DUNSINANE is a Butoh dance play that reviews the William Shakespeare's Macbeth classic from physical theater, and features the use of the mask in character description. The free adaptation of this classic counts in the cast with the work in movement of the artist Orland Verdú and the live music of Tània Preuss, creator of sound textures and dreamy musical atmospheres. Also, in the sound section, the project opens up to other musical collaborations, such as the Portuguese artist Jorge Da Rocha or Masahiko Ueji, but also to other musicians according to the city or country where it is staged. Macbeth is a work that explores the idea that things are not what they seem to be. Thus, in DUNSINANE, the name of Macbeth Castle, the mask is one of the most important elements in the staging. The dance takes place through the masks that the interpreter puts on, giving life to the story. The work creates a rich mosaic of visual paintings in dance with an important symbolic and plastic load that is enriched by a gloomy light work, close to the German expressionism that influenced the Butoh dance in the works of the pioneer Tatsumi Hijikata.
Photography - justinpbrown71
Original Idea: ORLAND VERDÚ
Direction/Dance: ORLAND VERDÚ
Live Music: TANIA PREUSS & MASAHIKO UEJI (Dareda)
Lights & Photography: justinpbrown71
Video: FRESCA FILMS
"To deceive the world, take on the appearance of the world." This quote, extracted from Macbeth, is the nuclear idea of the work and the engine that triggers the confrontation with society of the appearance and political corruption that the current capitalist system is experiencing. The thirst for power and ambition of the main character drives him to commit a crime to fulfill an oracle: the prophecy of being crowned king. In fact, the myth explores the price to pay for personal ambition and defies patriarchy pattern of behavior as a successful carrier through personal will and brute force. The main character is a hero who becomes a traitor and a tyrant, but in this tragedy he becomes a tyrant aware of his crime, which leads him to madness. Power corrupts the hero in a world of idiots where nothing makes sense. Ethical values have been lost and success is pleased to fail because of ignominy. Macbeth is aware of her mask. The spirits of the Dead, the magic atmosphere of the witches, the forest where walks in DUNSINANE, are some of the restless elements of the play, where the body of the dancer is transformed into a different being with each mask that is put on him. What is our face? Who is Macbeth, really? DUNSINANE gets to the point of questioning the public about his true identity. Are we willing, like Macbeth, to carry out our desire to be ourselves? Are we treacherous of our dreams and obedient with an exploitative and hypocritical system? Or are we, on the contrary, treacherous to the family, social and economic system to continue obeying? What is the price of treason, to decide?