VAMPYRIA is an amazing show. It's violent and tender. It has electrifying music, subtle humour and explicit eroticism. Its spectators must be adults preferably.
arises from a Jesus Peña's theater play feeded by
the old vampire literature (Gautier, Tolstoi, Dumas,
The plot is
FIRA DE LLEIDA
FESTIVAL DE PALMELA
London International Mime Festival (U.K.). Internationales Figurentheaterfestival. Nürnberg (Germany). Internationaal Poppentheater Festival Dordrecht (Hollande)
Festival Internacional de Teatro de Almada (Portugal). Festival de Palmela (Portugal). Festivals (Poland). Driemast. Antwerpen (Belgique)
Festival of Wonder. Silkeborg (Denmark). Festival de Otoño de Madrid. Festival Iberoamericano de Teatro de Cádiz
Festival de Teatro Visual de Barcelona. Fira de Tàrrega. Festival Internacional de Teatro de Sitges. Fira de Lleida
Tuesday January 21, 2003
A mixed bag
THE 25TH EDITION of the London International Mime Festival is only just half over, but already it has shown us that modern mime, post-Marcel Marceau, is about as wide a theatrical umbrella as exists. This flexible, genre-bending art form encompasses dance, juggling, clowning, text, circus, puppetry, animation, sculpture — basically, anything that falls under the banner of physical and visual theatre.
This past week’s festival fare also demonstrated how handily the mime tag can be attached to either rollicking family entertainment or strictly adult escapades. Representing the latter department was the outrageously jaunty danse macabre of Vampyria, by Spain’s Teatro Corsario. Staged at the ICA, this visceral, X-rated period piece put impressively large-scale puppets at the service of a revoltingly funny tale of violent sexual passion.
Riding his horse across a battlefield one dark, stormy night, our soldier-hero is obstructed by a beautiful blonde with a tall stake protruding from her bare chest. He promptly gives her one last kiss before she dies. Mistake. The creature comes back to undead life with the ghastly aim of securing his heart, quite literally, for herself.Created and directed by Jesús Peña, this demented allegory about the power/pain of love/lust featured lovely moth-like cupids, the hero sporting a vivid erection, and a spot of cunnilingus during which the recipient’s giant spider legs ecstatically slap the do-er’s bottom. Abetted by a witty pre-recorded soundtrack, Peña and his black-clad cohorts brought real flair and even a dash of emotional ambiguity to their sacrilegious trash sensibility.