In September 2003 the company premiered in Madrid THE pimp this adaptation of the Shakespearean classic in a version very sui-generis. The Argentine Gabriel Molina (director and psychologist), we proposed from the beginning an atmosphere dark where all the characters have gone into a state of insomnia from the hubris the tyrant Macbeth to seize power after spilling blood. The title "F51.4 MACBETH" denotes the nature of psychopathy identified in psychiatric international code on the index F51.4 as "terrors night ". Individuals suffering from this disease have difficulty sleeping and constant hallucinations that end up destroying the ability of rest. Based on this idea we made the character of each character. The kingdom is in Candle and the only remedy is to annihilate the "spell" that has settled over Scotland with the arrival of Macbeth to power.
The weapons of war were daily sharps (axes, knives, sickles, pitchforks etc.). Elements close to any citizen, denoting the danger or the "double edge" behind the psyche of every human being ("Freudian" apart).
For the costumes, working with collective proposals and suggestions Benani Kenza costumer, but later was I who gave a definitive line to the clothing (on all the male characters). We talked about the decadent aesthetic we wanted, but also a point that we needed to bring us to the contemporary without rubbing in the obvious. We decided to work with leather, so for weeks we were collecting used clothing of this material. We saw the risk of appearing to other proposals and widely used (eg MAD MAX or STAR WARS), where symbols and designs come together easily recognizable by the subconscious. At this point I decided to study the traditional costumes of the Scots warriors of the time. With this inspiration I took an old leather jacket that my friend Richard gave me the day I left Barcelona to search for life in Madrid. It was a subject dear to me for all the implications that had, for joining me in the first, difficult weeks of my arrival in this city four years ago. Without neglecting the original design of the pieces, I was tearing at each side, leaving only unions in certain places to transform the old jacket on a coat eighties war. The arms ended up being the top of boots or shoes shin guards that extended to the knees, sewn onto the legs of trousers cut olive green guerilla (another former sidekick) and gave my character (McDuff) a air of rebellion, in contrast with the tight jeans garnet color Macbeth (Agustín Tomás Soria) and jackets as it transformed both Banquo (John Aguilar), in black.
For me it was a great pleasure to discover how a garment could give new meaning to everyday life in a theatrical costume appears to be of an era lost in time. I still top of my "battle dress" and the clasp that held the end of the neck, consisting of a brass piece that was part of a belt of my ex-partner Itzel, and which also armé part of the story of my character. When I studied the costumes of the era and later, I learned that men who started the battle, despite being poor, tried to carry a buttercup to-if-perish in combat, be transferred to their land and buried with dignity by covering expenses that button. Thus was born the idea of \u200b\u200bproviding McDuff of this brooch.
The metaphor of the transformation of old and worn my clothes in the garb of a warrior, gave me a very peculiar momentum that was developed during the trials in the axis of the outer structure of my character. A seemingly weak vassal (fragile, thin as my constitution), ended up being the engine of the rebellion, supported by the murdered king's son, Malcolm (Iñigo of the Church).
For the costumes, working with collective proposals and suggestions Benani Kenza costumer, but later was I who gave a definitive line to the clothing (on all the male characters). We talked about the decadent aesthetic we wanted, but also a point that we needed to bring us to the contemporary without rubbing in the obvious. We decided to work with leather, so for weeks we were collecting used clothing of this material. We saw the risk of appearing to other proposals and widely used (eg MAD MAX or STAR WARS), where symbols and designs come together easily recognizable by the subconscious. At this point I decided to study the traditional costumes of the Scots warriors of the time. With this inspiration I took an old leather jacket that my friend Richard gave me the day I left Barcelona to search for life in Madrid. It was a subject dear to me for all the implications that had, for joining me in the first, difficult weeks of my arrival in this city four years ago. Without neglecting the original design of the pieces, I was tearing at each side, leaving only unions in certain places to transform the old jacket on a coat eighties war. The arms ended up being the top of boots or shoes shin guards that extended to the knees, sewn onto the legs of trousers cut olive green guerilla (another former sidekick) and gave my character (McDuff) a air of rebellion, in contrast with the tight jeans garnet color Macbeth (Agustín Tomás Soria) and jackets as it transformed both Banquo (John Aguilar), in black.
For me it was a great pleasure to discover how a garment could give new meaning to everyday life in a theatrical costume appears to be of an era lost in time. I still top of my "battle dress" and the clasp that held the end of the neck, consisting of a brass piece that was part of a belt of my ex-partner Itzel, and which also armé part of the story of my character. When I studied the costumes of the era and later, I learned that men who started the battle, despite being poor, tried to carry a buttercup to-if-perish in combat, be transferred to their land and buried with dignity by covering expenses that button. Thus was born the idea of \u200b\u200bproviding McDuff of this brooch.
The metaphor of the transformation of old and worn my clothes in the garb of a warrior, gave me a very peculiar momentum that was developed during the trials in the axis of the outer structure of my character. A seemingly weak vassal (fragile, thin as my constitution), ended up being the engine of the rebellion, supported by the murdered king's son, Malcolm (Iñigo of the Church).
Soon I will offer you the video of my participation in this production.
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