| |
|
| “Political theatre,
with a fury evidenced physically and in a soundtrack (Oriol
Rosell)
pushed to an explosive limit, that makes an impression on
the audience” |
|
Suddeutsche
Zeitung
|
|
 |
|
| “A magnificent evening:
it ripped the bones out of Brecht's play and flung them at
the audience's heads—and they reacted irritatedly.
Suddenly, Saint Joan of the Slaughterhouses is on a par with
Antonin Artaud's theatre of cruelty” |
|
Der
Standard
|
|
|
|
| “We have Barcelona's Teatre
Lliure and its artistic director Àlex Rigola to thank
for having given new life to this play, long considered outdated,
and for its presence in Salzburg complete with a fulminating,
and all-around vitalistic staging. (...)Fascinating images
with conviction; this production is utterly replete with
them.” |
|
Münchner
Merkur
|
|
|
|
| “The structural principles
of this mise-en-scène are rhythm, dynamics, build-ups,
and –for contrast—silence. (...)Rigola has certainly
studied contemporary dance theatre.” |
|
| Stuttgarter Zeitung |
|
|
|
| “Rigola is most interested in from a
text or a play he manages to adapt in an irreverent but cleverly
way, making the show become not only a referent for the Spanish
theater but also a masterpiece that sticks to the best contemporary
theater’s principles any audience can enjoy in the
best theaters throughout the world” |
|
| Santiago Fondevila (La
Vanguardia) |
|
|
|
| “A marvellous and personal adaptation
full of rhythm and strength in the play’s hardest parts” |
|
| Begoña Barrena
(El País) |
|
|
|
| “Rigola insists on displaying his
style guide and the way he understands theater: dance,
music, the
use of screens and microphones are some of the incentives
for a young audience which is his target” |
|
Gonzalo
Pérez de Olaguer (El Periódico)
|
|
|
|
