Serra d'Or. Best example of experimental theatre
The incurable little bug of the game began to caress us from the entrails. Then a providential text fell into our hands and that I want to recommend to anyone who wants to set out on the actor's sacred path. It is Heinrich Von Kleist's work on the movement of puppets.
With this work and the support of the essay by Kleist already mentioned, we begin to discover the relationship of the actor with the essence of his action verbs: "way to a table", the character with his wardrobe and makeup, and the prostheses of some fixed eyes that gaze into infinity, catapulting the actor towards the archetype, towards a state of mask as well. We already realized that going to the table in front of which we were going to sit was an action in itself with its multiple chromaticisms of subtle changes as we approached the destination of that trip - the daily life that transports us. to the myth, to the objective.
Upon reaching the vicinity of the table and going around the chair to the left, we would stand between the table and the chair, a place of transition and from which we would take a position on the mental throne of the one who occupies by consumer right - participant - in a contemporary and at the same time deeply Mediterranean social rite, the aperitif rite. The two bodies moved by the intangible puppeteer flexed at the knees so that in a last subtle abandonment we became masters of that table, that is to say, clients. A small sway tuned the emanation of that transformation.
There a new language was born. There the bases of the theater of the Sacred Actor were born. We wanted to show the audience this work that he had created fleeing the stage, since following a fundamental guideline, we were in a state of presentation, knowing that our personal and subjective experience was totally surrendering [surrendering, surrendering] to the archetype, since we disappeared as a subject and we inhabited a new existence. And we merged in it maitrisant [dominating] that yes, the language to offer it to the experience of the one who looks.
This is what I would understand as "telluric theater". That is, an entity of the earth infinitely inhabiting its own present delivered millimeter by millimeter to infinitely changes present. The force in his presence of a tree, a rock, an animal or any of the manifestations of existence. When the human being feels belonging also and from the same state to all of them (the manifestations of being).
This is for me the body (later we will talk about the voice) of this theater. All my actions are pure and objective. He has already acquired as supreme teacher of himself, the supreme detachment. Without this delivery, it is impossible. Better, let it go and simply dedicate oneself to representing, in the theater or in life, which for that matter have a lot in common, I mean the life one lives incessantly walking through the capricious corridors of the labyrinth of human relationships. I am not saying that this is of no interest but I am saying that it is something else.
Very well, we already had some characters, some scenic references and a story to tell. But we did not want it to be within the canons of representation of a theatrical work. If we presented L'APERITIU on stage, no one would understand it, or make it their own. To be consistent, the chosen location had to be just as new as the communication proposal.
What did these human dolls look like, moved by hypothetical, well-dressed threads? If we left them in static motion, it would be enough to install the table and chairs in the window of a clothing store. In the month of December of that year, we settled in the window of a clothing store in Plaza Porticada in Vic. The daily ritual of L'APERITIU lasted about 50 minutes during our presentation. In the shop window, the rhythm of the actions did not have to adjust to the expectations of a stalls spectator. How good! After leaving the theater, I could feel free and play without reading corsets.
A very unique element of this work was the play of electromagnetic emanations from the brain through presence. That is, the actor, the one who acts, captures the energy code of a mannequin and reproduces it emanating from his entire body. The result combined with the swaying of the limbs after having made a gesture was truly surprising. We had achieved a real stage magic effect. The mannequins took body and soul offered by the officiant, actor or actress, theater of archetypes in this case, the iconic "images" to which passersby aspired who would like to transform into them and dress up in their clothes.
I remember with special affection a presentation of L'APERITIU that we did at the suggestion of the poet Joan Brossa at the foot of the Barcelona lighthouse. The public arrived in the swallow, disembarked, contemplated the ritual officiated by those cosmic dolls and returned again in the swallow to follow a fabulous itinerary of which we were part. What was said "The night of Brossa".
ell-Albert Vidal, ella- Marisa Madrona, cambrer- Toni Jodar
Miquel Faura, Rosa Español
1 Gare de Cournavin, Geneva Festival
2 La Mercè, Barcelona annual Festival, Real Square
3 Gare de Cournavin, Geneva Festival
4 Gare de Cournavin, Geneva Festival
Habíamos tomado posesión de la mesa. Desde allí solicitábamos la presencia del camarero oficiante que a nuestra petición nos serviría los elegidos brebajes. Así transcurría todo el resto del ritual con las acciones que todos conocíamos de consumir, comunicar, concluir, pagar y abandonar aquel lugar que habíamos poseído.
5 Barcelona airport, international flight room
6 La Mercè, Barcelona annual festival, Real Square
L'APERITIU moved verbs without subject. Or what would be more accurate to say, verbs whose subject is simply The Subject: "we take the cup, bring it to our lips, drink, swallow the liquid, leave the cup, etcetera, etcetera, etcetera, etcetera...".
7 Gare de Cournavin, Geneva Festival
Recuerdo un emocionante abrazo en medio de L'APERITIU en el que Él y Ella abrían los brazos y sentían acercarse sus cuerpos. Creo que no he vuelto a sentir nada tan inmenso como aquel abrazo de dos seres cósmicos. Aquel abrazo desprovisto de anécdota y en cuyo encuentro danzan cogidas de la mano la vida y la muerte. Viviendo intensamente esta hiper realidad, sentimos el abrazo del actor, perdón, del actor o de la actriz.
8 Gare de Cournavin, Geneva Festival
9 Gare de Cournavin, Geneva Festival
10 La Mercè, Barcelona annual festival, Real Square
11 Barcelona airport, international flight room
12 Gare de Cournavin, Geneva Festival
13 Gare de Cournavin, Geneva Festival
14 Gare de Cournavin, Geneva Festival
15 Barcelona airport, international flight room
16 Nancy Festival, France
Photographer Leopold Samsó
DOCUMENT. LA CLAU DEL TEATRE
No puc pas explicar les figures. Estalviem llumins,abans que no s'espatlli la xemeneia.Una muntanya no és una barraca.L'any passat Alber Vidal va decidir de dormir sense matalàs;aquest any ha decidit de dormir a cel obert. Un barri esdevé un port. El seu puntimirat espectacle, d'una valentia i d'una rigor insòlites a casa nostra, pinta focs que recorden els vells cultes i ensorra els fogons per on han desfilat tantes famílies de comediants. No hi veureu cap baldaquí, només un clot recorda el geni de la terra, i el moviment té un niu d'ous, on no arriba la serp.
Ni llençant sal a la pols ni amb el seient encarat a la paret no sentireu mai l'anunci de les visites. L'APERITIU posa l'escombra dreta i dóna interpretacions diverses a les parets on arriba el mar;enfonsa els fums dels còmics i , espectacle mercurial, acara puntes de ganivet.Des dels vells clots del teatre, xemeneia amunt, predomina la convicció que, si plantem un llorer, s'ha de morir abans d'un any, perquè els ferros no són cames.
Aquest espectacle, primfilat, únic en la nostra dramatúrgia, on abunda la pedanteria, el mimetisme i el desconeixement de les pròpies possibilitats, un encara a punta de sol l'acabament de l'obra i pren la mida de l'ombra de l'espectador.Perquè, aquí, l'or no fa d'amulet. De vegades els personatges pinten dos ulls al capdamunt dels arbres i, maniquins, porten al límit la força expressiva de la immobilitat; altres vegades aguanten una pedra amb la punta del peu mentre el pianista els passa la farina enlaire.
A L'APERITIU, Albert Vidal fa que una ombra digui a l'altra: Alto! La retòrica és la puta de l'art.
A marvellous presentation in the "Casino Théàtre". The Albert Vidal company gives a fascinating demonstration which takes one's breath away and even stops one from coughing... Where nothing is uttered... everything is said, wonderfully.
LA SUISSE, Genève. Georgee Gros
Un espectacle realment insòlit. L'Aperitiu és un d'aqeulls rars espectacles que situen el teatre a l'altura del nostre temps.
MUNDO DIARIO, Barcelona. Josep Maria Loperena
Prou valia la pena de desafiar el fred per arribar ja de nit, a bord d'una barca, al final de l'escullera, on ens esperaven els quatre intèrprets de L`Aperitiu. Feia poc més de mitja hora que hi eren, inmòbils i concentrats. Albert Vidal i la seva companyia van deixar bocabadats tots els presents amb la perfecció i la professionalitat del seu treball.
LA VANGUARDIA; Barcelona. Lluís Permanyer
A superb work on gesture is manifestation of the being. A presentation at once disquieting and fascinating.
JOURNAL DE GENÈVE. Marie Danielle Brunet
Hypertheatral, the language of Vidal uses nothing bit the actor and the intensity of his gesture. The members of his group work admirably. The presence of the pianist and composer Carles Santos manages to transpose the usual into the unusual at the same time giving everything its coherence and density.
TRIBUNE DE GENÈVE. Jean Jacques Roth