|For Press Release click on picture.
|Ariane Erbar (Lighting Designer) has
painted with lights for Nathalie Broziat's
Amour, Where Are You? at Highways;
|Creature / Creations
Will be presented at Highways Performance Space
in Santa Monica, California
|Event Information: Friday July 17 & Saturday 18 @ 8:30 PM
|Box Office: 310 - 315 - 1459
|At the Box Office:
(at the 18th Street Arts Center)
1651 18th Street Santa Monica,
|HIGHWAYS Performance Space
(at the 18th Street Arts Center)
1651 18th Street
Santa Monica, CA 90404
|310 - 453 - 6829
|"I thought that my king
found me exciting...such a
|"I saw how they slaughter my
people, one after the other..."
|Written by Eugenio Griffero
Translated, Adapted & Directed by Abraham Celaya
|"This dirty chicken coop
has grown old with me... I
am a queen of this
|But, what is the role of the passive observer, the middle of the road person who
middle of the road person, a collaborator by default?
The character, this Hen-Woman, has been part of the game of power, and only
at the end of her journey realizes that she was guilty of no action. She may not
have been able to change the outcome, but it would have been a question of
principles, of moral principles. This was her "error of judgment," what in the
Greek tragedy is called “hamartia,” and this “imperfection” later came to be a
Creature / Creations is an expressionistic metaphor that requires form the
audience to understand the suffering of the character; its far-reaching
reverberations are far out of proportion to her flaw. Aristotle states that the
purpose of tragedy is to arouse "terror and pity" and thereby effect the catharsis
of these emotions. The German dramatist and literary critic Gotthold Lessing
held that catharsis converts excess emotions into virtuous dispositions, so like a
moral lesson, the fear and pity excited by this tragic heroine’s fate will serve to
warn the spectator not to similarly tempt providence.
It happened in Argentina, but it is still happening. Fascism has many faces in
disguise, and the manipulation with the conniving of the media was and still is
the essence of this sort of Pandora’s box.
On March, 30, 1970 the day after military coup-d'état general Jorge Rafael
Videla, leader of the coup, declares:
"During many years there have been so many unfulfilled promises, so many
plans and project failures, so deep a national frustration, that most of our
compatriots do not believe any more in the word of their leaders, even thinking
that one does not arrive to public function to serve but to be served by it,
convinced that justice has disappeared from the Argentinean panorama."
It is then that begins the so called "Proceso de Reorganización Nacional"
(National Reorganization Process), with 4 basic objectives:
Immediately after the coup, the "Ley de Seguridad Nacional" (Decree of Social
Defense) was proclaimed, supposedly for a short time, but it was maintained
until 1981. This Decree brought a repression unprecedented in Argentina's
history, as well as in so many other countries.
In an interview with the Spanish magazineTiempo, in November 1983, right after
the fall of the dictatorship, General Camps, one of the members of the military
"About 5000 people disappeared while I was the Police Chief of the province of
Buenos Aires. I had some buried in mass graves. Most of the subversive people
died. A few preferred not to play heroes and collaborated with us. We gave the
children of the subversive to social services, because subversive parents
educate their children in subversion."
Regarding the economy, devaluation was artificially kept down. Short term
speculating money appeared, the loan interests where very low. Currency, the
peso, was put par to the dollar which created meteoric fortunes that flew out of
the country as soon as the bubble started to burst. When in 1980 it was not
possible anymore to contain the crisis, it was officially denied. And when two
years later "the owners of the chicken coop moved to another house",
Argentina, the richest South American country in natural resources was on the
verge of economic collapse.
Education was no different. Basically, the Reform of the Educational System
"purged" all non-catholic educational personnel which were considered
"compromised" or "dubious".
This political reality was asking of the theatre to be part of the fight for freedom,
and to bring back a national identity to the people, once and for all. Teatro
Abierto was born in 1981 with this purpose: to make possible a common destiny
facing the future, in order to be faithful to the identity of people's own roots.
Creature / Creations portrays how many aspects of our everyday life
necessarily drive us to frustration and despair. What is really better: to live on
one's knees or to die on one's feet? Which one is more alienating? We have to
make ourselves heard. We have to speak out for what we believe in. When we,
the people, boldly state our true convictions - never losing our optimism or
sense of humor - the times will change. When it comes to speaking out for
justice, there isn't any need for restraint. On the contrary, to be
reserved or hesitant under such circumstances is wrong.
As individuals and as a community we have infinite possibilities, but we have to
listen to our heart when it is telling us what is and what is not wrong. As this
Creature—her own Creation—says: "The whole universe is my bed, and I am
still in this... this...” That implacable law of karma: "What goes around comes
In the words of Daisaku Ikeda: “Happiness and honor does not lie in outward
appearances or vanity. Rather it is a matter of what you yourself feel inside; it is
a deep, answering response in your life.”
|Creature / Creations is part of
a group of 21 short plays, that
were specially written for the
first cycle of Teatro Abierto
(Open Theatre), known also as
Theatre Under Vigilance, in
Buenos Aires, Argentina, in
1981 under military dictatorship.
Teatro Abierto opened in July at
the Teatro del Picadero, and
on August 6 only after 8
performances the theatre was
destroyed in a provoked fire.
|ARIANE ERBAR (Lighting Designer)
|Thiestes' Feast for Mesopotamian Opera Company; The Misadventures of Uncle McBuck for
Murderer for State Univ. New York at Brockport and The Wizard of Oz for Theatre Young Kids
Enjoy. She has also stage managed The Pugilist Specialist for VS Theatre in Los Angeles. She
is the current Technical Director at Highways Performance Space. Ms. Erbar received her MFA
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