Family trash - choreography of the absence
A piece by José Ramón Hernández y Osikán nursery of creation freely inspired by: I was at home and I was waiting for the rain to come by Jeac Luc Lagarce
FamilyTrash: Choreography of Absence
Today, precisely today, I was thinking about that. In all the years we lost without moving, waiting.
Are there not disused objects in our houses, frozen in time and space, exhibited in the family museum as relics, treasures or trophies because they speak of a history (and a present) of affections? FamilyTrash is the path of investigation and creation that José Ramón Hernández rehearses to articulate an acting dramaturgy that is shown as a reflective landscape of pain, desire and love.
The initial inspiration came from the poetry of Jean-Luc Lagarce in I was at home and I was waiting for the rain to come. The image of the five women detained on the threshold of the father's house and the infinite wait before the departure of the young brother and the return of the dead young brother to the family bed. And her sailor bag, a bag that falls when her body collapses in the arms of her sisters and mother, and the little girl takes it because only that bag interests her and the older one can only think about "the use and the way of that bag ”and then the bag will be the imprint of the absent body, forever placed in the family attic, like those disused objects that we store in our homes, frozen in time and space, exhibited in the family museum as relics , treasures or trophies because they speak of a story (and a present) of affections.
In FamilyTrash, the choreography of the absence is produced from the objects connected to the life stories of the actors. A dress, a box, a chain and a machete will dust off the dominant family stories –which are also political stories–, which became the dramatic material of this creative process. Because FamilyTrash is part of that exploration: the family as drama, the scenic body, artifice, construction. In this way, the play becomes a ritual of theatrical repair: the stage becomes a space for the clash between the tensions of what is inherited, what has been lived, what has been suffered, what has been agreed upon and what is desired. As if the viewer's gaze reconstructs the broken tissues of our passage through the human circus - let it be understood as family, country, nation - from which we left and to which we all return.
Concept and direction: José Ramón Hernández
Performers: Alaín Cantillo
Life experts: Francisca Margarita
Lighting design: Oscar Ernesto Bastanzuri
Audiovisual production: Gabriel Estrada
Graphic Design: Annelis Noriega
Scenic and soundtrack design: José Ramón Hernández
Documenta Cuba, Havana (November 2015)
Opening season, Sala Adolfo Llauradó, La Havana (July 2015)