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For viola d’amore, clarinets, dance, actor, real time electronic and video
Text and voice of Mexican writer Carlos Fuentes (*1928)
Night. The Mexican desert. A old man. Abandoned. Sitting in a wheelchair, looking into the darkness. Is he forgetting his memories? Is he imagining them or ..is he dying? He can’t move, he can’t speak, but he can hear and perhaps remember: try to remember. His name?
Emiliano Barroso. He finally recalls it. What a pity he’ll never be able to say it.
"Then I see what I should see. I see a line at my feet. A luminous stripe, painted a phosphorescent color. A line. Boundary. A painted stripe. It shines in the night. It’s the only thing shining. What is it? What does it separate? What does it divide? I have nothing but this line to orient me. And yet I don’t know what it means."
The line described by Carlos Fuentes is not only a line on the ground, a division between countries. It is also a broken line of memory, an empty frontier. A separation inhabited by the character in this story. Of generations? Of Cultures? Of North and South?
"old man with no plastic. An old man with a stiff neck. An old man with clear eyes open to the heavens, eyes washed by the rain. An old man with ears open, his earlobes dripping rain. An old abandoned man. Who could have done this?”
Statement of intent
Everyone lives with a knowledge of a border, with the awareness of the outside.– every immigrant, every citizen´. The Mexican border is the most wildly radical border in the world, the most contrasting in existence. Life on the other side is vastly different. Although “at peace”, the U.S. and its southern neighbor share only a landscape. Mexico and its northern neighbor have different beliefs, cultures, economies and world views but are joined at the hip. Conjoined twins at war with each other.
The tale asks who and what has put Emiliano Barroso, in a wheel chair alone in the desert south of the Rio Bravo del Norte facing the US Border and left him there, wondering about the value of his life and of modernity. Carlos Fuentes focuses on the cultural, anthropological and economic realities that this border divides and unites.
The questions he asks are asked at many frontiers. The answer, if there is one, is global, but often another punch line.
A surveillance wall is now always there, no longer a metaphor but a real part of many lives, a real part of disaster capitalism. As on the shore of the Río Norte, as on the banks of the Río Grande, every movement on our stage is recorded, The past is reflected in the music, the conditional in the movement, their combination is the present. These reverberations, this feedback, these signals create the synchronous reactive changes to better control the future, to create a real time, but perhaps false memory.
In this landscape of surveillance, the musical composition for viola, clarinets, dancer and actor will use motion capture sensors to create a reactive environment.
Choreography, dance: Johanne Saunier
Direction, scenography, lights: Jim Clayburgh
Music: Arturo Fuentes www.arturofuentes.com
Actor: François Beukelears
Viole d'amour: Garth Knox
Bass clarinets: Benjamin Dieltjens
and Ricardo Matarredona.
Sound &Sensor engineer: Marc Doutrepont
Production JOJI INC
Co productions : Théâtre les Tanneurs (Brussels - Belgium), CECN (Mons - Belgium), Espace des Arts – Scène nationale de Chalon-sur-Saône (FR) , Ministère de la Communauté Française service Danse et du WBI (B), Scène nationale de Cavaillon (FR), Osterfestival Tirol (Austria), Festival de Mexico (Mexico),
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