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De Roberto Bolaño Adaptación Pablo Ley Y Àlex Rigola Dirección Àlex Rigola © àlex rigola 2666 de roberto bolaño adaptación pablo ley y àlex rigola dirección àlex rigola Teatre Lliure: Montjuïc – Temporada 2007-2008 2666 de Roberto Bolaño adaptación Pablo Ley y Àlex Rigola dirección Àlex Rigola escenografía Max Glaenzel y Estel Cristià vestuario Berta Riera y Georgina Viñolo caracterización Mariona Trias iluminación Maria Domènech (a.a.i.) movimiento Ferran Carvajal video David Vericat espacio sonoro Sila diseño de sonido Ramon Ciércoles intérpretes por ordren de aparición La parte de los críticos Espinoza Julio Manrique / Morini Andreu Benito / Pelletier Joan Carreras / Liz Norton Chantal Aimée / Sra. Bubis Alícia Pérez / Amalfitano Andreu Benito pausa 10’ La parte de Amalfitano Amalfitano Andreu Benito / Rosa Amalfitano Cristina Brondo / Lola Alícia Pérez / Decano Guerra Manuel Carlos Lillo / Joven Guerra Ferran Carvajal / Boris Yeltsin Fèlix Pons pausa 10’ La parte de Fate Fate Julio Manrique / Barry Seaman Pere Arquillué (video) / Charly Cruz Víctor Pi / Rosita Méndez Alba Pujol / Chucho Flores Fèlix Pons / Joven Guerra Ferran Carvajal / Guadalupe Roncal Chantal Aimée / Rosa Amalfitano Cristina Brondo / Omar Abdul Joan Carreras / jefe de sección, Amalfitano Andreu Benito / Albert Kessler Manuel Carlos Lillo pausa 20’ La parte de los crímenes Rosita Méndez Alba Pujol / Epifanio Galindo Andreu Benito / Lalo Cura Ferran Carvajal / Pedro Negrete Manuel Carlos Lillo / Juan de Dios Martínez Julio Manrique / Lino Rivera Fèlix Pons / Klaus Haas Joan Carreras pausa 10’ La parte de Archimboldi Sra. Bubis Alícia Pérez / Hans Reiter Joan Carreras / Lotte Reiter Cristina Brondo / Hugo Halder Fèlix Pons / soldado alemán Julio Manrique / SS Ferran Carvajal / Leo Summer Manuel Carlos Lillo / Ingeborg Chantal Aimée / adivina Alba Pujol / Jacob Bubis Andreu Benito / Alexander Fürst Pükler Víctor Pi www.teatrelliure.cat 2 ayudante de dirección Pau Carrió / documentación y localizaciones en Ciudad Juárez Ignacio Alvarado / alumna en prácticas de dirección del Institut del Teatre de la Diputació de Barcelona Eleonora Herder / alumnas en prácticas de vestuario del Institut Superior de Disseny Lluc Fiol y Lorena Granado construcción de escenografía Castells Planas de Cardedeu / máscara La Columna Curvada y los equipos del Teatre Lliure co-producción Teatre Lliure, Festival de Barcelona Grec 2007 y Teatro Cuyás del Cabildo de Gran Canaria agradecimientos Carolina López, Trànsit Projectes, La Cantina Mexicana, Bar Bonobo espectáculo en 5 partes con 4 intermedios duración aproximada: 5 h. espectáculo en castellano la novela 2666 recibió el Premio Salambó 2004 contacto Narcís Puig / [email protected] funciones: Festival de Barcelona Grec 2007 27, 28, 29 y 30 de Junio Teatre Lliure del 8 al 25 de Noviembre Teatro Cuyás 7,8 y 9 de Marzo 2008 www.teatrelliure.cat 3 Queridos Alexandra y Lautaro Bolaño: No nos conocemos pero soy el loco que ha perpetrado la dirección teatral de la novela que vuestro padre os dedicó a ambos. En primer lugar, me gustaría agradecer a vuestra madre Carolina el permiso para poder adaptar esta magnífica novela que es 2666. Con Salvador Sunyé fuimos a verla en Blanes hace dos años y todavía recuerdo cómo le brillaban los ojos al hablar de la obra de vuestro padre. En segundo lugar, debo disculparme por llevar a cabo esta imposible versión teatral de la novela. Cada vez que Pablo Ley o yo cortábamos un nuevo fragmento se nos removía el estómago. Pero hemos intentado traspasar al espectáculo el espíritu de la novela, lo que no es del todo malo porque si luego alguien quiere leerla, verá que la gran cantidad de información e historias que hemos dejado de lado convierten esta empresa en utópica, y que su espíritu reside en el todo, y no en sus partes o fragmentos. Evidentemente parece imposible resumir en una frase todo lo que abarcan las 1124 páginas de la novela. También encuentro injusto reducirla a un conjunto de palabras e ideas como la maldad, la dignidad, los paralelismos y coincidencias, la impermeabilidad del ser humano ante las desgracias que él mismo provoca, el mundo de la literatura (autores, editores, estudiosos, críticos), la muerte, el amor, lo que sabemos y desconocemos de las personas, el sufrimiento, el retrato de la sociedad que estamos creando... Siempre nos quedaríamos cortos. Quizá lo mejor será recurrir a las palabras de vuestro padre en Amuleto: “la avenida Guerrero, a esa hora, se parece sobre todas las cosas a un cementerio, pero no a un cementerio de 1974, ni a un cementerio de1968, ni a un cementerio de 1975, sino a un cementerio de 2666, un cementerio olvidado debajo de un párpado muerto o nonato, las acuosidades desapasionadas de un ojo que por querer olvidar algo ha terminado por olvidarlo todo”. Alguien se preguntará por qué os escribo a vosotros, pero al no estar Roberto no me queda más remedio que escribir a aquellos que él llamaba su única patria. Un abrazo de quien, si no ha conseguido acercarse teatralmente a su obra, al menos lo ha intentado con pasión. àlex rigola www.teatrelliure.cat 4 “2666”: la crítica ha dicho: “Parecía imposible, pero en el Lliure lo han conseguido, 2666 es el gran montaje del Grec, lo más importante y poderoso que ha dirigido Àlex Rigola, cercano como nunca al Lupa de Extinción o al Lepage de Los siete afluentes del río Otaz: palabras mayores. Un triunfo (con un sólo desliz) de la puesta en escena, de la adaptación (el dramaturgo Pablo Ley, que borda aquí du mejor trabajo), de la escenografia (casi habría que hablar de “localizaciones”), firmada por Cristià y Glaenzel, del equipo entero. Y, por supuesto, del impresionante reparto. La versión teatral de la arbórea novela de Roberto Bolaño es un trabajo de amor ganado.” Marcos Ordóñez (El País) “Andreu Benito es el actor, espléndido, presente en las cinco partes, también Julio Manrique que es una magnífica y casi constante presencia, como Chantal Aimée, como un impresionante Joan Carreras, especialmente en su brillante final, como el movimiento de Ferran Carvajal, sobre todo en su poderosa danza de la segunda parte, como todos los intérpretes. Todo está medido y equilibrado en este espectáculo de gran perfección” María-José Ragué Arias (El Mundo) (…) “Àlex Rigola y Pablo Ley han adaptado la obra literaria a un lenguaje escénico eficaz, directo y sorprendentemente liviano para el espectador que, de entrada, sabe que se enfrenta a cinco horas de espectáculo.” (…) “El principal acierto ha sido reseguir la estructura de los cinco volúmenes o relatos como partes de un todo más o menos caótico. Partes que funcionan a la vez con autonomía y en función de un hilo conductor un tanto etéreo, como la búsqueda del rostro y el reflejo de un personaje desconocido; Benno von Archimboldi.” Santi Fondevila (La Vanguardia) “Seguro que la adaptación de Ley y Rigola ha dejado fuera mucho material, muchas historias paralelas, pero el texto final tiene entidad y fuerza, invita a zambullirse en el original, es fiel al autor chileno y se sigue con la máxima atención. (…) Y hay hallazgos en el montaje del mejor Rigola como director. (…) Tomen nota porque es un imponente trabajo que vale la pena ver.” Gonzalo Pérez de Olaguer (El Periódico de Catalunya) “Àlex Rigola y Pablo Ley vierten en cinco horas, y sobre el escenario del Teatre Lliure de Barcelona, la obra literaria “2666”, que el chileno Roberto Bolaño escribió en cinco volúmenes. En tan difícil envite, ambos salen victoriosos” (…) “Es un mérito tener al público cinco horas mecido por historias que se enredan como cerezas, con tantos finales abiertos sin padecer una corriente de aire. Rigola, Ley y el equipo actoral han salido airosos de lo que podía resultar una tentación dramatúrgica fatal. Incluso cabría imaginar a Bolaño, el escritor que fue Sísifo, feliz.” Sergi Doria (ABC) www.teatrelliure.cat 5 “2666”: la crítica ha dit: Marcos Ordóñez (El País) www.teatrelliure.cat 6 María-José Ragué Arias (El Mundo) www.teatrelliure.cat 7 Santi Fondevila (La Vanguardia) www.teatrelliure.cat 8 ) Gonzalo Pérez de Olaguer (El Periódico de Catalunya www.teatrelliure.cat 9 Sergi Doria (ABC) www.teatrelliure.cat 10 entrevista a àlex rigola en el cafè de l’òpera de barcelona, el 27 de febrero del 2006 ¿cómo surge este proyecto? Me apetecía contar una historia nueva, actual, y la fascinación por la obra de Bolaño y en concreto por esta novela me convencieron, porque también permite trabajar mucho escénicamente. Un espectáculo tiene vida propia, no es exactamente la novela, son materiales muy diferentes. El tipo de poesía que puedes crear en una novela es totalmente diferente de la poesía escénica. En una adaptación partes de un material, de unos contenidos y de una historia base, pero la manera de llegar a él es muy distinta. Creo que el proyecto tiene sentido porque es una historia relativamente conocida. Si se tratase de una novela que conociera todo el mundo, me lo platearía, pero son muy pocos los que la han leído, entre otras cosas porque su dimensión asusta mucho. no es los hermanos karamazov, por decir algo Los hermanos Karamazov la gente conoce la historia pero no se la han leído, es ya una leyenda. Se la saben por encima... Y ésta es una novela nueva y si tu al recomiendas te dicen: “sí, ya me la compré”. Por lo tanto, es una historia que puedo volver a contar. Una de las sensaciones más bonitas de la novela es la de cuando vas en avión y ves las luces ahí abajo y dices: ahí vive gente que es como nosotros y en cada una de estas lucecitas existe una vida continua. A veces necesitas tomar distancia para ver las cosas. Esta novela lo hace para mostrar lo peor de nosotros mismos, no como personas sino como sociedad. Y por eso es muy atractiva para recordarla a un público.
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