You no doubt have Judy Garland and the Victor Fleming's in 1939 film version in mind, although the story that The Wonderful Wizard of Oz was based on had been written nearly half a century before, in 1900, by Lyman Frank Baum. Baum was able to create an extraordinarily powerful story that has been delighting children, and adults, for over a century, using a simple plot promoting values such as friendship, courage, tenderness and empathy. A girl, Dorothy, is swept away by a tornado (real or imaginary) with her dog Toto and finds herself in a strange and unknown magical world. She heads for the Emerald City to ask its ruler, the Wizard of Oz, to return her to her home. And on the way, a yellow-brick road she has to follow without going astray, she comes across fellow travellers who, like her, are in search of something they are missing. You will recognise the same well-known characters in this story, but with characteristics that put them in direct contact with the world today: a Scarecrow in search of a brain, but who is especially worried about the climate and the environment; a Tin Man who, in this version, is a gender-neutral cyborg, but who continues to look for a heart, and, finally, a Lioness (instead of the original Lion) who has lost her status as queen of the animals and wishes to get back the value she believes she has lost. They show Dorothy and the audience itself that we all have more capabilities than we think and that, where there are problems, it is we ourselves who usually have the solution. This is a profoundly humanist story that is imbued with the tradition of the most classic fairy tales and which is, first and foremost, an ode to friendship and an invitation to trust in ourselves before those we believe to be powerful.
This version was adapted by Marc Artigau, an author and theatre director who has premièred works such as Caïm i Abel and Alba, written novels such as La vigília and composed collections of poetry such as Desterrats. The production is directed by David Selvas, a theatre, film and television actor and a director who has staged productions ranging from Who is p? (an open essay on Pasolini) to David Hare's Blue Room, and, more recently, a new production of Àngels a Amèrica from the Teatre Lliure; La importància de ser Frank, [a Catalan-language adaptation of The Importance of Being Earnest] produced by the TNC and La Brutal; and T’estimo si he begut, an adaptation of Empar Moliner’s short stories, co-produced by Dagoll Dagom, T de Teatre and La Brutal.
A Grec 2020 Festival de Barcelona, La Brutal and Focus co-production
Show for people over the age of 5.
The De Grec a Grec programme is subject to the recommendations of the health authorities and the uncertainty of the current situation.
Directed by: David Selvas Adapted by: Marc Artigau and David Selvas Performed by: Elena Gadel, Mercè Martinez, Jordi Vidal, Robert González, Damaris Aragón, Marc Pociello, Jana Galindo, Roser Dresaire Stage design: Raquel Ibort Lighting: Jaume Ventura Sound space: Òscar Villar Audiovisual: Joan Rodón Costumes: Maria Armengol Music: Paula Jornet and Arnau Vallvé Music director: Andreu Gallén Choreography and movement: Pere Faura Assistant director: Daniel J. Meyer La Brutal technical head: Arnau Planchart Graphic design: Eduard Buch
Discipline Teatre musical
Dates and schedules From 04/12 to 10/01
Space Teatre Condal
Price18 - 26 €
Other criteria Coproduction
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