The word Reality, a term with a certain prestige but increasingly difficult to retain, appears in human language relatively recently, just over 1000 years ago. The Greeks did not have a word for this condition, and individual and collective existence was rule by the fantastic logic of myths: stories constructed through a process that articulated forces arising from the inside and whose extraordinary images produced a concrete effect on consciences in order to orient people in the material life.

The origin of the word Reality it’s found in the ancient Roman Empire, to define the most varied forms of things and acts that truly exist, until it eventually settled down in the semantic field of what we define today as the real. It is within the logic of a people with a vocation for empire that the need for an imposition of being was born. 

Despite the colonisation of the material and objective domain, the concept of Reality is problematic in essence, as a ductile and constantly moving construction in the human task of emancipation from nature. Shared existence, environmental conditions, the evolution of language allow us to construct every day a presumably controlled world where we can live in the best way, according to our desires and needs: I’m the world as I am a part of the world. 

This work wants to translate on stage the image of a parallel and subterranean narrative, where are the effects of what is found between the folds of material life and between all the gaps and paths that ghostly cross existence and that compose that layer below the surface that also speaks about humans, both individually and collectively.

Neither images nor words have managed to capture the impression of reality that accompanies life. Faced with the evidence of this landscape of failure, Una imagen interior is a poetic exercise that exoplore the principles of the concept of fiction in constant dispute with the unquestionable gravitational law to which bodies are subject. 

In this work El Conde de Torrefiel proposes the eroticism of the imagination as a radical alternative to the fictions and images that control us.
The bodies on stage work with materials and words to construct possible landscapes before the spectator's eyes, halfway between the fantastic and the concrete, in order to poetically expose the somatic effects of time, space and stories, to establish a dialogue between the possibility given by the potential of desire against the tyranny of language as a tool that establishes laws and shared values.
The artefact presented in the theatrical space, a primitive place for fiction, intent to represent an impossible resolution in order to invoke on stage the powerful and essentially conflictive energy of existence.  


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Conceived and devised by
El Conde de Torrefiel in collaboration with the performers
Direction and drammaturgy
Tanya Beyeler and Pablo Gisbert
Text
Pablo Gisbert
Performers
Gloria March Chulvi, Julian Hackenberg,
Mauro Molina, David Mallols, Anaïs Doménech
Light design
Manoly Rubio García
Set design and costumes
Maria Alejandre and Estel Cristià
Sculpture pieces
Mireia Donat Melús
Sound design 
Rebecca Praga and Uriel Ireland
Technical director 
Isaac Torres
Sound and video technitian
Uriel Ireland
Light technitian on tour
Roberto Baldinelli
Production and administration
Haizea Arrizabalaga
Executive production
Cielo Drive SL
Distribution and tour manager
Caravan Production, Brussels

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With the support to production of  
ICEC - Generalitat de Catalunya

Coproduced by
Wiener Festwochen (Viena)
Festival d'Avignon
Kunstenfestivaldesarts (Brussels)
Centro Cultural Conde Duque (Madrid) 
Festival GREC (Barcelona)
Festival delle colline torinesi (Torino)
Grütli - centre de diffusion et production des arts vivants (Génève)
Points communs - Nouvelle scène national de Cergy-Pointoise-Val d'Oise
Théâtre de la Villette, Paris
Festival d'Automne (Paris)





 




 

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