The visceral recreation of ‘Manes’ by La Fura arribes in Madrid

Published 14/10/2019

Manes is a physical theater production of the 90s that had a tour of about 250 performances around the world. Now, in 2019 it will become the first reinterprtation in the history of the almost 40 years of La Fura dels Baus. Something unusual, but at the same time necessary in the current times. Theater to centrifuge brains and removes guts, generating experiences and sensations difficult to forget. After some starting shots this great renaissance will arribe in Madrid. It will be at the Teatros del Canal, from October 23 to 27 at 22.00 h (Sunday at 18.30 h) and tickets cal already be purchased thorugh this link.

In a society dehumanized and motorized by technologies, in 1996, Manes used the furan language to impact the viewer and immerse them in their most animal nature. A return to instinct, to the human being, to the animal, to the person. The most fundamental essence of man, thus connecting the viewer with their most basic nature, with that which sustains them. The same audience, sharing space with actors and scenography (everything in constant movement), became an active and part of the show: a total experience. A compelling proposal, free of technology and sophistication at the same time that far from the aesthetic of superficiality to which we have become accustomed, to reflect on universal ideas such as sex, food, birth and death. A world where scenes of ritual and irony, of opposing perspectives, coexist and fertilize.

Manes was the last of the shows of La Fura that was conceived entirely without external references to the group. It started from the concept of cultural diversity to elaborate the different parts of the show, which wanted to transmit the common links to all humanity, including the concepts of birth, death, sex and food. Taking the concept of cultural diversity as a conceptual starting point, Manes develops different metaphors about basic elements such as birth, death, sex and food. Well, this show continues to investigate the essence of the Furan language.

The dramaturgy of Manes is based on a grammar of simultaneity and not continuity. Zapping of emotions and sensations. Ahistoric dramaturgy, in which the argument is the here and now. A set of contrasting scenes in which different worlds share space and time. Gothic tale that attends impassive to the clash between different intimacies, always surprised by an indiscreet light. Manes is a public spectacle of private events. It shows the human attitudes that habitually, by work and grace of the culture, remain hidden behind the curtain of the house, the family, the group… Manes does not articulate an argumental line to the use and, therefore, it is not possible to describe a vicissitude. It should be noted that this show takes the rhythmic, physical work, and references to myths and rituals to an extreme.