. HUMO TOSE..
COMEDIA. Hace un columpio con las cuatro
cuerdas centrales. Se columpia y al final se cae al
suelo. Plufffff!!!
THANK. escena 23.
58,18/ (0,42 seg)
51,32
FINAL. SALUDOS. Fusil 01
La mujer se levanta y saluda al público dando las
gracias a estos y sus técnicos. mano en corazón os
amo….Tira trozos de cuerda blanca al público.
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TUTTE CONTRO VERDI
Subtitles
Mozart Così fan tutte K588 Act 1
In men, in soldiers, you hope for loyalty?
Do not be heard, even for charity!
Cut from the same cloth, every one of them,
The leaves, furniture, and fickle breezes
are more stable than men!
False tears, deceptive looks,
Misleading voices, charming lies
Are their primary qualities!
In that we dislike their pleasure,
Then they despise us, and deny us affection,
It is futile to ask the barbarians for pity!
Let us females, pay them back with equal money
This evil indiscreet race.
Let's love for convenience, for vanity!
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TUTTE CONTRO VERDI
Títulos de credito
Idea Original:
Miren de Miguel
Guión:
Manu Gómez-Álvarez &Miren de Miguel
Dirección:
Manu Gómez-Álvarez
Coreografía:
Mikel del Valle
MUJER:
Miren de Miguel
Hombre vídeo
:
Asier Batiz
Escenografía:
Manu Gómez-Alvarez
Vestuario
Peio Duran
Vídeo:
Josefine Baker
Diseño Gráfico:
Josefine Baker
Selección Arias:
Miren de Miguel
Músicas:
Julio Dèscribá e Iñigo Ibaibarriaga
Diseño de Iluminación
Jorge Villa
Iluminación:
Atomic
Sonido:
hACERIA arteak
Producción:
ISIFUERA S.L.
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