The impeccable work of Delirium Teatro in ‘Fausto’
Fifty years after their disappearance, the Canarian stages can revive, for ninety minutes, the mystery of ‘El Fausto’ thanks to the theater play designed by Delirium Teatro.
The text of Antonio Tabares puts on the platform an immeasurable display of theatrical resources to narrate the desperation of the from the point of view of the sailors, but especially from the point of view of their women. The desperation of not seeing his arrival at the Port of Tazacorte is transferred to the spectator at all times, without exception.
Irene Álvarez, Lioba Herrera, Carmen Hernández and Soraya González Del Rosario fill the stage with their interpretations, both in the role of women and in that of the men who were disappeared. Also in the case of any character that had something to say in the Faustian story. The changes of scene and stage are done organically, with a predominant fluidity that ends up becoming another of the characters of the work. Tension does not break, history is anchored.
The characters destroy the fourth wall on several occasions to explain to the public the process of creating the work itself. Far from slowing down, this resource increases the transcendence of the story itself because the contact between the voice and the eyes of the actresses with the public assault the field of reality, making it clear that what is staged is not fiction despite to look like it
In the technical aspect, the design of the lights, also has its preponderance in the creation of environments. And it is noteworthy that throughout the performance the music came from an accordion played live by the musician Pablo Pérez.
The result is worthy to be seen and represented for all possible reasons. History, interpretations, direction, theatricality, and for narrating the gloomy story of ‘El Faust’, the ship that disappeared three times.
