Kassandra

Teatre

informació obra


Intèrprets:
Elisabet Casanovas
Escenografia:
Max Glaenzel
Il·luminació:
Kiko Planas
So:
Jordi Bonet
Vestuari:
Mercè Paloma
Producció:
Temporada Alta, Teatre Nacional de Catalunya
Autoria:
Sergio Blanco
Direcció:
Sergi Belbel
Sinopsi:

Cassandra significa en grec antic “la que enreda els homes”. Una endevina que per despit d’un déu no rebrà mai el més mínim crèdit per als seus pronòstics. Sergio Blanco, el prestigiós autor i director uruguaià, torna al festival amb un monòleg per desmitificar el mite. Cassandra és ara un noi amb nom de noia, que viu al marge, que sobreviu del contraban i que s’expressa en una llengua que no és la seva ni la de l’autor. Una obra escrita en un anglès molt bàsic, comprensible per tothom. A través de les seves històries passades, Kassandra ens explica les nostres històries presents: les nostres insuportables guerres, les nostres infortunades Troies.

Elisabet Casanovas, finalista d'actriu als Premis de la Crítica 2018

Crítica: Kassandra

08/11/2018

Fake prophecy lost in interpretation

per Alx Phillips

Elisabet Casanovas gives an impressive yet exhausting performance as Kassandra: an excessively didactic play by Sergio Blanco, based on the figure of Greek tragedy cursed with prophetic powers yet further cursed to never be believed. 

This familiar part of the tale was dropped in near the end with a tarot card reading, the rest was a shock-peppered spectacle; the horrors of war, gender politics and violence, incestuous and extramarital sex, embellished an extensive personal account of the life and times of the protagonist featuring a lengthy cast of complicated Greek names. Delivered in its entirety in broken English, I’m not sure the Catalan public understood it – because I certainly didn’t. “Homework!” as Kassandra would have cried.

And this was probably the point: aside from the interest in the character herself, an outrageous outsider that seemed to tick all the archetypal boxes on what it was to be transgressive, this game of deliberate alienation was won from the outset. Persistently challenged, we gave up, watching apathetically a car crash in action, laughing at inappropriate places, feeling helpless yet numb and keen to escape. As a “portrait of the modern migrant” – tragedy reigned.