Diphtong

In Extaciones,

There are three of them. Two brothers and a sister. Capable of devouring themselves and the world. Their family is just them. But something’s missing. Maybe nothing. But something’s missing. So everything starts trembling. And we come back as if in a child’s room occupied by adults who don’t know how to live.
There are two of them. They live by themselves and watch others and love is forgotten. There is one of them. Alone.
She doesn’t know. She too has broken free from childhood, and longs to devour up the world surrounding her. ‘Amongst those who don’t know she is innocent, knowing without really knowing.

And then there’s that man who has already walked, already lived, who could have suffocated but opens their eyes to movement, maybe even to the reason to carry on a little bit further down the road. To take it up again and open others’ eyes.

This one carries the family, the lonely couple’s name. They try. They’re hands open, but are weak with fear, and tense up ooze and bite each other until blood runs.
Then silence, things stop because the body can’t go any further. Because the body no longer knows how. Because it’s bettwe sometimes to stop and breathe.

But where to go ? Where to live ? Or love ? Or sleep ? Or laugh ? In Extaciones, we hear the word : Family.

This tender word, this place. We we are born and live our first memories. A place with all our love and all our wrongdoings. A place of all repression and births.

One day the question of freedom is born.
One day, because to know oneself the day comes when the mirror smashes.

The original question is asked. And this road upon which we cast a mocking glance without stopping to think about it for a second, (there it is the road beneath us and all of a sudden mocking stops)
It goes faster beneath our legs. We forget how to walk, we limp along with our words and our desires. We need to spit, to die. We need to touch, to take, to tear up. We think vomitting life is beautiful. We find it beautiful. Beautiful enough to dire as the song goes. Sad maybe not to have seen it earlier. (But we find it beautiful).

But there’s already something else deep there that calls out...
Three oppressed hildren who have forgotten how to live in a family. Wanderinf in an obsessive delirium to find a reason to live together.
Oppressed by a live that gave fogotten where the human rules lie.
Which saints to pray to (as goes the song)
Who watches over life. A whole society became judgmental.
They long for something else, but what ?

Hubert COLAS

Director, set design : Hubert COLAS

With : Diego ARAMBURO, Eduardo CALLA, Patricia GARCIA,
Cristian MERCADO, Glenda RODRIGUEZ,
Thierry RAYNAUD, Suzana VILLAROEL

Lighting : ENCAUSTIC- Pascale Bongiovanni and Hubert Colas

Video : Isaac RIVERO

Technician : Miguelangel ESTELLANO

Production : Diphtong Cie, Alliance Française of Bolivia, UTOPOS

Production carried out with the support of the French Embassy in Bolivia and l'Afaa (Association Française d'Action Artistique)

With the assistance of l'Association Française d'Action Artistique (as part of their programme Tintas Frescas in South America), a two year collaboration was set up betwee the bolivian company Zig Zag Teatro and Diphtong Cie, which in 2002 welcomed the Bolivian author Eduardo Calla to stay as a resident writer for three months at montévidéo.

In April 2002, Hubert Colas was invited by l'Afaa, de l'Alliance Française et de French Embassy of Bolivia, to produce Nouvelle Vague (New Wave) by Christine Angot with Thierry Raynaud and the first public reading of Extaciones by Eduardo Calla (text written at montévidéo) at the Festival International de la Paz (FITAZ 2002)
Following a stay in Bolivia, Hubert Colas directs Extaciones, staged for the first time on the 4th September 2002 in Cochabamba (Bolivia)