La Rinconada


LA RINCONADA 1862 km from Torino   The arrival

La Rinconada is a city located in the suburbs of Seville; it is very similar to many other cities we visited and enjoyed during this Spanish tour, marked by wide urban spaces, small coffee bars at the corner of the streets, wide skies and, without fail, the house of culture, or the theatre. It’s amazing how here, in Spain, every  urban centre, even the tiniest and the most remote, has got its own house of culture: they are all active and ready to offer the citizens (young ones and adult ones) meeting and arts experimentation spaces. The feeling is that here, unlike in Italy, the house of culture is an essential element for the composition of the Spanish municipalities, much like the City Hall. In La Rincorada we are guests at a very nice theatre, where we are waited by a workshop group for the show of the evening… “Precipito”!  

The workshop

The people involved in the last workshop of the Spanish tour were grown-up actors, already familiar with theatre: some were dancers, some were singers, some were flamenco dancers. It was a great pleasure to work with them. Fabrizio started the warm-up with music, free movements, introductions. It was all very cheerful and spontaneous, and everybody wanted put themselves on the line. The workshop went on with the already suggested to other groups body work in pairs and critical positions suggested by the partner. Aldo made them focus on the listening this time, suggesting them to linger in that position a little bit longer, so that they could feel which emotions arouse, and notice and have consciousness of every body part as well. From the work in pairs we shifted very fluently to group activities. A dance originated, it was a mix of crossed, sped up and slowed down movements that eventually acquired a meaning. The most interesting thing was how their looks changed during the work and the fluidity of their bodies – something sparked. It’s something ineffable in the field of theatre, but it gives you a wider perspective and makes everything more real. Time was running out and we had to end our activities quickly. We suggested the final ritual again, it was successful in Murcia. The ritual consists of thinking of five words that can describe the emotions felt while working and here it is, peacefulness, fantasy, life-giving, puppet and safety. The second step of the ritual involves representing with the body these five words through five very simple movements, in a repeated sequence by all of us one time, two times, three times, four times, five times, six times… ten times. Thanks to the original “ritual dance” we said them goodbye with joy and fullness.  

The show

It was hard to put on the show on the same evening of the workshop. We performed “Precipito” many times and in many different places by then, and it seemed hard to find a profound motivation and enthusiasm again. The fear was that we could influence our rerun with our weariness. But we thought that those were the times in which you have to trust the audience and seek your motivation in its involvement and in its warmth. We made their curiosities ours, we felt the waiting, we got carried away by their involvement… and it worked that time too.          

What we bring with us (Fabrizio, actor)

The gap between the passion showed by the citizens with accepting and renewing the cues suggested by the workshop and our difficulties in renewing the show after so many reruns, got me thinking. For me, La Rincorada was a step that really gave me food for thought about the strange, great job I chose.  The good actor’s arts and crafts lie in the ability of repetition. A good actor must in every rerun, every time, find again a naturalness and a truth  that could give life to what he is doing and that could make it plausible to the audience, thus sparking an emotional bond between the audience and the actor. Improvisation, fundamental medium for the making of a show and on which the workshops are based upon, is more immediate. It carries truth on its own: the struggle of the research, the emotions, the fear of taking the leap, the wonder when you find something unexpected… and a scene is born. The show, on the other hand, is an attempt of reproposing every time something that could get closer to the original naturalness experimented during the production work and that’s when…it gets hard. Sometimes a miracle happens and everything flows, involving both actors and audience and everything comes natural; some other times the magic is not immediate and for the spell to work it takes hard thinking and persistent work. La Rinconada was a step of this kind, where the repetition put to the test me and my character. But then again, actors are hypercritical-towards-themselves animals and the audience of La Rinconada appreciated the results without knowing of our personal uneasiness. I think that, considering the actorial aspect, this adventure gave me the great opportunity of making a stab at and confronting myself with the hard art of repetition, art that I can now frankly number among my bitter enemies, followed by my evil Piedmontese accent. But since the show was played in Spanish none could notice, I’ll fight it next time.

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