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Forests de Calixto Bieito. Basat en l’obra de William Shakespeare

Foto assaig: Graeme Braidwood

Crítiques i recull de premsa

Forests Direcció: Calixto Bieito

La premsa ha dit… “Extraordinari viatge de Calixto Bieito en un món surrealista de sospirs, violència i caos, que s'estructura al voltant del cànon shakespearià” Richard Edmonds. Birmingham Post (Life). 06/09/12

“La filosòfica i bella dissertació revela uns personatges a l’extrem de l’amor, la soledat, la por i la desesperació, atrets per la foscor ‘d’aquesta fusta a fusta’ , alliberat de les limitacions de la narrativa convencional, elemental i provocativa” Michael Coveney. The Independent. 07/09/12

“Forests és una resposta visceral als textos de Shakespeare, que Bieito i el dramaturg Marc Rosich, han saquejat amb un rigor exemplar” Michael Billington. The Guardian. 05/09/12

“Ens porta en un viatge esgarrifós, sovint violent i impactant a través de la psique, tot això utilitzant les paraules de Shakespeare en anglès i català” Selwyn Knight. Birmingham REP. 14/09/12

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Forrests Dire ecció: Calixto Bieito

Birm mingham Po ost (Life) 06/09/12

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Forrests Dire ecció: Calixto Bieito

The Independe ent 07/09/1 12

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Forrests Dire ecció: Calixto Bieito

The Guardian 05/09/12

Fore ests – revie ew Old Rep, Birmingham Mich hael Billington, Wednesd day 5 Septtember 2012

Darkkness desccends ... Forests F at Old Rep, Birmingha am. Photoggraph: Tris stram Kentton for th he Guardia an Shakkespeare transcends s national frontiers; and in th his extraorrdinary Catalan colla age, conce eived and directed b by the vibrrantly expe erimental ddirector Ca alixto Bieitto, you sense the Bard owes as much to Barcelo ona as to S Stratford-u uponAvon n. This 100 minute piece, p perfformed by y six actors s and a m musician, is s hotblooded, anarcchic and ha aunted by images of death. Bieitto takes the e Shakesp pearean fo rest as his s theme. In the first seection, dra awing heavvily on As You Like It, it beco omes a place of pla ayful fantassy and ge ender flexib bility: in on ne highly erotic sectio on, Christo opher Simp pson's befrrocked Orlando rolls passionattely on the e ground w with Katy Stephens's trousered Rosalind while w gan suavely deliverss the sevenages-of-m man speecch. But, as s the George Costig stage becomes a mound d of earth stripped frrom benea ath a Beckkettian tree e, the foresst turns into an aren na of darkkling violen nce. Finally y, individuaal cruelty turns into universal apocalypse a e where, w with a heav vy reliance on King LLear and Timon T of Atthens, "ourr commonw wealth is b become a forest f of be easts". Give en the show w's depend dence on T Timon, I was w eminde ed of a linee from thatt play where the herro is told: "The midd dle of hum manity thou u never knnewest, bu ut the extre emity of bo oth ends." The same e could be e said of Bieito, whosse vision veers v from m joyful ecstasy e to o barbaricc violence e; what I miss is that uniq quely Shakkespearea an ability to o find irony and humo our in mom ments of daarkest trage edy. Pg. 5   

Forests Direcció: Calixto Bieito

But, far from being an act of crazy vandalism, Forests is a visceral response to Shakespeare's texts, which Bieito and his dramaturg, Marc Rosich, have ransacked with exemplary thoroughness: we get everything from Henry VI Part 3, to the early poem Venus and Adonis. Poetic images are also embodied in action: when Claudio in Measure for Measure expresses his fear of death by talking of "this ensible warm notion to become a kneaded clod", Stephens seizes on a handful of earth to reinforce the point. The actors are both British and Catalan – this is a mixed-language medley with the text displayed on side-screens – and exude a quirky individuality. Hayley Carmichael is notably impish, Roser Cami exudes an inviolable dignity even when stapled to a wall, and Josep Maria Pou moves effortlessly from shambling Shakespearean clown to suicidal tragic hero. Maika Makovski also provides pungent accompaniment on electric keyboard and guitar. This may not be your Shakespeare or mine. It is, however, emphatically Bieito's. And what he memorably unearths is the idea of the forest as a place of both escape and terror. Above all, what he discovers in Shakespeare is a tangible apprehension of the black chaos that lurks beneath the surface of social order.

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Forests Direcció: Calixto Bieito

Birmingham REP 14/09/12

Forests – Birmingham REP @ The Old Rep Writer: Calixto Bieito, based on texts by William Shakespeare Director: Calixto Bieito Reviewer: Selwyn Knight The Public Reviews Rating: It’s Shakespeare, Jim, but not as we know it … Forests is a co-production between Birmingham Repertory Theatre and Barcelona Internacional Teatre in association with the Royal Shakespeare Company and is part of the Cultural Olympiad. Under its founder, Sir Barry Jackson, Birmingham Rep quickly gained a reputation for presenting the unusual and more challenging, including the first presentation of Shakespeare in modern dress over eighty years ago. This production continues both these noble traditions Currently Artistic Director of Barcelona Internacional Teatre, Calixto Bieito’s passionate and radical interpretations of classics have stimulated controversy and earned him critical acclaim. He has now reimagined a number of Shakespeare’s recurring ideas, especially around, and set within, Forests. Bieito uses texts from As You Like It’s forest of Arden through to the moving trees of Macbeth’s Birnam Wood and ending in the bare wilderness of King Lear’s cliffs of Dover to produce a visually stunning and thematic piece. The minimalist set is haunting; plain white, brightly lit and dominated by a large black cube out of which an unearthly tree grows. As we enter, the cast are admiring the view like visitors to an exhibition. However, this refined image is quickly shattered as Maika Kakovski takes centre stage with her guitar, singing lustily. Her songs, played on guitar and piano, act as bridges throughout the play and maintain the atmosphere very well. Themes include the idea of romantic love, played out in a childlike way, and including the old Shakespearean favourite of cross dressing. However, all swiftly becomes darker as the themes turn towards lust, battle and death, and the set itself transmogrifies, becoming ever more chaotic. We are taken on a chilling, often violent and shocking journey through the psyche, all using Shakespeare’s words in both English and Catalan. The highly experienced cast is made up of a mixture of British and Spanish actors, all of whom, at times, speak both languages. They ensure that action moves seamlessly between themes, with changes to the set and costume effected entirely within the spirit of the theme. Bieito’s direction and blocking ensure that there is a memorable sequence of visually impactive tableaux, including some disturbing use of nudity. However, the intended symbolism is too often unclear, with an apparent disconnect between some of the elements on stage. The use of subtitles at the side of the stage, necessary for nonCatalan speakers like me, proved also to be something of a distraction. The whole feels overlong and some of the more innovative, dare I say, tricksy, sequences outstay their welcome. These criticisms apart, this is a worthwhile evening, if a bit heavy-going at times. Picture: Graeme Braidwood Pg. 7   


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