EN ESPAÑOL

La vida está llena de oportunidades de cambio que pueden surgir en cualquier momento. Un encuentro, por ejemplo, insospechado entre una mujer que supuestamente ha triunfado en la vida y un ciego al que ha contratado para pasar unas horas en un hotel puede ser el desencadenante de una nueva vida, a poco que ambos sean capaces de abrirse y dejarse llevar por lo que sean capaz de dar y recibir el uno del otro.

IN ENGLISH

Life is full of moments of change that can pop up at anytime. An unexpected encounter between a woman, who supposedly has triumphed in life, and a blind man who she has hired to spend a few hours in a hotel with can be the trigger for a new life. Both will have to be able to open up and let themselves go with the flow…

EN ESPAÑOL (PRODUCCIÓN RÁPIDA)

Hay hermanos que duelen, y ese es el caso de Kico, quien reaparece para perturbar la vida de Emma, su única hermana. Kico aprendió a correr antes que a andar. Primero delante de su madre, luego delante de los profesores, y más tarde delante de la policía. Emma, en cambio, siempre fue una niña buena que aprendió a guardarse de los golpes que se rifaban en la familia. ¿Por qué los hermanos pueden ser tan distintos?

¡CORRE! transcurre a lo largo de un año, desde el invierno en que Emma visita a su hermano en la cárcel, por primera vez en mucho tiempo, hasta la primavera cuando las ganas de correr de Kico determinan el futuro de ambos. «Nada engancha más que las malas personas» es la frase que sobrevuela la relación de estos dos hermanos. ¿Por qué? Porque es tan cierta como dolorosa.

IN ENGLISH (RAPID PRODUCTION)

There are siblings that hurt you, and Kico, who reappears to disturb the life of his only sister Emma, is one of these.  Kico, who learnt to run before he could walk. First in front of his mother, later in front of his teachers and much later in front of the police. In contrast, Emma was always a good girl who learnt to protect herself from the disputes that racked her family. Why is it that siblings can be so different ?

RUN ! takes place over the time period of a year, from winter when, for the first time in a long time, Emma visits her brother in prison, to spring when Kico’s desire to run will determine both of their futures. «Nothing attracts you like the bad person» is the phrase that hovers over the relationship between the brother and sister. Why ? Because its as true as its painful.

(A Rapid Production is the full play, rehearsed over an abridged amount of time - typically 3 days . It contains most of the elements of a full production, including typically music, set, costume and full actor movement. Actors will however be using scripts)

EN ESPAÑOL (PRODUCCIÓN RÁPIDA)

Dos hermanos que discuten por quién va a cuidar a su solitaria mamá, una pareja que vuelve a acostarse tras un año de separación, una policía embarazada y un padre británico que viene a recoger a su hijo en un cumpleaños, un hombre desesperado que embiste un todoterreno conducido por una autoridad local. Una comedia sobre la estupidez, que no conoce barreras económicas ni sociales. Porque hay estúpidos en todas las sociedades, en todas las épocas, de todos los sexos, razas y religiones. Pero, ¿nos hemos parado a reflexionar sobre ello?

IN ENGLISH (RAPID PRODUCTION)

Two brothers who argue as to who should care for their lonely mother, couple who sleep together again after a year of separation, a pregnant policewoman, a British father who aims to pick up his son on his birthday, a desperate man who assaults an off-roader driven by a local dignitary. This is a comedy about stupidity, which knows no economic or social barriers. For there are stupid people in all societies, throughout all ages of all sexes, religions and races.  But do we stop to think about this ?

(A Rapid Production is the full play, rehearsed over an abridged amount of time - typically 3 days . It contains most of the elements of a full production, including typically music, set, costume and full actor movement. Actors will however be using scripts)

EN ESPAÑOL (LECTURA)

La heroína, Leonor, ha sido abandonada por su amante, Juan. Ella se disfraza de hombre para desafiarlo, con la esperanza de restaurar su honor perdido con su muerte. Ella lo persigue a través del mar, se ve atrapada en un triángulo amoroso (cortejando a su rival, Estela, como un hombre) y manipula con éxito a todos en su camino.

IN ENGLISH (READING)

The heroine, Leonor has been abandoned by her lover, Juan. She disguises herself as a man in order to challenge him with the hope of restoring her lost honour through his death. Following him over the seas, she becomes caught in a lover triangle (courting, as a man, her rival Estela) and successfully manipulates everybody she meets.

en español

“The House of the Spirits,” published in 1982, is a National Bestseller and Isabel Allende’s debut novel which catapulted her to literary stardom. When Isabel Allende’s novel first appeared on the international literary scene, it was widely heralded as a feminist response to Gabriel García Marquez’s “One Hundred Years of Solitude”; it continues to this day to captivate readers across the world as it has been translated in over 20 languages.

Charting the rise and fall of the Trueba family in an un-named Latin American country (reminiscent of Chile), Caridad Svich’s play spans the 1920s through the 1970s, as the country moves through enormous sociopolitical changes that culminate in a devastating dictatorship. The play is told from the sensorial point of view of the youngest of three generation of women, Alba, who is held as the play opens, in a torture room by the government. The swirling memories, frightening and amusing, lyrical and fantastic, illuminate the stage as Alba records her family’s history and ultimately finds the strength to recover her own story. This new re-imagining of “The House of the Spirits” is a bold and daring theatre piece that captures the force and sensuality of Allende’s vision through Caridad Svich’s unique poetic spirit.

In English

“The House of the Spirits,” published in 1982, is a National Bestseller and Isabel Allende’s debut novel which catapulted her to literary stardom. When Isabel Allende’s novel first appeared on the international literary scene, it was widely heralded as a feminist response to Gabriel García Marquez’s “One Hundred Years of Solitude”; it continues to this day to captivate readers across the world as it has been translated in over 20 languages.

Charting the rise and fall of the Trueba family in an un-named Latin American country (reminiscent of Chile), Caridad Svich’s play spans the 1920s through the 1970s, as the country moves through enormous sociopolitical changes that culminate in a devastating dictatorship. The play is told from the sensorial point of view of the youngest of three generation of women, Alba, who is held as the play opens, in a torture room by the government. The swirling memories, frightening and amusing, lyrical and fantastic, illuminate the stage as Alba records her family’s history and ultimately finds the strength to recover her own story. This new re-imagining of “The House of the Spirits” is a bold and daring theatre piece that captures the force and sensuality of Allende’s vision through Caridad Svich’s unique poetic spirit.