Fragments of a princess
Fragments of a princess
It is the continuation of the research towards in a unique scenic language in where different artistic disciplines come together: theater, Butoh dance and audiovisual techniques (2D animation and videos).
Our research work seeks to supplant the word with a symbolic, corporal, and sound language based on visual impact. The narration of the play is constructed through fragments which are visual pictures, in where the life of this woman is shown; her delirium, anguish and despair. The sound is a key to enter into the emotional stress of the protagonist.
The play starts at the moment in which the public enter into the room and is progressively submerged in the character's awareness through audiovisual media.
The fragments that make up the play and show the life of this woman, are developed within the morality and rules of conduct typical of “Fairy tales”.
It is composed of 4 fragments:
- Frag 1: Introduction
- Frag 2: The wait
- Frag 3: The decision
- Frag 4: The flight
Fragments of a princess seeks to contrast that of " Fairy tales", through a dark proposal, delirious, decadent that is closer to a suffered living reality.
This play tells the story of a woman who’s permanently looking for something. She’s waiting for the predictions of fairy tales to be fulfilled: the arrival of her prince. She craves to be saved from reality, which unfolds between desire and frustration. When discovering, that the fantasy that was built during her childhood, will not materialize, delirium and solitude take possession of her history.
This work was born from a process of reflection on the stories of women, on learning and the conditioning of our childhood, where the criticism towards traditional stories are the protagonists. Since these provide education in values and narrate the social and moral norms according to each culture. In fact, we have grown up with characters who have told us what is good and where they have taught us that happiness begins when we meet the supposed average soul. But we were not warned that these narratives could also sow frustrations and great existential vacuums.
Our company raises the need to make visible, through a sordid and questioning proposal, that these beliefs are apprehen-sions that do not allow us to live freely. We want to transmit sensations to the viewer, through visual scenes, sound design and projections. Each will draw their own conclusions.