Rilar doesn't help, but warns

AUTHOR: Luis Bartolomé Herrero

Synopsis

"Rilar doesn't help, but warns"" it is a work of theatre for youth, which mixes drama with humor, exploring the complex relationship between a father and his teenage son. Father, a man divorced for about fifty years, is struggling to understand the changes and questions his son, who defies his authority while navigating adolescence. The plot, guided by a chronicler who brings an ironic tone, develops between discussions of daily life and revelations shocking. Through the symbolism of the "asian night" (their tradition of eating noodles with chopsticks), are exposed to topics such as guilt, memory and the difficulty of communicating. The work takes a turn dark to reveal that the mother of the Son was responsible for the death of the mother of Veva, her best friend.

Technical data

Original language:
Spanish

Gender:
Children and young

Female characters:
1

Male characters:
2

Award-winning

Space
1

Duration
60 - 90 min.

Time
Contemporary

Year of establishment
2021

Other data

Additional information
I Premio Hispanoamericano of Drama for the New Childhoods

About the author

Luis Bartolomé Herrero

Filólogo, dramaturgo y profesor de Bachillerato Internacional en Madrid Diploma de Estudios Avanzados en Historia y Teoría del teatro por la UCM. Licenciado en Filología Hispánica (UCM); máster en Edición y en Enseñanza de ELE Formación en dramaturgia en Freehold Theatre Lab, William Layton y La Abadía Director de la compañía Catarsis Ganador del I Premio Hispanoamericano de Dramaturgia para las Nuevas Infancias (2021) Teatro para la infancia: adaptaciones de "El avaro", "El burlador de Sevilla" y coautor de "La leyenda del dragón Meón" Conferenciante en universidades de Washington e Hidalgo Tesorero de FETACYL y organizador de festivales y formación teatral Trilogía "Cerrojos de tierra": "La cicatriz del cordel", "Pasaremos sin nombres a la historia" y "La infancia perpetua"

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Other works of Luis Bartolomé Herrero

The scar on the line

Abel is the owner of a bar and Eusebio and Marcelo their regular customers. When you enter and see that Abel has committed suicide, decided to try to dissect it to steal the money that he had saved. For the people it is said that Abel is the father of Paul, the guy that killed your father in the string.
The work draws on the sources of Lorca, Valle-Inclán, Eusebio Calonge, Laila Ripoll... Is a grotesque comedy, where the dead talk to the living through letters, of apparitions, and hallucinations. The humor and tragedy are the vehicle of a society abducida by superstition, hatred, and the heavy customs, which slow down everything.

"The scar on the line" is a nonsense comical, where the living talk with the dead. Raises a number of questions about the superstition, the guilt, the homosexuality, the machismo, the tradition... Search for the viewer to consider to what extent, to what extent, their world (of the spectator) is reduced to its impressions.

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We will pass without a name to the story

April and Antonio share a flat in the centre of a european capital. Have something over thirty years and are living together for a lockdown due to the pandemic. Nuño, the boyfriend of April and the best friend of Antonio, has taken the opportunity to go with them. They spend their nights drinking and the morning devote their time to telework. Looking for ways to entertain themselves, because no one can stand still, in spite of always being unemployed.

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La infancia perpetua

En un desván lleno de recuerdos, Tino y Mayte, dos hermanos adultos, se enfrentan a la desaparición de su padre. Mientras Tino parece atrapado en un ciclo de obsesión y repetición, Mayte intenta recuperar el control de su vida. A medida que la tensión aumenta, ambos intentan reconstruir una historia que sigue acechándolos, mientras el misterio de su padre y sus propias vidas amenaza con desbordarlos.
Con un ambiente de suspense constante, La infancia perpetua explora el peso de los recuerdos, el abandono y la lucha por romper con el pasado.

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Cerrojos de tierra. Trilogía

"Cerrojos de tierra" reúne tres obras teatrales de Luis Bartolomé Herrero —"La cicatriz del cordel", "Pasaremos sin nombres a la historia" y "La infancia perpetua"— estrenadas por la compañía Catarsis. Tres piezas unidas por una misma mirada: el espacio como cerrojo emocional y social que condiciona la memoria, la identidad y el destino de quienes lo habitan.

Un pueblo marcado por la superstición y la culpa, un piso asfixiante durante un confinamiento y un desván suspendido en el tiempo se convierten en escenarios donde los personajes luchan por comprender su pasado y romper el encierro que los define.

El volumen cuenta con un prólogo de José Ramón Fernández, Premio Nacional de Literatura Dramática, que sitúa esta trilogía dentro de una tradición teatral que crece lejos de los grandes centros culturales y destaca el rigor lingüístico y la coherencia de un teatro donde el lugar es un personaje decisivo.

Teatro contemporáneo escrito desde la palabra, la tierra y la herida.

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NOTE: “All of the data has been provided by the authors, therefore, the AAT is not responsible for their accuracy”.

Financiado por la Unión Europea NextGeneration EU