{"id":7671,"date":"2013-04-27T02:00:00","date_gmt":"2013-04-27T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/04\/27\/els-perills-de-l-obediencia\/"},"modified":"2013-04-27T02:00:00","modified_gmt":"2013-04-27T02:00:00","slug":"els-perills-de-l-obediencia","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/els-perills-de-l-obediencia\/","title":{"rendered":"Els perills de l’obedi\u00e8ncia"},"content":{"rendered":"

\"a)<\/p>\n

Itziar Barrio<\/a> va presentar durant l’\u00faltim cap de setmana de mar\u00e7, una nova fase de \u2018Los Peligros de la Obediencia\u2019, a l\u2019Abrons Art Center de Nova York. Aquest projecte es va iniciar en el marc del BAD, Festival de Teatre i Dansa Contempor\u00e0nia de Bilbao l\u2019any 2010 <\/a>. En aquesta ocasi\u00f3, Barrio ens acosta al poder i a la seducci\u00f3 a trav\u00e9s d’un c\u00e0sting. Quatre dies de selecci\u00f3 per escollir els quatre actors que integraran la seg\u00fcent encarnaci\u00f3 d’aquest projecte. El p\u00fablic va poder assistir als dos \u00faltims dies un cop feta ja la primera selecci\u00f3 dels actors i actrius.<\/p>\n

L\u2019any 1961, Israel va jutjar i condemnar a mort Adolf Eichmann, el cervell que va organitzar la deportaci\u00f3 de jueus a l’Europa de l’Est i que va ser capturat a l\u2019Argentina; dos anys m\u00e9s tard, Stanley Milgram va fer p\u00fabliques les seves investigacions, en qu\u00e8 evidenciava la obedi\u00e8ncia al poder: qualsevol subjecte \u00e9s susceptible d’infringir dolor a d\u2019altres, seguint les ordres donades. Milgram va confirmar cient\u00edficament el que Hannah Arendt havia avan\u00e7at en les seves pol\u00e8miques cr\u00f2niques del judici a Eichmann per a The New Yorker<\/em>: Segons Arendt, Eichmann era el bur\u00f2crata perfecte, obedient al poder i efectiu en el seu treball. La perfecta persona normal, que nom\u00e9s volia participar en alguna cosa, ser part d’un grup, i d’un projecte.<\/p>\n

A Casting: The Perils of Obedience<\/em>, el p\u00fablic entra en un dels teatres de l\u2019Abrons Art Center, els actors estan ja a l’escenari fent una improvisaci\u00f3. L’espai es presenta nu, excepte per unes taules de treball i les c\u00e0meres que envolten l’acci\u00f3. La interpretaci\u00f3 segueix, de dos en dos, tots alhora; muts, amb m\u00fasica (de Krit i el tema de Nirvana Smells Like Teen Spirit<\/em>)… fins que el director mana parar i comen\u00e7a una ronda d’entrevistes. Algunes preguntes es repeteixen, “Per qu\u00e8 vols aquest treball?” “Ets un bon mentider?” “Has violat alguna vegada la llei?”; d\u2019altres s’afegeixen o varien segons les respostes. Els actors rebel\u00b7len les seves identitats sexuals; els seus errors; promeses; pors; remordiments; passats. Un a un passa davant la c\u00e0mera. Un cop acabada aquesta tanda, tots junts improvisen unes escenes tretes d\u2019 Instint B\u00e0sic, Reservoir Dogs i All About Eve<\/em> (Eva al Nu)<\/em>. El p\u00fablic abandona el teatre mentre el c\u00e0sting continua dins la sala.<\/p>\n

\"b)<\/p>\n

En aquesta pe\u00e7a el m\u00e8tode de treball esdev\u00e9 la situaci\u00f3 creada. Els rols de poder es multipliquen, Barrio est\u00e0 al comandament de les c\u00e0meres, Niegel Smith dels actors i Arnold Mungioli del c\u00e0sting. L’audi\u00e8ncia entra i pren el control com massa silenciosa, i surt quan Itziar Barrio ho decideix. Les mirades es disparen cap a diferents posicions: dos monitors ens acosten a les mans i rostres, l’equip de treball queda exposat, el p\u00fablic oscil\u00b7la entre el morbo i l’empatia, desencadenats per la vulnerabilitat de l’actor\/subjecte. Una experi\u00e8ncia on s’examinen les convencions, els codis de conducta i les formes d’acceptaci\u00f3 social a la qual tots estem indefectiblement lligats.<\/p>\n

Barrio ho t\u00e9 tot gravat, plors inclosos. Aquest material s’editar\u00e0 com un v\u00eddeo i la seg\u00fcent fase del projecte, la construcci\u00f3 d’una escena a temps real pels actors i actrius seleccionats, es dur\u00e0 a terme l\u2019any 2014. Entre bambolines ens confessa que \u00e9s la primera vegada que dep\u00e8n tant de la comunicaci\u00f3, \u00e9s el que t\u00e9 el directe i les ‘open calls’.<\/p>\n

C\u00e0sting: The Perils of Obedience<\/em> explora els diferents nivells, on s’evidencien els mecanismes de repressi\u00f3 i obedi\u00e8ncia perpetuats en les jerarquies en tota estructura. Una mateixa tensi\u00f3 que es repeteix, seguint un ritme constant, a trav\u00e9s de contextos i relacions. L’actor vol ser escollit, desitja formar part del projecte, i sedueix a la direcci\u00f3. Sharon Stone mant\u00e9 l’atracci\u00f3 fatal; Eva se sent adorada pel pati de butaques. Les escenes reprodueixen aquestes tensions; hi ha l\u00edders, anti-l\u00edders, navegants, soldats, i discussions, que com la de Reservoir Dogs, giren al voltant del sistema de propines amb qu\u00e8 les cambreres de tot Estats Units es guanyen la vida. Condicions de treball en un sistema pervers que alhora reverberen la mateixa situaci\u00f3 creada per aquesta performance\/c\u00e0sting\/v\u00eddeo.<\/p>\n

All\u00f2 ic\u00f2nic dels referents obeeix al seu temps a la societat dominant, a la fantasia col\u00b7lectiva en la qual ens projectem, creant el nostre propi alter ego de ficci\u00f3, i on el cinema juga un paper definitiu. D’alguna manera, tots hem experimentat aquest transvasament d’emocions entre la pantalla i la vida, i com en certs moments, imatges o melodies es tornen t\u00e0ctils i epid\u00e8rmiques. Un mecanisme similar al del m\u00e8tode de Stanislavski, molt influent a trav\u00e9s de Lee Strasberg i de l’Actors Studio en el cinema nord-americ\u00e0. Segons aquest, l’actor ha de buscar en el seu passat una experi\u00e8ncia que l’ajudi en el seu treball, revivint l’experi\u00e8ncia. L’actor pren el control de les emocions i amb sort, salva la seva sensatesa.<\/p>\n

Amb aquesta pe\u00e7a Barrio continua en l\u2019escletxa que hi ha entre la ficci\u00f3 i la no-ficci\u00f3; un joc que atrapa el p\u00fablic en una situaci\u00f3 inesperada, i en el qual es fa dif\u00edcil distingir qu\u00e8 \u00e9s el real: les hist\u00f2ries personals on els actors i actrius es mostren tal com s\u00f3n, de l’estructura pautada per desencaixar els processos en els quals el poder habita, entre ells l’amor i el desig. Com diria Eva: … “Saber que cada nit, centenars de persones diferents t’estimen, et somriuen, els seus ulls brillen, els has agradat, et volen, els pertanys. Nom\u00e9s aix\u00f2 ho val tot<\/em>“.<\/p>\n","protected":false},"excerpt":{"rendered":"

Itziar Barrio va presentar durant l’\u00faltim cap de setmana de mar\u00e7, una nova fase de \u2018Los Peligros de la Obediencia\u2019, a l\u2019Abrons Art Center de Nova York. Aquest projecte es…<\/p>\n","protected":false},"author":1267,"featured_media":7611,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nEls perills de l'obedi\u00e8ncia – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/ca\/magazine\/els-perills-de-l-obediencia\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Els perills de l'obedi\u00e8ncia – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Itziar Barrio va presentar durant l’\u00faltim cap de setmana de mar\u00e7, una nova fase de \u2018Los Peligros de la Obediencia\u2019, a l\u2019Abrons Art Center de Nova York. 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