La patria fría
ticketsPlay Information
| Original Title | La patria fría |
|---|---|
| English Title | Cold Motherland |
| Director | Andrés Binetti |
| Country |  |
| Year | 2011 |
| Lenght | 75 min |
Cast
- Marcelo Aruzzi, Natalia Bavestrello, Oscar Cayón, Ezequiel Lozano, Osvaldo Djeredjian, Juan Pascarelli, Eduardo Peralta, Mariano Saba
- MÚSICA: Guillermina Etkin
Datasheet
- AUTORES DE LA OBRA: Andrés Binetti y Mariano Saba
- COMPAÑÍA: Compañía de la Trilogía Argentina Amateur (33/48/01)
- DIRECTOR DE LA OBRA: Andrés Binetti
- ASISTENTE DE DIRECCIÓN: Michelle Wejcman
- LETRAS DE CANCIONES: Andrés Binetti y Mariano Saba
- DISEÑO DE ILUMINACIÓN: Andrés Binetti
- DISEÑO DE SONIDO: Guillermina Etkin
- ASISTENTE DE SONIDO: Bruno Dotti
- DIRECCIÓN MUSICAL: Guillermina Etkin
- DISEÑO DE ESCENOGRAFÍA: Magalí Acha
- DISEÑO DE VESTUARIO: Ana Algranati
- PRODUCCIÓN: Andrés Binetti, Malala González, Ezequiel Lozano, Mariano Saba
Description
A poor circus in the middle of the pampa is awaiting its audience arrival which slowly approaches by train on the Eva Peron Solidarity Service. Underneath this metamorphosed tent in the desert, the opposition presenter, the former dwarf, the Guarani-tribe contortionist, the alcoholic tightrope walker, the cooperativism supporter clown, the one-eyed knives thrower and the town critic get involved into a dispute regarding how to reach larger audiences and get the arts to the people. The show is about to begin and the artists are ready to display their starving histrionics facing their scarce public of followers. The train hasn’t arrived but the show must go on. Accidents will prevail along the performance and action will get configured as a twist of petty resistances and dark treasons. Cold Motherland (La patria fría) is the result of a research into a grotesque-genre update, a search into contemporary theatrical language enrolled into the formal and theme heritage left by this genre’s pioneers. Binetti and Saba intended a revival of an exacerbated body-centered aesthetics free from any realism or localism. Sharing the same objective, the staging attempts at recovering the peculiar circular space of traditional circus by getting rid of the “forth wall” and shading the border line between the acting and the reception places.
Andrés Binetti
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