FRAG#3

Approach on the Idea of Suspicion

Has two awards: first prize for the best staging of the festival and first prize for the innovative nature of the show, highlighting its physical staging, interaction with the space and the audience and for its current theme and social commitment.

PRIX : Otorgar el premio del jurado y primer premio al mejor montaje del Festival :

por su espectáculo innovador, por su puesta en escena física y interactiva con el espacio y público del festival y por su tema de actualidad y denuncia social.

[ PROPS ]

Each interpreter has a place or a home in the space. The transparent plastic marks the boundary of

everyone's home. A table for the video/visual artist and a simple microphone stand for the voice/singer.

With a body bathed in honey, which stands for Dunkin Donut's, a stretchable plastic bag, clay and loam bags, for a body that leaps like fish out of water, accompanied by flying ashes, assisted by two industrial fans, symbolising Jewish bodies during the Holocaust, red paint projected like whips on naked bodies, showing the scars left behind because of human selfishness, the interpreters wash themselves to the rhythm of Arvo Part's "Magnificat", around a trolley in flames, to get rid of the dirt, which has become a spiral of consumption, a feeling of despair of mankind as a reaction to our Society.

The characters stem from the imagination of the author. They have no identity, whatsoever. They become everyone. They have no sense of proportion. They are bulldozers that overthrow the normality of things.They tell theirlife story, the way they behave ni society. They do everything we are afraid of doing. They send us back to our impotence and submission.

Reality is shaped like amosaic, comprising a multitude ofpieces.

The enumeration of events, objects andsentiments lays thisreality down flat, the entirety flies ni our face and makes us laugh at the same time, showing us that it is not the end but the beginning of a

new life.

.....

A travers des images videos d'un corps baigné du miel pour Dunkin Donut's, d'un plastique étirable, des sacs de terreaux, d'argile pour un corps qui sautille comme un poisson hors de l'eau accompagné de cendres qui volent à l'aide de deux ventilateurs industriels en symbolisant les corps juifs pendant l'Holocauste, de la peinture rouge projetée comme des fouets sur un corps nu, pour montrer les cicatrices laissées à cause de l'égoïsme humain et pour finir les interprètes se lavent au rythme d'Arvo Part "Magnificat" autour d'un caddie enflammes ils enlèvent la saleté devenue un spirale de consommation, un sentiment de désespoir de l'homme face à notre société.

[ MOTIVATION ]

A project in three motions: Sound, Space and Time. it adapts to all types of architecture

“Project Fragments Le jeu en TEMPS Reel” brings us back to friction, transgression and scenic improvisation, since it can be performed anywhere and could not possibly exist otherwise.

The Fragments Project Acting in Real Time is divided into three parts:

*Frag.# 1 Rodrigo Garcia Fragments.
*Frag.# 2 Non-communication, Love and Consumption. *Frag.# 3 “Approach on the Idea of Suspicion”

The third section “Frag.# 3 Approach on the Idea of Suspicion” is an invitation to think backwards, to get the opposite of things, disorientation, combining the energy of birth with that of burial. This show aims to recover the pleasure of diversity and get out of standardization.

Frag.# 3” is based on functionalities that have traditionally characterised the work of Pitouch: finding the true and underlying meaning of the text, the use of non conventional spaces, a multidisciplinary scenic language, which gives prominence to the body and technology, the invasion of a place, by enclosing the s“pectators in order to fully integrate them into the fundamental rights of the Greek chorus and a theme focusing on conflicts between the individual and the group.

The creative process of “Frag.# 3” stems from the necessity of protesting against different forms of monopolisation. The latter is addressed as two forms of entities, the individuals and the society, in which one is subjected to the other. If one form does not subject to the other, it is destroyed. Diversity is perceived as a threat, not as a fortune and introduces models of rules, which are fundamental for human beings.

“Frag.# 3” casts doubt on the idea of progress so that humanity can advance as best as possible and questions WHAT we are told, by WHOM and WHY it is told, with a smile. Based on this concept, we give shape to the physical, emotional and mental dimensions, which are passed on to the audience of Pitouch.

Coproduction:
Theater Vreve, Bogota Colombia / Museum of Contemporary Art Biennial Desde Aquí Bucaramanga Colombia 2015/ International Theater Festival Palco e Rua de Belo Horizonte FIT-BH Belo Horizonte Brazil / Cultural Center Maison du bois Santiago Chili / CENIT Festival - New Theatrical Researchers NT Seville Spain / 15FTH International Theater Festival of Havana Cuba / Iberoamerican International Festival Cumbre de las Americas Mar del Plata Argentina / Festival TEA Toledo Spain / Otra Latitud Festival Tuxtla Gutierrez Mexique / La-Friche Hall des Chars Strasbourg France / Limoux France / Grillen Colmar France / Fossé des Traize Strasbourg France