A creation of body, gestures, movements freely adapted from the theatrical work of Federico Garcia Lorca, The House of Bernarda Alba
Staging by Yves Marc
The day we stop resisting our instincts, we’ll have learned how to live. Federico Garcia Lorca
1936, in rural Andalusia : after the death of their father, his daughters are locked in the family house by their mother during eight years, the traditional bereavement period.
Alba shows us and reflects upon, in a metaphorical way, confinement, the power of matriarchy, social and religious pressure, the interaction between frustration and desire,
a pent-up sensuality at the mere idea of man, jealousy and hatred,
and the constant constraints weighing over bodies and souls.
It’s also a celebration, an ode to life and love in all its forms.
Love becomes a possible weapon of resistance and transgression.
An ode to liberated desire, free from the pressure of a society submitted to dogma.
Photo credit : David Schaffer
Teaser of the show
Assistant Estelle Bordaçarre
Performers Yves Marc, Mélanie Devoldère, Silvia Cimino, Véronique Muscianisi, Elsa Taranis, Alexandra Antoine
Voiceover artists Pedro Aguilera, María Cadenas, Arianna F. Grossocordón, Alejandro Prieto, Edouard Hureau
Choreography Yves Marc with the performers
Sound design David Schaffer
Set and lighting design Jaco Biderman
Costume Fanny Mandonnet
In the press
On the occasion of its 40th anniversary, the Théâtre du Mouvement launched the adaptation of Federico Garcia Lorca’s play The House of Bernarda Alba. The shock was momentous as the audience of the Mimos Festival in Périgueux discovered, on the opening night, that none other but Yves Marc was impersonating the emblematic figure of the mother: an abrasive woman who shuts her daughters in the vice of the grieving over their father’s death. They pray and embroider, without respite. The youngest sister, who dreams of marrying the handsome Pepe, rebels against maternal authority and the rigid customs of Catholic Spain. Her body exults, her soul is elated and hungry for freedom. Set in a most impressive black scenography, the poetic force of gestures and images brings the play of constraints and frustrations in full light. Little by little, a display of blinds and veils exposes the guilt, the jealousy, the unacknowledged desires. An intense, stringent, sensuous creation. Thierry Voisin, Télérama, October 2015
Mime and dance : a mutual understanding- The stage writing combines concrete actions, drama situations and dancing flights of bodies filled with yearning for freedom and lightness, for love and marriage. Dancing bodies are elusive, embodying the imaginary world of desire. Miming bodies retain a certain continuity in time, they convey both past and future. In Alba, dance exists in its own right; it is used as a dramaturgic targeted tool but only at specific times, mainly through superbly performed, moving solos. Nonetheless, this doesn’t turn Alba into a choreographic work. On the contrary, the dramaturgic writing greatly benefits from this mutual understanding and support between mime and dance, thus offering the piece a most compelling fluidity. Mime conveys all that which is related to the realities of life and its conflicts, while dance offers a loophole, an escape. In relation to text theatre, this movement adaptation enables us to capture the characters’ energy, whether vital or deadly, as close to their driving force as possible. Here, we’re bordering the absolute dimensions of despair, of desire and of impediments. The audience feels a deep and instant level of empathy because the language offers more room for abstraction. Looking at the result obtained, Alba totally qualifies and deserves to be presented in front of audiences worldwide, and that includes in countries where the grip of religion over people and their daily lives is just as powerful today as it was in the society depicted by Lorca. With its powerful, compelling images and dramaturgical conciseness, Alba has no intention to impose a single form to other companies currently practicing physical theatre. All the more so due to the fact that Yves Marc and Claire Heggen happen to work in other and very different registers themselves. But this birthday-creation piece and it’s contribution to the expansion of contemporary mime is both major and essential. Thomas Hahn, Dansercanalhistorique.fr august 2015