Chaos must be articulated in order to complete its primordial function, which is to generate life. La Fura takes its staging to the next level, combining video, music and technological elements for the first time.
Noun revolves around the idea of chaos that must be elaborated in order to comply with its primordial function as the origin of creation. In order to represent this articulation La Fura chose the metaphor of the relationship between man and machine, a traditionally problematic nexus which is prone to the creation of utopias. In this case the machine completes the primordial chaos function, the primordial ooze from which man arose.
La Fura deepened their language in the development
of this show, investing it with greater complexity and giving music a vital role. In Noun the music contrasts the atavism and heat of flamenco against a technological and metallic background.
Noun involves a radical change in La Fura dels Bausâ scenographic work. If in the first three of the groupâs shows there was a direct relationship between expression and space, and La Fura based their work on the particular architectural elements of the space in which the performance was carried out, in Noun this tendency was modified quite radically. A large mobile element, centered on the stage with the majority of the scenographic elements fixed onto it, acts simultaneously as stage and support, as a set of tools and the central symbol. The spectatorâs point of view is changed by this element, it is elevated and, without abandoning the active role of the previous shows, evolves towards a more contemplative position.
Another big new feature of this show is the use of video as an additional element of the expressive language, through an element named âthe eye of Godâ and that incorporates various video monitors: it is the great controller and at the same time the great spectator.
Lastly, a notable feature of this work is La Furaâs first incorporation of actresses. Although in their previous works the company hadnât rejected feminine thematic elements, they had been avoided or transformed without being negated. However in Noun the feminine presence goes beyond an idea and is incarnated in the work of various actresses. This literal incorporation of the feminine does not at all signify a change of direction or of fundamental language.
CreaciÃ³n y direcciÃ³n
La Fura dels Baus (Jordi ArÃºs, Â«HanselÂ» Cereza, Miki Espuma, Pep Gatell, JÃ¼rgen MÃ¼ller, Ãlex OllÃ©, Carlos Padrissa,
Paul Berrondo, Â«HanselÂ» Cereza, Encarna Codina, Beth Escuder, Blanca Li, Juan MÃ¡rquez, Teresa MartÃnez, JÃ¼rgen MÃ¼ller, Juan Navarro, Ãlex OllÃ©, BÃ¡rbara Quetglas, Pera TantiÃ±a, Carme Traveries, Manuel Villanueva, Rafael Vives, Â«ZarasquiÂ».
Ian Britton, Miki Espuma, Juanjo Ezquerra, Ginesa Ortega, Carlos Padrissa.
Antonin Artaud, Santiago AuserÃ³n, Miki Espuma, Ginesa Ortega, Carlos Padrissa, JosÃ© Manuel Pinillo, AntÃ³n Reixa.
Artilugios y mÃ¡quinas
CreaciÃ³n y realizaciÃ³n vÃdeo
Quel Doblas, Rosa Carol.
DiseÃ±o de iluminaciÃ³n
DiseÃ±o de sonido
Jordi ArÃºs, Josep Maria Blancafort.
Josep Maria Blancafort, Juan Parkinson, Apolo Parkinson, J. LluÃs Parra.
TÃ©cnicos de sonido
Jordi Blanco, Carlos GÃ³mez, Marc SardÃ , Quico Viaplana.
TÃ©cnicos de iluminaciÃ³n
Joan DurÃ¡n, Elke Voight.
Xesco Morros, Â«HanselÂ» Cereza.
TÃ©cnicos de fungibles
JoaquÃn Campa, Xesco Morros.
Ayudante de iluminaciÃ³n
Pedro Pablo HervÃ¡s
TÃ©cnicos de escenografÃa
JoaquÃn Campa, Salvador Ferrer, Alfons Mora, VicenÃ§ Mora, Carlos Merodia, Nico Nubiola.
Â«HanselÂ» Cereza, Susana CuÃ±ado.
15/10/90, en Le Hangar de la Foy de Nantes.
Un espectÃ¡culo producido por Expo 92-Sevilla, Mercat de les Flors-Ayuntamiento de Barcelona, Festival de Tardor-Barcelona, CRDC-Nantes y Ayuntamiento de Madrid; en colaboraciÃ³n con Grand Halle de La Vilette, Ajuntament de Rubi y Ajuntament de Sabadell.