Cels
From Wajdi Mouawad, Direction by Oriol Broggi
Isolated in a secret place, 5 people who are part of an international organization called Socrates, are dedicated to spying on telephone conversations and scouring the sky to try to prevent an imminent terrorist attack. However, when one of them commits suicide, each person's personal world will begin to crumble, while history itself is called into question: It is possible that the beauty of the world and poetry give birth to the demons of its own destruction?
About this work, the author has said "to be able to tear out one's eyes one must have previously lived in blindness". Cels is the last work of the tetralogy La Sang de les promeses, of which Litoral, Incendis and Boscos are part.
Text
Wajdi Mouawad
Translation
Cristina Genebat
Direction
Oriol Broggi
With
Xavier Boada
Màrcia Cisteró
Eduard Farelo, Clément Szymanowsky
Xavier Ricart
Ernest Villegas
And also
Carles Martínez
Àlex López
Enric Auquer
Vídeo conference
Andrew Tarbet, Babou Cham, Shang Ye i Walter Camertone, Susana Huertas, Anna Kaczmarska, Paula Miranda – Polin, Oriol Petitpierre, Maria José Rodríguez, Ed Tati
Voice overs
Laia Battestini, Anna Castells, Pol Corredoira, Cloe Cortina, Marta Figueras, Kamiran Haj Mahmud, Àlex López, Marta Marco, Alfons Nieto, Pau Poch, Clara Segura, Maja Stibilj i Montse Vellvehí
Lighting
David Bofarull (aai)
Costume
Berta Riera
Sound Design
Damien Bazin
Audiovisual design
Cisco Isern
Characterization
Ángels Salinas
Assistant director
Montse Tixé
Audiovisual collaborators
Beatriz Garcia, Albert Prats, Aymar Del Amo
Skype video
Eladi Sánchez and Oriol Puig
ESTAE trainees
Eusebi Romero, Maria Garcia and Joan Boné
Head coach
Guillem Gelabert
Councilor
Marc Serra
Technical duties
Cesc Pastor and Guillem Rodríguez
Photography
Bito Cels and Marina Raurell
Graphic design
Oriol Broggi and Pau Masaló
A production of La Perla 29
When you come to understand Cels, it might be too late. That's what comes to mind when I try to write something about it.
The feeling of not fully understanding the force that hides within a work like Cels haunts you during the assembly, the preparation of the project. The sensation of not being able to foresee the weight and effect of the words when they are finally spoken. The fear of not having been able to anticipate the force that everything you prepare can have on the actor, on yourself, finally on the spectator, the day a few elements come together.
Cels is another great work by Mouawad that we are fortunate to be able to rehearse, to perform. It speaks of so many hidden things under a thrilling, distressing, and surprising plot that you cannot grasp them all at once. Faced with the text, you feel small. Faced with characters guilty of something that makes you cringe. I have often not understood why the author conjugated those words at that moment. And it has also happened to me to understand it in the middle of a rehearsal. In the unsuspected moment of having theatrically formed a glance, a pause, a tone of voice.
The characters live before you the ordeal of discovering the darkest parts of their own identity: what we are, in the deepest sense. And they do it while seeking the identity of a name. While investigating who the other is. They meet who they are, and this happens before us, raw and cruelly. And it's extraordinary.
The text is poetry. And it's philosophy. And it's also pure theatricality - in the sense of knowing how to weave, plot, organize acts that are both real and fictional at the same time. And we are privileged to be close to it. And for the spectators who see it, you may not like it, but it will make you feel alive, intelligent, and free. Perhaps sad or perhaps happy, but alive.
A song to life like few can be lived.
Oriol Broggi
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