Furamòbil

Description

The Furamobile, a sculptural apparatus that strives to integrate itself into the urban environment, requires the participation of the public to endow it with the energy necessary to travel about. An allegory on the functioning of the organism.

Synopsis

The Furamòbil is a sculptural apparatus that attempts to integrate itself into the urban landscape as just another element. It is exposed in the middle of the street so that curious onlookers can gather. At a pre-determined hour, the Furamòbil begins to unfold and shortly thereafter the audience is allowed to enter inside. Anyone can participate and what begins as a visit becomes a collaboration as the machine starts up and moves a short distance.

The Furamòbil is a monument to solidarity because it requires a collective effort to make this performance possible.

The Furamòbil functions like any other organic system. It swallows up the audience, uses their energy to generate movement, and ends up expelling excrement, just like any living being. This expulsion causes pollution, a trail of materials that symbolise the sometimes terrible trail that humans leave on the earth.

The Furamòbil belongs to both art and science. It is art because of its sculptural quality and its creative ability. It is science because of its similarity to the organic and also because of its complex technical and mechanical functions.

The Furamòbil is interactive because the audience that creates its movement is completely related to the audience that witnesses its action. The latter watches through a transparent structure, which allows them to see the machine as if it were a dissected piece of a giant animal.

The performance generated by the Furamòbil is divided into three phases: the linear movement generated by the spectator/actors; the expelling mechanisms that eject elements (water, flour, soup noodles, fireworks, pamphlets), and the transformations, which are the changes in aspect that the machine undergoes in the course of its journey: organ, cloud, mass, and digester.

Credits

Creación y dirección
Pera Tantiña (La Fura dels Baus).

Dirección artística
Nico Nubiola

Diseño de iluminación
Ziggy Durand

Coordinador técnico artístico
Rafael Vives

Diseño gráfico
Typerware, Nico Nubiola.

Página web
Typerware

Proyecto técnico
UPC (Universitat Politècnica de Catalunya), Jan Esquerra, Carlos Gayán, Carles Ribas, Martina Ribas, Xavier Soldevila.

Producción
Esther Badia, Andreu Polo.

Road managers
Carme Peris, Robert Villalón.

Actores-técnicos
Julio Cámara, Jaume, Ziggy Durand, Miguel A. García, Jaume Vergés.

Conductores
Xavi Expósito, Jesús Vega.

Carrocería
CYASA

Hinchables
Quim Guixa

Pintura de los decorados
Taller Escenografía Castells S.C.P.

Mecanismos
Simeó Ubach

Indicadores
Ass. Torre de Papel

Efectos agua
Xesco Morros

Estreno
14/5/99, en el Paseo de Campo Grande, Valladolid.

Representaciones
41

Un espectáculo producido por Ayuntamiento de Valladolid/Fundación Municipal de Cultura, Press and Information Office of the German Governement y La Fura dels Baus, con la colaboración de Fira de Teatre al Carrer de Tàrrega.

Press

Docs

×