THE STARVING POET

This show is a satirical myth. Its dramatization lies on the narrative structures of the wonderful fairy tales. The background where our hero?s adventures take place is the socio-political history of the 20th century.
The text is divided into fifteen scenes, each of which corresponds to a year or group of years of last century. It begins in the year 39 and ends in 1985. But the scenes are also chapters or step of an initiation ritual, lights and shadows of the imaginary European collective, seen through Doctor Jung?s deep psychology. As he would say ??the daylight is sometimes lighter in the darkness of sleep?. The drama is pervaded by dreamy poetic stuff, which makes it more free and metaphorical, open and paradoxical, disturbing and yet comic.
A large wooden box occupies the stage, a symbolic packing-case. Its walls are covered by the names of European cities, each written in its own language: Lisbon, Krakow, Athens, Berlin, Madrid, Vienna, Rome, Budapest, Moscow?. This old packing-case keeps secrets of the old continent, and from inside it there spring out the characters of our myth. Its walls are doors, slopes, windows. Its walls can open, come apart and turn into new spaces. It is Europe box, Europe House, the Forbidden Forest, the House of the Father, the Welfare Brotherhood, the Paradise of clouds.
There spring from it the numerous voices of the century too, the languages of a continent which transmit their deepest emotions through their melodies and musical rhythms. We listen to songs from Poland, Germany, Spain, Italy?intermingled with the instruments of Glend Miller, Billy Holiday, Richard Strauss or Pink Floyd. A rich, sonorous world which our hero?s accordion replays and reveals for the pages of the book he is doomed to write.
This is the story of a European Youngman.
It is the story of a hero whose birth takes twenty-five years.
It is the story of the gift of a poet starving for search and knowledge.
It is a myth in which princesses are flying bandits sugar houses are concentration camps, and clouds are paradises of Stalinist castles.
It is the satire of a Europe where the house of the Father will be distribute among welfare Brotherhoods and philanthropic ogre, where rabbits are not what they appear to be, and where princesses marry liberal economists from the Chicago School.
These are the adventures and misadventures of a 20th century European Youngman.

Director?A. Iglesias

Stage designer: D. Morawezt