The next 8 and 9 February it will be re-released at the Teatro Távora of Sevilla, Lullabies of Thorns, of Salvador Távora / Távora open theater direction of Concha Távora.
Lullabies of Thorns It was originally released in 1982 by The Seville blockand for its presentation the illustrious master of the stage Salvador Távora wrote:
I don’t know if, in the process of creating this fifth work of our theatrical adventure, it was “BODAS DE SANGRE” that became entangled in the vision of the show, or it was this one that became entangled in the work of Federico García Lorca. The truth is that the work, among other purposes, without this aspiring to disqualify any considerations about its results, manages to demonstrate, in the specific field of theatrical language, the natural coexistence of what we could call a written dramatic poetics, and a physical dramatic poetics; at least, when both are born as compromised expressions of the experiential or cultural environment of the same town.
It is urgently convenient to clarify that the few texts extracted from the work of Federico are not at all, due to the enormous respect they impose on me, submitted to the spectacle, nor are they used for any plot necessity, but rather, required by affinities to participate, they walk around the whole act with the naturalness that the encounter with that primitive spirit that they possibly had in Lorca’s mind gives them, before becoming lucid literature of a dialogued dramatic structure, and they form part, in unity, of the lyrical and plastic discourse to which that we aspire
LOLLYWOODS OF THORNS. Photos of the original assembly, year 1982
These are not these lullabies in which we have embedded sharp thorns, a show that is born from an argument, but based on subconscious arguments that materialize after an elaborate arrangement with the alphabet of a painful poetics of the senses. Each sound, each silence, each action has its own history in the internal world of sensations. It is for this reason, I think, that the anecdote of Lorca’s work is here, and as a consequence, one more bleeding story of the thousands that generate social conditions that stiffen and darken life. In short, the plot of “NANAS DE ESPINAS” -without any need to exist, as in other theatrical models- could very well be drawn among the images that sensitivity and memory have thrown onto the scenic space, and is, perhaps, the most ambitious and the most hooked on life to which a theatrical event can aspire: the intimate history of a few generations, of a people, showing, through their daily behaviors, full of a rich and ancient culture, their aspirations, their anxieties, their confusions, and the uncertain future of their children.
It is also interesting to indicate that, in the ordered rites, due to their manifest eloquence, there is no purpose of displaying the folkloric superficiality in which, in our lands, many of them have fallen, after the exaltations of their tourist virtues. There is in them the desperate search to find ourselves with broader forms of expression, without ceasing to be genuine. Without putting barriers to the imagination when placing the attempt in the field of art.
It can be said that “NANAS DE ESPINAS” is a show born between cruel chills. Neither based on, nor on the work of Federico, but as a ritual of tragic feelings -rational or irrational- that mesh like cogwheels of the same machine: an old, tired and hard land, which feeds, between laughs, of tears and deaths because, perhaps, only in this way will they be able to redeem themselves from the tight corset that their historical circumstances have placed on them”.
Salvador Távora
LOLLYWOODS OF THORNS. Photos of the original assembly, year 1982
So you can already imagine the caliber of the recovery/rerun of this piece from forty-one years ago, and also, coinciding with the fourth anniversary of the death of this Andalusian creator and actor. For this occasion, the adaptation and direction of Lullabies of Thorns has been in charge of Concha Távorawho not only as his daughter, but also as a professional, has entrusted herself with the complex task of resuming a piece in which respect for her father’s work and that which “shines” must go hand in hand.