Princess Lindabridis, to inherit the throne of Tartary, must marry a knight who can beat her brother Meridian in a tournament. To do so, in search of the husband who best suits her needs, she travels the world in a flying castle.
I DOUBT THE TRUTH, I BELIEVE IN ILLUSIONS *
In this piece, Calderón de la Barca adapts the chivalric theme to his own theatrical context and creates a palatial game with carnivalesque airs in which the Baroque discovers itself through a Middle Ages dreamed by the Renaissance. Today, in the 21st century, Nao d &769amores and the National Classical Theatre Company, guided by Calderón as a glue of times and wills, add one more temporal level to this Castle of Lindabridis: that of our contemporaneity.
Theatrical communication is always conditioned by the place and time in which it is produced, but we, lovers of the classical repertoire, cannot help but be aware of the weight of tradition on our shoulders. Perhaps the concept of modernity (always a complex and uncomfortable term) requires a deep consideration of the past, rather than simply reflecting what is evidently current. We do not try to find unexpected or disruptive ways to make theatre, nor have we ever succumbed, and neither do we now, to the charms of theatrical archaeology, but we are not afraid of reappropriating the old. In our stage proposal, the different eras go hand in hand, feeding off each other and even coexisting beyond their own temporal anchors.
Lindabridis' journey is the heroic journey that takes her from being a medieval princess imprisoned in a loveless tower, waiting for a knight-errant to free her from her enchantment, to a baroque lady, now a step away from us, who pilots her own ship in search of an active resolution to her succession problem. Her journey is not a mere transfer in space and time, it is pure evolution in the search for her own identity.
Ana Zamora
*Verse 3247 of El castillo de Lindabridis
REVIEWS
Nao damores turns El castillo de Lindabridis into a highly entertaining theatrical game. Words and music are intertwined in a fascinating exercise of stylistic adaptation, a trademark of the house. Hers is an artisanal staging, almost collegiate in appearance, but very rigorous. The musical selection by Miguel Ángel López and María Alejandra Saturno is good proof of this. She reaches the Golden Age from her experience with the theatre before that time and rescues its essentiality, its simplicity, even its unconsciousness. An almost toy-like set design that is built and hidden like a construction set and a costume full of suggestions help her to raise this show in which it would be unfair not to highlight the work of the actors, and especially that of Paula Iwasaki, who seems to have been born speaking in verse.
PRICE: 23/20/15/12€
Discounted show
THEATER
DURATION: 1H AND 20 MIN
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