It is so experimental that the Polish director Anna Karasińska, when journalists insist that she explain what the public will find with her work International, replies: “It is better that they come and see it than explain what they will see”. On stage, five young actors and actresses, yes, who have been trained at the Institut del Teatre, but who, as they themselves say, have had to let go of their acting techniques.
The director of the Teatre Lliure, Juan Carlos Martel, tells it like this: “Karasińska works with the line between truth and lies. The scenery returns to empty space. The creation process ends in the head, in the imagination of the spectators”.
This is how this Polish playwright and theater director works, making her debut in Spain with this production. Internacional, from May 26 to June 19 in the Gràcia hall, closes the season of Eastern Europe of the Free, which is completed with the replacement of Les tres germanes, by Chekhov, directed by Julio Manrique, in Montjuïc.
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Karasińska reveals her work process: “My starting point is not concrete. I do not design the show with a theme to explain it to the spectator, but with what he will conclude from the show. When I go to a place, I try to get to know its surroundings and the experiences that may interest the viewer, what it takes to wake them up, something of quality”.
“I don't create shows –he continues–, but situations, but from a visual point of view it's not revolutionary, because the format is the same as always. What is revolutionary is what happens. When I look for actors, I look for someone who inspires me, who has his own process, related to the type of person he is. It is a theater that is not conventional, but that goes back to the roots. I approach some archetypes: there are no roles, there is no script, there is no story, there are no characters... I design experiences so that the public connects with the actors”, he concludes.
On the other hand, a person who left the artistic team the first days of work made some comments on the networks about possible bad practices. On this aspect, Martel responded to the media: “In the rehearsal rooms we work with sensitive material, which is people, and many subjectivities enter here, as many as people participate. At the Teatre Lliure we have instruments that allow rehearsal rooms to be safe spaces”.
“These internal instruments – Martel continues – analyze externally if what we do is safe. Within the teams there may be different feelings. We have different protocols and an ethical code. Once activated, the home address does not participate. The report has not yet arrived.” In the presentation, the rest of the team assured that they did not understand what had happened and they all gave their support to the director.
Catalan version, here
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