The voice of never
What if now, after Beckett, ‘Waiting For Godot’ is only possible as a dance?
The company takes on a new project inspired by Samuel Beckett’s classic ‘Waiting for Godot’, where dance and music coexist.
La Phármaco does not intend to illustrate the text but rather to pose a dramaturgy/libretto where the body takes hold of the essence of Beckett’s work, transposing it to the language of dance: the failure of systems to represent what is real, the uprooting of archetypal characters, (without time, without space, without origin and future) who experience love as a fierce and grotesque instinct damning them to existence.
In other words: the tragic feeling of Western Man throughout history.
The Voice Of Never confronts these concepts in order to dance a horribly comic contemporary tragedy, as the author himself described it.
The bodies are placed in the desert where the author’s universe leads until that desert becomes a dance. The universe is essentially verbal, or better yet, a consequence of what it is verbal.
The music, composed and performed live by a pianist, constitutes the sound space of this work. In this way conceiving of it in its corporal dimensions, taking precedence over the expressive and poetic ones. The accompanying score is Beethoven’s second movement sonata ‘Moonlight’ and the third movement of Shostakovich’s ‘Sonata for Viola and Piano’ compounding an original sound space based on the links that exist between these two works.
Premiere at Feria de Teatro del Sur, Palma del Río, Córboba, July 2014.
The project is supported by the Regional Government of Andalusia “Agencia Andaluza de Instituciones Culturales” and by “The Dance Center” of Teatros de Canal, Madrid.
Luz Arcas, Estragón
Begoña Quiñones, Vladimir
Ignacio Jiménez, Lucky
Juan Manuel Ramírez, Pozzo
Composition and musical performance
Carlos González, piano
Miguel Ángel Camacho
Production and Distribution
La Phármaco/ Agencia Andaluza de Instituciones Culturales
Direction and Dramaturgy
Luz Arcas y Abraham Gragera