Orgull

From Fiódor Dostoievski

Data
10.13.2022

An actor alone with the audience, an intimate and sober meeting and the words of Dostoevsky. For some time at La Perla we wanted to do a show with Andreu Benito, and when he showed us Orgull (titled Manyaga in Miquel Cabal's translation), this intimate and disturbing story by Dostoevsky caught us and we to be clear that we had to do it in the Theatre. In this process, Oriol and Andreu have worked side by side with Ramon Vila in the theatrical adaptation based on Miquel's translation.

 
Synopsis

What we present to you is the life of a man who wonders, remembers and recognizes the raw truth of his story. Why does he do it? He's looking for an answer that his wife, the big absentee in this story, couldn't give him either.

A reference silenced, interrogated, surpassed; the mirror that returns the most cruel and sincere reflection. A little gem of Dostoevsky is offered to those who want to hear it. Why not have loved each other in time? Why not have said it? Why not have lived loving each other without pride?

"Now he speaks alone... Now he seems to be addressing an invisible listener, a kind of judge... He explains what "happened". Despite the coherence of the speech, it contradicts itself a few times, in logic and also in feelings. There is rudeness of thought and heart and, at the same time, a deep feeling. Little by little he really clarifies what happened and focuses "ideas on what he touches". The series of memories he has evoked, in the end, leads him inexorably to the truth. The truth lifts his spirit and heart…”

– Fyodor Dostoyevsky, prologue to his story

Artistic card

From
Fyodor Dostoyevsky

Translation
Miquel Cabal Guarro

Work on the text for dramaturgy
Ramón Vila

final version
Andreu Benito, Ramon Vila and Oriol Broggi

with
Andrew Benito

Direction
Oriol Broggi

Customs
Elizabeth Meoz 

Space and lights
Technical teams of La Perla 29

original idea
Andrew Benito

A production of La Perla 29

Galeria imatges secundària (slide)
VIDEO
Management notes

We listen to and see Andrew passing through Dostoevsky's words and silences and discovering, through his way of saying, a radical way of explaining a character. It seems that while he speaks he has an eye looking at himself while on the scene, and he may be waiting to convey unconscious emotions as if he had the reins of horses that unfold.

Everything is in his tone of voice, in himself and what he explains. In the air we share. In what the actor is while playing a character. Listening to what he says, we think that "when the actor is on stage it makes us discover who he is (and who we are)", "attentive to what he is doing, as with an eye, an outward look, serving us with a common experience between him and us" as Yoshi Oida says, and "with infinite patience and unfailing determination". Andreu's time is suspended, and we wonder the importance of a point and a part.

All life suspended in the air.

Oriol Broggi

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Thursday
13
oct. 2022
Finished