ENGLIHS DOSSIER

INDEX
INTRODUCTION
PAG. 3
ARTISTIC AND CREATIVE TEAM
PAG. 4
LYING CHRIST KNOWN AS “DE LOS GASCONES”
PAG. 6
JOURNEY BETWEEN RITE AND THEATRE
PAG. 7
A MUSICAL JOURNEY FOR A TRAVELLER IMAGE
PAG. 8
SKETCHES FOR A SET DESIGN
PAG. 9
COSTUME DESIGNS
PAG. 10
NAO D´AMORES: A WORK PHILOSOPHY
PAG. 11
CURRICULA VITAE
PAG. 12
2
MISTERIO DEL CRISTO DE LOS GASCONES
(THE MISTERY OF GANSCONS’ CHRIST)
Nao d´amores, is a company with many years experience in renaissance
theatre. This company is making now a plunge into the primitive theatre from a
contemporaneous point of view. It is a recreation of the liturgical ceremony that
was most probably performed at San Justo’s church in Segovia, Spain. The
Romanic sculpture of the Cristo de los Gascones (gascons’ Christ) was
specially built for that ceremony and it is one of the most significant pieces of
Segovia’s artistic patrimony.
The dramaturgy is made with historic texts from different authors; there has
been a serious research about musical pieces that could have been part of that
kind of performances. As a result, we have a show that combines actors’ work
with puppets theatre and live music to make an approach to the origin of
modern theatre. A journey to the end of the Middle Age to travel through a
microcosm built up with symbols, metaphors and allegoric images.
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ARTISTIC AND CREATIVE TEAM
Dramaturgy and Direction
ANA ZAMORA
Actors and Puppeteers
ELVIRA CUADRUPANI
DAVID FARACO
ALEJANDRO SIGÜENZA
NATI VERA
Musicians
ALICIA LÁZARO (Spanish Vihuela and Hurdy Gurdy)
ELVIRA PANCORBO (Recorders, Crumhorn and
Glastombury Pipe)
ISABEL ZAMORA (Spinet y Cornamuse)
ALBA FRESNO/ SOFÍA ALEGRE (Viola da Gamba)
Musical Arrangements and Direction
ALICIA LÁZARO
Puppetry
DAVID FARACO
Puppet Design and Makers
MIGUEL ÁNGEL COSO
DAVID FARACO
SOFIE KROG
Set Designer and Construction
RICHARD CENIER
Costumes design
DEBORAH MACÍAS
Lighting design
MIGUEL ÁNGEL CAMACHO (A.A.I)
Choreography
LIEVEN BAERT
Verse coach
ERNESTO ARIAS
Staff direction
ELENA RAYOS
Technical coordination
AMALIA PORTES
Stage manager
ELENA MANZANARES
Costume makers
ÁNGELES MARÍN
NURIA MARTÍNEZ
4
Production Photographs
IVÁN CASO
MIGUEL ÁNGEL COSO
ESTHER CANDELA
Graphic Design
AGENDA COMUNICACIÓN
Web page
ÁSTOR AYLLÓN
Administration office
ALFONSO FERNÁNDEZ CONSULTORES S.L
Executive Producer
HENAR MONTOYA
Distribution and communication
LUISA HEDO
[email protected]
Telf: 00 34 91 53 91 546 / 00 34 647 79 32 39
Production
NAO D´AMORES S.L
[email protected]
www.naodamores.com
Telf:00 34 91 504 19 13 /00 34 627 69 15 46
Corralillo de San Nicolás 4. Bajo dcha.
40.001 Segovia
SPAIN
Running time:
1 HORA
In collaboration with:
Acknowledgements
REAL COFRADÍA DE LA SANTA Y VENERABLE ESCLAVITUD
Y SANTO ENTIERRO DEL CRISTO DE LOS GASCONES,
JOSÉ LUIS HUERTAS, FUNDACIÓN JOAQUÍN DÍAZ,
PEDRO YAGÜE, EDUARDO VASCO, LUIS MARTÍN,
TERESA TARDÍO, A. ZAMORA CANELLADA
AZV in memoriam
5
LYING CHRIST KNOWN AS “DE LOS GASCONES”
The old town of Segovia and its acueduct was declared World Heritage by
UNESCO in 1995 and San Justo is one of the most emblematic monuments of
the town. Besides having extraordinary Romanic wall paintings, it is known for
keeping the sculpture of the “Cristo de los Gascones”. It is a polychromatic
wooden sculpture with articulated arms. The legend tells that it was carried on a
blind mule from Gascony and the mule suddenly died at the doors of this
church.
“...El Santo Cruçifixo de Sathiuste es un cruçifixo que le truxo una yegua
blanca, quebrados los hojos. En su seguimiento venían unos gascones de
tierra de Gascuña, que como en aquellas partes oviese siete lugares, cada cual
lo quería para sí. Acordaron de ponelle ençima desta yegua y ponelle a do
parase, y vino la yegua a parar en Santhiuste, iglesia do hizieron esta
parrochia. Mucho tienpo estuvieron las herraduras señaladas a la entrada en
una losa. El Cruçifixo, según dió testimonio un clérigo que le vió y murió dende
a tres días, está echado con una mano en el costado y el otro brazo tendido...”1
Cristo de los Gascones, belongs to an iconographic model that comes from
central European traditional commemorations of cycle of Passion. These
articulated statues were built to be used in liturgical ceremonies in The Holy
Week. The most popular ceremony was about the burial and resurrection and it
was known as Deposito-Elevatio-Visitatio. The icon in San Justo was most
probable used in a performance of this kind. The fact that it is articulated in
shoulders and arms would permit to descend it from the vault in which we can
still see the holes that were used to hang the sculpture.
.
1
RUIZ DE CASTRO, Garci: “Comentario sobre la primera y segunda población de Segovia”. Segovia
1551 y Ss.. Edición de la Excma. Diputación Provincial de Segovia. Transcripción y notas de José
Antonio Ruiz Hernando. Segovia, 1988.
6
JOURNEY BETWEEN RITE AND THEATRE
Ana Zamora has made an original dramaturgy with passages from different
texts from the XV century as:
Lamentaciones fechas para la Semana Santa, by Gómez Manrique
Representación del nacimiento de Nuestro Señor, by Gómez Manrique
Auto de la Pasión, by Alonso del Campo
Pasión trobada, by Diego de San Pedro
Las siete angustias de Nuestra Señora by Diego de San Pedro
Coplas de Vita Christi by Fray Íñigo de Mendoza
Varias obras religiosas by Fray Iñigo de Mendoza
To face the study of medieval drama we need a wide concept of theatre. Those
plays were very close to ritual and ceremony and a community feeling identified
with the performance. That is why we wanted to include in our recreation some
ancestral aspetcs of those ceremonies. Nowadays, our biggest ritual celebration
is still the commemoration of death and resurrection of the founder of
Christianity. It is a recurrent mith that has an agrarian origin and takes place
around the spring equinox.
A puppet fits perfectly in our choice of not realistic or anachronistic theatre.
Puppetry is a perfect resort for any kind of unlikely or implausible options. Our
replica of the Romanic statue keeps the main aesthetic characteristics of the
original. However, it is made with lighter materials and it has new articulations
that give us a wider range of movements so we have more possibilities of
expression.
Our Mistery is not an arqueological effort to get as close as possible as how it
could be in the medieval times. But a free interpretation from an eclectic point of
view of that ceremony to formulate again universal questions. Those questions
for which we still don’t have the answer.
Ana Zamora
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A MUSICAL JOURNEY FOR A TRAVELER IMAGE
In medieval celebrations of Passion, they used to play two different kinds of
music for two different kinds of ceremonies. There were the liturgical and
paraliturgical ceremonies (Autos and Misteries).
We have examples of Latin liturgical singing from XIII century. The polyphony is
added to the Gregorian chant in some parts of the ceremony.
In the texts of the paraliturgical celebrations, the theatrical ones, we find a
different kind of music: villancicos, Romances and sacred songs in vernacular
Spanish. In the Cancionero de Palacio we can find several examples.
We wanted to reflect tradition with rigour but with freedom to find our own way
of expression, so we gathered these two traditions in one show. The history of
European music is a musical chronicle of lots of journeys. Comings and goings
from Castile to the Flemish region, from Aragon to Italy…….so we have traveller
music to tell the story of a traveller Christ.
Alicia Lázaro
8
SKETCHES FOR A SET DESIGN
By Richard Cenier
“ The essence of God is similar to a wheel …..”
(J. Boehme, 1612)
9
COSTUME DESIGNS
By Deborah Macías
10
NAO D´AMORES: A WORK PHILOSOPHY
In 2001, Ana Zamora founds Nao d´amores Teatro with a group of people
coming from classical theatre, puppet theatre and early music. The company is
dedicated since then to the research and staging of renaissance theatre.
Our first interests were some playwrights that are important to understand our
dramatic history but they are not often on stage. Some playwrights with whom
we share aesthetics and ideas.
We use primitive stage techniques from a contemporaneous point of view. We
believe in Classical theatre as a Cultural wealth that affects directly to de
intellectual and creative development of people.
Our first show, Comedia llamada Metamorfosea by Joaquín Romero de
Cepeda, the first performance was at the XXIV International Classical Theatre
Festival of Almagro (Spain) and won the award Jose Luis Alonso to the best
young direction given by the Spanish Directors Association. The next shows we
made are: Auto de la Sibila Casandra by Gil Vicente , Auto de los Cuatro
Tiempos, by Gil Vicente and Misterio del Cristo de los Gascones, our first
work about medieval theatre.
The work on primitive theatre of Nao d’amores artistic team is highly
recognized and they have collaborated with the National Classical Theatre
Company in several shows as: Viaje del Parnaso (2005) by Miguel de
Cervantes, directed by Eduardo Vasco and Tragicomedia de Don Duardos
(2006) by Gil Vicente, directed by Ana Zamora.
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ANA ZAMORA TARDÍO
DRAMATURGY AND DIRECTION
She got her degree in theatre direction at the Real Escuela Superior de Arte
Dramático (1996-2000) (Royal school of dramatic arts); she has studied as well
with Jacques Nichet, Massimo Castri and Stephan Schuske.
In 2001, she founds Nao d´amores with a group of people coming from classical
theatre, puppet theatre and early music. The company is dedicated since then
to the research and staging of renaissance theatre. With Nao d’amores she has
directed: Comedia llamada Metamorfosea by Joaquín Romero de Cepeda
(2001) (won an award to The Best Young Director given by the Spanish
directors Association), Auto de la Sibila Casandra, by Gil Vicente (2003), Auto
de los Cuatro Tiempos (2004), Gil Vicente and Misterio del Cristo de los
Gascones (2007)
Out of her own company she has directed different plays as El Amor al Uso by
Antonio de Solís (2002); Mujer y Teatro (2001), Antígona by Jean Anouilh
(2001), La noche veneciana by Alfred de Musset (1999), Camino de
Wolokolamsk 1 by Heiner Müller (1998), Las sirenas by Louis Charles Sirjacq
(1998), Historia de una famosa hechicera (1996), Solsticio (1995).
She was part of the artistic team at Teatro de la Abadía, (2001-2004) and
Nacional Classical Theatre Company (2005-2006)
Last Year she directed Tragicomedia de Don Duardos de Gil Vicente (2006) for
the National Classical Theatre Company, and she was finalist for the Best
Direction of the Year Award given by the Spanish directors association.
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ALICIA LÁZARO
ARRANGEMENTS AND MUSICAL DIRECTION
She is Instrumentalist, director and researcher of the Spanish music from the
renaissance and Baroque times. She got her music degree in The Music School
of Geneva and studied as well at the Schola Cantorum Basilensis with Eugen
M.Dombois and Hopkinson Smith. She plays Spanish vihuela, lute and baroque
guitar and she has given many concerts in Spain, Italy, France, Germany,
Portugal, Venezuela and Brazil. As a director, she has worked in Spain, Italy
and Switzerland in special programmes about Spanish music from the sixteenth
and seventeenth centuries.
She is the director of the musical research department at Don Juan de Borbón
Foundation in Segovia and at the Capilla de Música Jerónimo de Carrión. She
has done with VERSO Records Company several cd’s of seventeenth century
music. She won the award Choc de la Musique in September 2005 with one of
them, Ecos y Afectos.
Since she came back to Spain she has done a lot of work for theatre music with
different companies in plays like: Acis y Galatea, Viento es la dicha de Amor, El
libro de Motes y la Escuela de Danzar, Las Alegres Comadres de Windsor, El
Burgués Gentilhombre. She worked as well with the National Classical Theatre
Company in plays as: Viaje del Parnaso, Sainetes, Don Gil de las calzas
verdes, and Romances del Cid, Tragicomedia de Don Duardos. And she is
been working with Nao d’amores since it was created in every show.
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DAVID FARACO
PUPPETRY AND ACTING
He is an expert in puppet theatre; he has studied acting in different schools and
he studied with the company Teatro Giocco Vita in their Research lab of
Shadow Theatre in Piacenza (Italy)
He is a member of the puppet theatre company: Libélula since 1994. He has
been in the most important international festivals of puppet theatre (Charleville
in France, Bienal Internacional de marionetas de Évora, Portugal; Riazan
Festival, Russia). He has been on tour in America with Libelula too.
Since 1994, he is part of the organization team for Titirimundi, the international
puppet Festival of Segovia.
He has worked for the National Classical Theatre Company as puppetry coach.
He is part of Nao d’amores form its foundation where he has designed and built
puppets and worked as an actor too.
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