SMALL ACCUMULATION OF ABYSSES

SYNOPSIS

Is a black hole the same as a wormhole? Is it the same difference between the spout of a botijo and the mouth of a porrón? What's inside black holes? What's behind the wall of the María Guerrero Theatre? Is our childhood that happy place we would like to return to? Will we make it to our eighties alive? Is it possible to have some kind of privilege in the 80s if we didn't have them in the 80s? How does a person know that they don't have privileges? Is access to culture a privilege? Is there anything different from what we were led to believe in the 80s? Are questions small revolutionary acts? Are these revolutionary acts enough to generate a Small heap of abysses?

EQUIPO ARTÍSTICO/TÉCNICO

direction Cris Blanco
Dramaturgy: Cris Blanco, Rocio Bello, Óscar Bueno, Anto Rodríguez
Reparto: Oihana Altube, Rocío Bello, Cris Blanco e Íñigo Rodríguez-Claro
Scenography: Pablo Chaves
Lighting: Miguel Ruz Velasco
Costumes: Jorge Dutor
Diseño sonoro: Carlos Parra
Video: Marta Orozco
Assistant director: Marta Orozco
Ayudante de escenografía: Lia González Álvarez
Fotografía: Geraldine Leloutre
Trailer: Macarena Díaz
Poster design Equipo SOPA
ProductionCris Blanco, Centro Dramático Nacional| Festival Grec
Production: Elena Martínez
Producción en gira: Marta Orozco
Distribution: Elena Martínez y Escenapart
Con el apoyo de Becas de Recerca 2023 OSIC

In the quantum world it is said that reality does not exist until it is observed. So what does it do, where is it when we don't observe it? Where and how does it stay? When I was a child I had the same intuition, that's why I would turn around quickly before leaving the room, to catch my dolls and objects changing places. 

Imagination and fantasy are the filter that I have always used to filter reality in order to be able to move through it. As a friend of mine says: "When I was a child I lived in Fama, that saved me".

Pequeño cúmulo de abismos is a tribute to that imagination that saved us. One more attempt to understand reality, or to surround it by approaching it with all the fantasies we can, from all possible angles, in all neighbourhoods and at all times. It is the accumulation of imaginary micro-worlds that can fit in a crack in the wall of a theatre, an abyss of reality and fiction.

Cris Blanco

CRIS BLANCO

I was born in the working class neighbourhood of Peña Grande in Madrid. Although I graduated in Acting from the RESAD in 2002, since I left I have always directed my own stage works. I also act in them, and occasionally in films. As a performer, I have worked with Xavier Leroy, Cuqui Jerez, Los Bárbaros and Juan Domínguez, among others, and in film with Icíar Bollaín, Roser Aguilar and Belén Funes.

I've been living in Barcelona since 2012 and since 2019 I've been a teacher at the Institut del Teatre. My circuit for a long time has been dance, and I understand the scene from a choreographic point of view.

Algunos de mis trabajos escénicos son cUADRADO_fLECHA_pERSONA qUE cORRE (2004), The set Up (2008), ciencia_ficción (2010), El Agitador Vórtex (2014), Bad Translation (2016) y Pelucas en la Niebla (2018), además de Lo mínimo y lo pequeño (2019) junto a Jorge Dutor y Guillem Mont de Palol. Mi obra más reciente es Grandísima Illusione (2022).

I have presented my work in festivals, museums and national and international theatres and I have been lucky enough to be produced by La Villette de Paris, El Festival Grec, Le Phènix, El Mercat de les Flors and Condeduque, among others.

I like cinema very much, especially science fiction, and my stage work draws heavily from this genre, as well as the plastic arts, music and low culture. I am interested in the mechanisms of theatre itself and its conventions, humour, the mixture of genres and formats and especially the relationship with the audience.

TEASER

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