“The old believe everything; the middle-aged suspect everything; the young know everything.”
—Oscar Wilde
In FUTURE LOVERS six young kids born around the year 2000 talk to one another and to the world. It’s a summer night outside the big city and a group of friends have met there to drink, dance, talk and kiss.
When we see them being and behaving, as if nobody was watching them, it feels like we are creating a bubble, a nest; and that when we observe it from the outside, it’d talk to us and somehow force us to go back to that very moment in our own life. The piece invites each observer to find the seven differences between their own adolescence and theirs, their own youth and theirs, so to try and decide how to relate to the never easy question: What were the expectations I had for my own life? Did I meet them? Was I wrong then or am I maybe wrong now?
We conceive of the stage as a place for investigation from which to amplify the possibilities of life. If it’s not easy for us to find situations in which to relate in real and profound ways to teenagers—the future leaders and future lovers—then we’d like to do so on the stage, attempting to create a shared experience that, with any luck, will show us something about our past and our future.
CULTURAMAS
KRITILO
EL CULTURAL
Opening on 5 April 2018. Teatros del Canal de Madrid
Creation: Celso Giménez, con asesoría escénica y dramatúrgica de Itsaso Arana and Violeta Gil
On stage: Pablo Díaz, Manuel Egozkue, Gonzalo Herrero, Itziar Manero, Siro Ouro and Sara Toledo
Artistic advice: Marcos Morau
Executive Production: Alicia Calôt
Lighting design: Carlos Marquerie
Scenography: Ana Muñiz
Sound space: Eduardo Castro
Costumes: Pedro Lobo
Wardrobe Assistant: Alejandra Zaragoza
Technical Directorate: Roberto Baldinelli
All-round helper: Emilio Rivas
Technical Assistant: Miguel Ruz
Props: Beatriz Muñiz and Corpórea escultura
Communication and press: Grupo Duende
Photography: Mario Zamora
Graphic design: Porelamordedios™
Production: Teatros del Canal, Comunidad de Madrid and La tristura.
With the Support by: Programa de Desarrollo de Dramaturgias Actuales del INAEM