Built as a self-documentary theater play, this work process is not like any of the creations each one of us performed in their countries. We depart from what we have, the time and resources we are given: sometimes together in artistic residences (Madrid and Buenos Aires), sometimes on the same place, sometimes via Skype or email.
All of our conversations have been recorded, thousands of emails were exchanged and many voice messages were sent via WhatsApp. During the residences, we carried out exercises and interviews concerning our families, political heritage, travels and demonstrations etc, and those interviews have been converted into text and stage material. We’ve interviewed our mothers, we’ve spoken to the children we’d like to have one day, we’ve danced and sung and we’ve recovered videos and material from our childhood and youth in order to create a puzzle that relates our lives with our countries’.
We’ve explored the idea of testimony, memory and recollection, their embodiment and their evolution in current generation digital world.
What we propose to the audience is a trip to a clandestine country, which is the rehearsal room, watching us working live, directing each other and putting ourselves in different roles, in a given time, the play duration, the here and now.
Conception and performance: Jorge Eiro, Pedro Granato, Florencia Linder, Lucia Miranda, Maëlle Poésy
Staging: Jorge Eiro, Maëlle Poésy
Scenography: Agustina Filipini
Lighting designer: Matias Sendon (Argentina) , Anna Turra (Brazil)
Video production: Marcos Medici
An empathetic and playful work, where the audience can attach with the stories told by these five artists.
Radio Cooperativa, Chile
País Clandestino embodies both ends of this idea where the personal is political, and the political is personal, and blows it up in every possible media. On the stage, the artists display our current forms of communication, the physical distance of a chat and the symbolic proximity of the graffitis stamped on the walls. These are the very forms that compose this proposition of hidden shelter able to safeguard our manipulated sensitivity in a single question.
Appealing to a synthetic mise-en-scene with some changing moments, as well as touching ones, they will be mentioning wars, births, dictatorships, the father’s death of one of them, fundamentalist attacks, a mother’s voice, pot-and-pan protests, silence marches, Indignant People’s March and life registers of a clearly biodramatic proposition.
La Nación, Argentina
The five friends, stage directors and actors of País Clandestino tell their lives with a moving openness, lots of love and a surprising proximity.
A lively dialogue about identity, artistic heritage, family, politics and the friendship that unites them. A real sharing.
Bien Public, Francia
With an unpretentious acting – in the better sense – País Clandestino ignites the public lights several times, with whom they established complicity since the beginning, and reaffirms it. That way, the spectacle seems to contain in itself the will for encounter overflow. The history also overflows: passing through childish impressions, going back to their ancestors, dealing with family and political issues, one very close to the other, the play ends with their desires for the future; desires about something that may never exist.