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Lucia Morett and theater, a real relationship (seventh round)

Sunday August 2, 2009
Lucia Morett and theater, a real relationship (seventh round)
The tests were started immediately. The possibility of initiating a very short time that was an incentive to cast so large that in which all alike were willing to risk (as known to all we do at the independent theater) to win very little money or work for a scarce public. Never, in the fifteen years prior work, we found much unity around a theme. It was obviously important for everyone to tell this tale of crime and injustice perpetrated by man against man himself. The relevance that had to say something through our work was a unifying factor that had hardly known in our daily drama. So Lucia Morett notes in a videotaped interview on the occasion of the documentary "CORPORATION, a window to freedom" which tells twenty-year history of clusters and Black Light Company, recognizing the importance had the contents of the book "agony" for its integration into the Black Light Theater Company.
The work had been assembled and presented in such a unique role in the East FARO so the work would focus on the character of Luisa Vanzetti, to be characterized by Lucia. The challenge here was to preserve the introductory scene videotaped by Armando Casas, so that the management had to put special emphasis on the careful assembly of the new character to play. Lucia's acting versatility Andrea was highlighted by quickly finding the characteristics that distinguish one character from another to represent them. As rehearsals for the premiere coincided with the beginning of a new semester, was able to find the correct timing for the re assembly of the work albeit not more difficult for our actress and that, if required to work on the end of the semester, surely the need for submit final examinations of the practical matters that demanded the race would have given rise to major problems. Fortunately there was
asi.Con the best wishes of all the cast for another look at what has already been mounted to support their work with Lucia, the tests flowed in harmony, aware of the urgency that pushed us towards the desired release. To this is added the staging in the new Cultural Centre raised the Pyramid the challenge of giving continuity to the successes achieved in that FARO function, ie the use of stage space in a creative enough to give the viewer a certain intimacy in which there is no escape, to make it part of that story recounting the past twenty four hours in the life of two characters who are about to die in the electric chair because they did not commit a crime, fostering in them a sense of belonging to that time limit which seeks to prevent, without success, the execution of an unjust sentence.
As often happens in these cases, the resources to reach our goal were few, but the will of those involved was immense. Lucia Morett, as surely we all saw great learning to take responsibility for work in what was for her first theatrical production with projections beyond the classroom. Her attitude was always one of deep commitment and solidarity with a group that his group along a path of more than fifteen years until that time always looking for transcendence beyond the material resources that would surround his work.
We also learned a lot working with a new partner whose attitude, mostly quiet, unobtrusive but highly committed, showed us a new and refreshing way in relationships working within an independent theater company .