(Spanish music playing) “Yerma” is a play written by Federico García Lorca which is one of the most amazing Spanish poets. And is part of his
three rural tragedies where he is sort of entertaining the idea of how
repression and at that time in Spain was causing so much trouble to
human beings. And in a way it was reflecting upon his own experience as a poet, as an
artist. (Andria) “To suffer while the breeze” “offers flowers of the slumbering moon.
These two springs of milk I have in the” “courts of my flesh are twin beats of a
horse’s hooves.” (Gisela) I think it’s something that is really important to understand
that this was one of the most important poets in Spanish that was killed by a
revolution. And part of the reason was because of repression, because he was
gay. And that is still happening nowadays in so many parts of the world. The step, the walking, everything – you just walk. And you guys are acknowledging his entrance too slow. I think that we hear him. So let’s hear it. In general as a director I am thrilled to work with a language. It can be English, Norwegian, Portuguese, and of course
Spanish. So I usually, that’s part of my main interests, you know, to the beauty of
the sounds that makes our human cultures. So, that’s why we are using some songs.
Not all, but some songs. And it’s great that we don’t need to understand it to get
connected to the language. (Spanish music builds) (Gisela) I really love my students here. I mean they’re
very smart. They’re young, they’re willing to learn. They go for everything and I’m
really pushing their boundaries. They are working very hard with the text.
Working very hard with their bodies, connecting to the text with their bodies. They are doing choreography. They’re watching all of their films. So I feel they are very open. Very open to receive new ideas and I love that. (Andria) Do you hear that? (Ian) What? (Andria) Can’t you hear crying? (Ian) No? (Andria) I thought I heard a child crying. (Ian) You did? (Andria) Very close! And crying as if it had drowned. (Ian) There are always children that come around here to steal fruit. (Gisela) I think the play is giving us the opportunity to
have music, to sing, to dance, do the choreography. To have the sensation of theatre as a whole, in a way. And that’s why it’s so challenging for such a young cast.
And that’s why I’m so amazed that they’re taking it with such gusto, you
know? The way they are handling everything. And also the way we’re using this space is more like
an operatic long way. So we’re trying to give the audience the experience of being inside
a surreal world. The surreal world of Lorca slash Dali.