Lorca’s poetry roars in signal language on stage | Culture | EUROtoday

“You have to look with the eyes of a child and ask for the Moon. You have to ask for the Moon and believe that we can hold it with our hands.” The verses of Federico García Lorca encourage and information the overwhelming manufacturing created from the signal language and tradition of this group that, directed by the deaf actress Ángela Ibáñez, premiered this Friday on the María Guerrero theater in Madrid. Scream, marriage ceremony and bloodimpressed by blood marriage ceremony and different fragments of Lorca’s works, is way more than a cry from this group to discover a place within the theater.

It is a vindication of the deaf tradition that rebels in opposition to a actuality that threatens its potentialities of growth, its entry to tradition and its happiness. With dramaturgy by Iker Azkoitia and affiliate path by Julián Fuentes Reta, two actresses, Emma Vallejo and Mari López, are the protagonists of this manufacturing that mixes signal language, visible parts, stay music and oral language and is accessible to listening to individuals.

Ángela Ibáñez, an actress born 38 years in the past in Madrid and who lives in Paris along with her associate and little daughter, is touching the Moon lately, simply as Lorca wished. For her, this work with which she makes her debut as a director is an act of vindication, reminiscence and freedom. “It means the recognition of sign language as another language within society. From memory because it is a tribute to Lorca. We deaf people feel very identified with him because, as a homosexual, he suffered discrimination, but he always felt a lot of pride in his identity. I am crossed as a person and as an interpreter by Lorca. His way of writing is very visual. My first work as an actress in the theater was the role of Adela in Bernarda Alba’s house. Freedom is given to us by the fact that we can do and demonstrate with our language and our culture what we dream and desire,” the actress says in sign language, in a meeting with this newspaper, accompanied by two translators.

In the production, whose dramaturgy has been conceived and imagined with the fewest possible speeches and placing emphasis on visual elements to thus overthrow conventions of hearing people, deaf people also participate in departments such as costumes (Marta Muñoz) and video (Berta Frigola).

Scream, wedding and blood It begins in a school classroom, where two deaf girls have been left alone while their classmates attend a theater performance that is not accessible to them. “If we can’t go to the theater, the theater will come to us.” It is then that the two teenagers begin a magical and beautiful game, a dreamlike journey with texts by Lorca where the classroom is transformed and the poetry comes to life.

The importance of this montage is that it is not a translation from oral language to sign language, but from the beginning it has been created and conceived from its way of communicating, with its own art and poetic expressions. An example is the special configuration of the hands that is part of the grammar of the culture of people who do not hear, explains with great expressiveness and passion the director, who hopes that this function will break down barriers and definitively open the door to the creativity of the deaf and feel references.

“I do not wish to say that I’m going to be a reference, however I do imagine that it may well mark a earlier than and after. Why do not we’ve got the deaf institutional help? I belief that from the best ranges they assume that we’d like a secure and inventive place to have the ability to develop signal language and provides us a presence in cultural spheres,” adds Ibáñez, who does not hide his gratitude to the National Dramatic Center, directed by Alfredo Sanzol. “We need allies,” cries the director.