El Arquitecto y el Emperador de Asiria (Fernando Arrabal)
Site: Naves del Español - Sala Max Aub (Del 23 de septiembre al 1 de noviembre de 2015 (1h 40min. aprox.)
Address: Matadero Madrid
Hours: De martes a domingo 20:30 h. A partir del 1 de octubre: de martes a sábado 20:30 h., Domingos 19:30 h.
Entradas 20 €. Martes, miércoles y jueves 25% de dto.
From November 1st, the Matadero is playing El Arquitecto y el Emperador de Asiria, Fernando Arrabal’s mythical piece which hasn’t been played for almost 40 years…In fact the last time was in Barcelona in 1978 by Adolfo Marsillach’s company, and it was Fernando Arrabal who took a week to forbid its portrayal…A true scandal.
El Arquitecto y el Emperador de Asiria tells a story through two vulnerable, desperate characters who live on a desert island, – one is an “Architect” who can’t speak and the other is an “Emperor”, only survivor of a plane crash and who sometimes acts as an “evangelist” of his own reckless alter ego – a metaphor as much of the individual as of our conformist society, where instead of trying to pursue values to “better themselves”, they just keep making the same mistakes… which plunge us into territories where pain and frustration are more than present.
Throughout the almost two hours that the play lasts, themes such as the essence of man are explored in the form of a question that strangely enough is the centre point of Woody Allen’s latest film: “have you ever thought about killing another human being?”,as well as ties and affection, guilt, death, and fear, happiness, the need to be accepted, solitude, the inner struggle with everything we are and yearning for what we want to be in the search for our true selves. All this is the key to the play’s humour with a touch of absurd poetry which is so characteristic of Arrabal, with the extraordinary performance of two heavy weight Spanish actors like Fernando Albizu and Alberto Jiménez, who didn’t know each other before the play and had never worked together but who aside from have incredible chemistry, give themselves whole-heartedly to the play, under the guidance of Argentinian director Corina Fiorillo, who has admitted that despite it being the first time in charge of a cast of actors she didn’t know, she’s sure that they will do more things together in the future as she is very happy with the result.
I will say no more, except that as I indicated at the beginning, although it’s a play almost over 50 years old, it is contemporary and wise in its self-conclusions.