La omisión de la familia Coleman
ticketsPlay Information
| Original Title | La omisión de la familia Coleman |
|---|---|
| English Title | The Omission of the Coleman Family |
| Director | Claudio Tolcachir |
| Country |  |
| Year | 2005 |
| Lenght | 90 min |
Cast
- Jorge Castaño, Araceli Dvoskin, Diego Faturos, Tamara Kiper, Inda Lavalle, Miriam Odorico, Lautaro Perotti, Gonzalo Ruiz
Datasheet
- AUTOR DE LA OBRA: Claudio Tolcachir
- COMPAÑÍA: Timbre 4
- DIRECTOR DE LA OBRA: Claudio Tolcachir
- DISEÑO DE ILUMINACIÓN: Omar Possemato
- PRODUCCIÓN: Timbre 4, Maxime Seugé y Jonathan Zak, con el apoyo del Fondo Nacional de las Artes y del Fondo de Cultura BA
Description
The Omission of the Coleman Family (La omisión de la familia Coleman) is the play which confirmed Claudio Tolcachir as a playwright; not only did he get local recognition but he also successfully toured the most prestigious festivals. The French Daily Le Monde declared it as the Paris Festival d ‘Automne “winner” whereas in Spain El País rated it as a “Theatrical celebration” and a “lesson for these times of crisis”. In Buenos Aires, in 2005 –its debut year– it stood as an utter revelation. To become acquainted with the Colemans intimacy, one should visit an old and large Boedo District home, “ring the bell 4” , go through long hallways until reaching the last room with a toilet ,which suddenly becomes inhabited by three generations of a peculiar family. A grandmother, a mother who’s incapable of assuming her responsibility and four brothers from different fathers; they all live in an oppressing house which makes them come against one another; absurdity becomes a daily life issue, violence is natural and everything pathetic is ignored as such. A family on the brink of its dissolution which fails to address its failure and once and again omits what’s evident. A standard family in a standard neighborhood house which is absolutely decadent and it is about to collapse: a post 2001 metaphor –perhaps related to Argentina’s similar conditions– and its incapacity to overcome its problems, take responsibility for its children and sort old issues out to be able to offer them a future.
The way the play was built is peculiar: most of the actors plunged themselves into a deep research process which lasted several months. Long improvisation hours among themselves went by to discover who those characters really were and especially to configure the relationships at the core of that family ties. The work was long but the result obtained is praiseworthy: solid characters, plausible performances. Plenty of valuable material which Tolcachir knew how to use in order to put together an entertaining and sordid play in which just a single step stands between laughter and pain.
Claudio Tolcachir
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