A premiere with questions
La Calorica has inaugurated its new production, the deer’s rum, at the Teatre Lliure, a moment marked by the introspection of the company, which seeks to reflect on the impact of its work and its ability to generate a change on society.
A theater that looks in the mirror
The piece, which is presented as a metatheatre, goes into the paradox of theater on the theater, incorporating both parody elements and self -parody. Here, the playwright Joan Yago not only observes, but criticizes the cultural establishment, including references to figures and institutions such as the PSC and the ICUB, while paying homage to colleagues by profession.
A reflex context
Through a stage that evokes a theatrical convention in a hotel in the Fosca Valley, participants discuss the function of political theater in social transformation. Despite the optimism of its purpose, the work reveals the inefficiency of these aspirations, reflecting a wound that resonates deeply today.
Humor with the Eina de Criticism
The caloric addresses serious issues such as the crisis of institutions and social decline with poignant humor. This combination allows viewers to face reality in a more digestible way, although the actions of six actors, who with skill interpret multiple roles, show the precarious work of the sector.
Contradictions in rural environments
Yago uses a classic resource: to place urban characters in a rural environment, revealing their contradictions. In one of the highest valleys of the Pyrenees, the work explores the natural beauty of the song of the Cervid, while criticizing the transformation of this authentic experience into a tourist product.
A Journey Towards the Inanitat
The text, published by the Teatre Lliure and Comanegra, challenges us to confront the banality of our modern lives. In an unexpected turn, the work transports us to a forest where the moon emerges, and the journey we enter through this experience does not present without consequences.
A balance between satire and compass
The deer’s rush becomes both a Moistan critique and a defense of the ideals of political theater. The team’s technical skill, led by Israel Solà, guides us through a show that is both poetic and risky, leaving us with a reflection on our own condition.