24 hours of theatre with María Hervás in 'The Second Woman' | Culture | EUROtoday

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There are reveals, after which there are event-shows. Or experience-shows. Australian creators Nat Randall and Anna Breckon are the creators of The Second Womana theatrical proposal that features a number of appetizing headlines. A manufacturing that lasts 24 hours. The identical scene repeated 100 instances. An actress and 100 males. Or slightly: 100 individuals who establish themselves throughout the spectrum of masculinity. The actress María Hervás noticed the manufacturing final yr in London, starring Ruth Wilson on the Young Vic, and was captivated by it. She referred to as Josep Domènech (from Bitò Produccions) with an thought in thoughts, and a cheerful coincidence meant that after they went to search for Francesc Casadesús (director of the Grec) he informed them that he was additionally interested by the challenge. Last weekend the Spanish model of the manufacturing premiered on the Teatre Lliure (Barcelona), which will probably be seen on October 19 on the Teatro Central in Seville and on November 9 on the Teatros del Canal, in Madrid (throughout the Autumn Festival).

“What time did you arrive?”, “How long will you stay?”, “Will you see the twenty-four hours?” These and different questions floated within the air on the Lliure, within the interval between Saturday at six within the night and Sunday at six within the night. Randall and Breckon's proposal is impressed by Opening night time (John Cassavettes, 1977), the movie starring Gena Rowlands that may be a love letter to the thriller of theatre. The two Australians have an interest within the frictions between illustration and the gaze, and so they play very cleverly with the seams that unite cinema and theatre. The set design of The Second Woman It is a sublime and impersonal cubicle, a little bit pink room in a lodge room the place the protagonist will obtain her 100 companions and repeat, as if in a self-imposed sentence, the identical scene 100 instances in a row. With 15-minute breaks each two hours (for the performer and the viewers), the expertise will not be designed to be seen in its entirety: after two or three hours the spectator already will get an thought of ​​the experiment. But be warned: it’s a extremely addictive present. On Saturday I noticed the primary eight hours and I didn’t discover it in any respect boring or monotonous. On Sunday I noticed the three finals and I used to be blissful to applaud the stage and life prowess of María Hervás. My expertise with The second lady lasted 11 hours.

The allure of the manufacturing is its obvious simplicity: a brief scene, a gathering between a person and a girl, some Chinese noodles, some whiskey, a dance. The pink costume and the blond wig inevitably carry the protagonist nearer to Gena Rowlands, however on the finish of the present I noticed a slightly unhinged Marlene Dietrich. The textual content of the scene is fastened, however there’s room for improvisation: the 100 volunteers can contribute their very own materials at first, pronounce adjectives of their alternative and select their phrases to go away the scene. companions Hervás's youngsters additionally have no idea a number of the actions she’s going to carry out. Two digital camera operators file the small print of the scene: the stay manufacturing reveals us close-ups (gestures, glances, objects) that the human eye can not see from a theatre viewers. The total creative staff of the manufacturing is made up of ladies. The males cross by.

The cubicle where the play 'The Second Woman' is performed.
The cubicle the place the play 'The Second Woman' is carried out.Alice Brazzit – Greek Festival

To speak about Hervás's interpretation, we should use superlative phrases. The essence of theatre is the important thing to the manufacturing and her work: the “here” and the “now”, absolutely the current, the gaze and the connection. Every time María Hervás turns round, she discovers her new and ephemeral companion, and the scene is completely different each time. The artwork of improvisation, chemistry or feeling that the actress feels with the person in entrance of her turns into The Second Woman in a stay thesis on illustration and the gaze. Power and vulnerability, attraction and need, boredom and disgust. We are all María Hervás after we see her cope with this catalogue of masculinities: from the sweetest, queer or tender to essentially the most crude and ridiculous. Men of various ages and backgrounds range the dramatic layers of the scene. Error is gorgeous and the unpredictability of the theatre is the unpredictability of life.

Throughout these 24 hours, María Hervás reveals herself to be sturdy and weak, highly effective and perky, cynical and playful. All without delay and on the identical time. That “complex woman” who frightens and attracts males equally can also be the actress condemned, like Sisyphus, to repeat as a punishment the act of wanting and being checked out. “Here I am, begging again.” Begging for our consideration, our love and our empathy. Being scrutinized and analyzed by the general public and critics beneath the warmth of the spotlights, surrounded by cameras and in entrance of our attentive pupils. Like in a hypothetical portray by Edward Hopper that might be referred to as Woman readythe actress cleans and tidies up the area after every scene, elegantly ready for her new sufferer. The boastful man or the younger actor desirous to shine at this public audition are devoured by Hervás with the grace and intelligence of a praying mantis. But she can also be locked in her little world of fiction, like an insect in a terrarium, in a airplane the place neither time nor area exist. Only phantasm.

Actress María Hervás, with one of the 100 men from the play 'The Second Woman'.
Actress María Hervás, with one of many 100 males from the play 'The Second Woman'.Alice Brazzit – Greek Festival

The Second Woman It is a stage expertise that connects splendidly with essentially the most theatrical, essentially the most cinephile or essentially the most profane viewers. The fragility and vulnerability of the actress is, paradoxically, her best power. Theatre is ritual and repetition, trial and error, good dancing and stumbling. All in The Second Woman breathes theatre. Because theatre is and all the time will probably be that stumbling block.

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