Two shows. Two languages. In repertory.
Dos obras. Dos Idiomas. En repertorio.
The first, Federico García Lorca’s classic tale Bodas de Sangre (Blood Wedding), reimagined in modern day Miami. A desperate bride escapes with her lover into the swamp on her wedding day. Performed in Spanish and English.
The second, inspired by Gabriel García Márquez’s short story I Only Came to Use the Phone. Maria’s car breaks down on a rainy evening in 1970s Barcelona. She takes a bus to use the phone at an unknown destination, but is mistaken for a patient in what she comes to realize is a mental institution. Performed in English.
Performance, dance, video art, and audience interaction merge in an expressive and surrealist event celebrating the female body. Stoyanova, a “neo-metal monster and a futuristic Renaissance queen,” demystifies the birthing body, presenting the truth of the flesh in this mostly nude show.
Two shows. Two languages. In repertory.
Dos obras. Dos Idiomas. En repertorio.
The first, Federico García Lorca’s classic tale Bodas de Sangre (Blood Wedding), reimagined in modern day Miami. A desperate bride escapes with her lover into the swamp on her wedding day. Performed in Spanish and English.
The second, inspired by Gabriel García Márquez’s short story I Only Came to Use the Phone. Maria’s car breaks down on a rainy evening in 1970s Barcelona. She takes a bus to use the phone at an unknown destination, but is mistaken for a patient in what she comes to realize is a mental institution. Performed in English.
“The true struggle is with the duende… it’s not a question of skill, but of a style that’s truly alive: meaning, it’s in the veins: meaning, it’s of the most ancient culture of immediate creation,” Federico García Lorca, Theory and Play of the Duende.
Creators Tanaquil Márquez and Eliana Fabiyi bring to life F. G. Lorca and G. G. Márquez’s radical stories, performed in repertory. The creators first collaborated in 2013 for an iteration of Blood Wedding at university, during which they discovered parallels between Lorca and Márquez’s writing. Now they team up with a large and diverse cast from all over the Philadelphia area to tell these tales of female empowerment, freedom and loss. This Hispanic and Latino theatre is crafted through the lens of Lorca’s “duende”: a heightened energy marked by immediacy, vitality and authenticity.
Reality TV isn’t real. But, what if your real life was actually scripted? What if you were nothing more than a crappy character on some crumb bum cable network? ETC’s latest comedy brings the small screen to the small stage in their 11th shot at the Philly Fringe Festival. Written by Todd Cardin. Directed by Emily Cardin.
ETC Theater produces original theater for people who do not like the theater.
The OVEN currently resides in Baltimore City. Their performance piece, COMMODITIES, presents five stories of teenagers who’ve been coerced and sold into sex slavery. This disturbing social issue is “Brilliantly presented” (DC Metro Arts) through movement, storytelling and choric incantation.
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