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Un ribazo de piedra seca.
Un ribazo de piedra seca que está en un camino.
Un camino que podría ser cualquiera.
Uno de nuestros caminos.
Un camino nuestro.
Una de nuestras historias.
Nuestra historia.
Atrapada por la tormenta, desde un humilde estudio de radio, Carola cuenta cuentos a quien la quiere oír. De repente, llega un desconocido. Empapado de arriba a abajo, con la mirada encendida, pide refugio. Dice venir del corazón del relámpago.
Una sesión de terapia grupal. Los personajes adolescentes son o se sienten diferentes (un investigador de olores, una investigadora de la situación mundial, una cantante de ópera, una perseguidora del silencio, una obsesionada por la gordura, el que mira la luna, el inconforme, la mujer que baila). El terapeuta dirige la terapia, una exposición de sus sentimientos, hasta que irrumpen en escena tres cabezas rapadas que han oído que allí hay gente rara. Piensa en homosexuales, negros, mendigos… y quieren actuar, pero ante la realidad que se encuentran terminan por integrarse en la terapia, y así descubrimos nuevas rarezas inconfesadas.
Phaedra is a foreigner, a stranger. Theseus has picked up at a port of their country of origin. A country of devastation for years by a fratricidal war, a country of which only traces remain. Theseus marries her leading to the marriage a son from previous marriages, Hippolytus, which transcends age. THE REMAINS PHAEDRA reduces the characters of the classic tale in his protagonists, Phaedra and Hippolytus. The character of Theseus lives as absent and the rest is taken up by the Choir, which also amplifies and becomes real the fear, the anxiety, the desire to penetrate the consciousness of the protagonist. Its structure in terms of availability of the scenes would be set to a pattern of chronological is the story that is set akin to myth and, ultimately, to the internal development of the consciousness of the protagonist.
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NOTE: “All of the data has been provided by the authors, therefore, the AAT is not responsible for their accuracy”.
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