The latest play of
Unstable Theatre of Lower Andalusia
The Regime of the Feed
(Necropsy of a society)
The Zaranda think about the world as a sham
Feeding excess has triggered an epidemic in the pigsties and pigs devour each other. With the factory sales drop, the layoffs begin and despair and distrust grow among the employees. The fight for a position, with the only horizon of an routinely and empty schedule, with no other hope than a painless death, make the lives of pig and man intersect, muddle.
Files, necropsies, the simulation of existence we represent, in which artists are forensics or forensics pretend to be artists, mere bureaucrats processing the official, scientific and financial nothing, not much, just the value set by the sale.
"Our character is preserved as intact as our ruin",
Mariano José de Larra, Come back tomorrow (1833)
Necropsy of a society
The Regime of the Feed, the title itself already comes loaded with multiple resonances. Without neglecting the tragicomic elements that characterize the company, this is a hard, dark and rough work addressing uncompromised the vision of the world as a simulation. A dramaturgically complex work that represents a major step forward in the poetic and conceptual path of La Zaranda.
With a 36-year track record, La Zaranda upholds its commitment to theatre and continues adding to its creative and powerful portolio, which has led the company to international acclaim. Using objects in a symbolic fashion, an artform that is at once simple and poetic, with polished genuine texts and knockout humour, this production is both contemporary and alive.
Translation: Marianna Vivas Leal
The Regime of the Feed. (Necropsy of a society)
by Eusebio Calonge
featuring Javier Semprún, Gaspar Campuzano, Francisco Sánchez and Luis Enrique Bustos
director and stage manager Paco de la Zaranda
Music Pablo Luna, preludio de El niño judío; J. N. Hummel, Concierto para trompeta (II Andante); Orlando Portocarrero y su banda, Alma española; Coro de monges do Mosteiro de São Bento e Coral Colégio do Bento de Núrcia (Rio de Janeiro), Rorate Caeli Desuper.
Lighting E. Calonge
Transport Coordinator Eduardo Martínez
Poster Andrew Polushkin Photo and Advertising Víctor Iglesias
Thanks Loscorderos sc
Distribution Maite Guisado (34) 670 28 16 43 firstname.lastname@example.org
For information on our earlier work, see:
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WHAT THE CRITICS SAID
They once again teach us a lesson in theatre. LA NACIÓN. Pablo Gorlero. Buenos Aires, Abril 2010
Full of memory and an innate stage sense. Their theatre is intense and full of imagery. Always stirring. LA DÉPECHE. Jean –Luc Martinez. Toulouse. 2008
A brutal and hair-raising story. LA VANGUARDIA. Gregorio Morán. Barcelona 2009.
It’s the type of work that makes the Latin Theatre Festival shine. NEW YORK TIMES.- Richard F. Sherpard. New York, 19-IX- 1988
La Zaranda ha lasciato una forte impressione sia per contenuti rivolti al mondo del teatro che sta declinando verso la propia morte. REVISTA SIPARIO.- Mario Mattia Giorgetti. Roma, 1993
It’s pure and radiant hope. EL PAIS. Marcos Ordoñez. Madrid. 2007
La Zaranda are quite simply fabulous. LE PROVENÇAL.- Marie Cross. Marsella, 1988
The Teatro La Zaranda presented a masterpiece about lost man. KÖLNISCHE RUNDSCHAU.-M. Golhz . Bonn, 1996
A pure visual delight. LE CLOUS DANS LA PLANCHE. Jacques-Olivier Badia. Toulouse 2008
“Zarandian", a term that can now be used to describe the group’s style. HERALD.- Norma Niurka. Miami, 1995
La Zaranda brings the magic realism of the theatre to the audience. KÖLNER STADT-ANZEIGER.Berlin, 1996
Simply moving. A new, unprecedented play. HORA LIBRE. A. Pozo. Santiago de Chile. 2006
A masterpiece of the stage. Benjamín Bernal. Excelsior. México DF. 2003
A must-see for any follower of the foreign plays that come to our stages. TIEMPO LIBRE. Fernando Moguel. México DF. 2005
An oasis of poetic transgression, a theatre of the memory. REFORMA. Vera Milarka. México DF. 2005
A small world always on the verge of death that has nonetheless been proving its endurance for 25 years. Bruno Bert. Tiempo Libre. México DF. 2003
If the recommendation “don’t miss it” has ever held true, it is here. Luis Jhon. El Economista. México DF. 2003
La Zaranda takes the viewer to the limits of his/her emotional resistance. REFORMA. Dora Luz Haw. México DF. 2003
The first word that comes to mind is extraordinary. Wílliam Venegas. La Nación. San José de Costa Rica 2008
They’re genius. Theatrical perfection. EL PERIÓDICO. Maurice Echeverría. Ciudad de Guatemala. 2007
They are extremely original. TRIBUNA.- Aderbal Freire-Filho. Río de Janeiro, 1996
So implausible that the limits between reality and fiction are literally blurred. LA NACION. Susana Freire. Buenos Aires. 2008
If anyone asks what the theatre is, we need only point to La Zaranda. DIARIO CRÍTICA. Leni González. Buenos Aires 2008
I admit I am a La Zaranda addict. DIARIO VASCO. Roberto Herrero. San Sebastián 2007
At last, the National Theatre filled up. An unforgettable event. PANAMÉRICA: Carlos Atencio. Ciudad de Panamá 2008
The audience was shuddering; they knew they had borne witness to an unprecedented theatre.
EL PERIÓDICO.- Mario Monteforte. Ciudad de Guatemala. 1998
Outstanding. Good, it is simply first-rate. DIARI DE BALEARS. Javier Matesanz. Palma de Mallorca. 2008
The best of the theatre in El Salvador 2007. Theatre that borders on perfection. DIARIO COLATINO. Hector Ismael Sermeño. San Salvador 2007
Stunning, filled with heart-rending poetry and humanity. PRIMER ACTO. Irène Sadowska . Madrid 2006
Incorruptible, free, real, unique. Theatre made with blood, sweat and the journey itself. LA RAZON. Miguel Ayanz. Diciembre 2009
How dreadful, how fun, how grotesque, and what a great ending. DIARIO DE LA RIOJA. Ricardo Romanos. Logroño 2009
90 essential minutes of stage poetry. NOTICIAS. Olga Consentinno. Buenos Aires, 2010
Images and language in tune with the play’s intensity. CLARÍN. Camilo Sánchez . Buenos Aires, 2010
A superb spectral farce. As good as always. Again as always, my enormous admiration and immense respect to you, maestros. This is perhaps La Zaranda’s most “classic” show, and by classic, I mean the most narrative, with a story that links concentric cadences with secret ceremonies. Marcos Ordóñez. El País. Babelia. Madrid. 30/X/2010
With the words that Calonge puts into the mouths of Gaspar Campuzano, Francisco Sánchez and Enrique Bustos – three amazing actors – poetics does away with aesthetics, launching hard-hitting and well-aimed punches that often arouse uncontrollable bursts of laughter.
Here at the Temporada Alta Festival, is the ultimate premiere of a tremendous examination of death with a long life ahead. Joan-Anton Benach. La Vanguardia. Barcelona. 19/X/2010
The symbolic use of the objects and the spatial composition is impeccable, one of the play’s most brilliant features. The fact is that La Zaranda is really good and truly takes risks. Joaquim Armengol. Avui+El Punt. Barcelona. 18/X/2010
This is indeed a luxury: La Zaranda brings its latest show, fresh from heaven, to Murcia. A new gift of the flesh and the soul tailor-made for the audience.
Antonio Arco. La Verdad. Murcia. 23/X/2010
Superb acting and a text written by Eusebio Calonge brimming over with genius. It’s highly unlikely that La Zaranda could ever let us down. Eva Torres Martínez. Artez. 1 /XI/2010
The company upholds its own personal style and patent themes. With a rich aesthetics, it displays a critical solemn and cutting desperation, an image born out of essence, moving corpses along paths of morbid and critical desolation. A ritualised ceremony that connects life with death. María José Ragué. El Cultural del Mundo 31/XII/2010
Deep words. Frescos, tableaus. Poetry. Soul. A thousand images and truths as hard as fists. A poetic tsunami. After 32 years of work, the company La Zaranda, Teatro Inestable de Andalucía la Baja, as Inestable or Unstable as life itself, continues to make its way, creating against both wind and tide. The company has just received Spain’s National Theatre Prize, a minimal nip from an ungrateful country. Miradas 2. TVE. 13/12/2010.