EARTH AND GUNPOWDER

“Here everything is played out between earth and gunpowder, between love and hate…”.

A Via Crucis of our times, in which the stages mark the path towards loneliness and uprooting, an obligatory path for those whom the senselessness of war banishes every day.

It is raw poetry,
it is naked reality
and it really makes you fly.

This show is a reflection on the dramas of our days, the endless and eternal dramas of those who are forced to leave their land… endless and eternal journeys into the unknown, made of abuse and pain. A reflection on the mystery of the creative force of life and the senselessness of hatred that destroys… To ask ourselves once again who we are and why.
Everything takes place in total and declared fiction: a single actress, many faces, bodies, characters… Many colours, smells, sounds… everything is imagination.
A cup of coffee… many wells that speak.
Millions of true stories in a fantasy story.
This show is a strong experience, a displacement. Perhaps the spectator will have to leave his comfort zone and perhaps the earth will tremble under his feet… it is the price to really feel in one’s own skin all the chills of a story made of earth and gunpowder. A story that with its poetic engine manoeuvres the spectator, who is part of the spectacle, and uses him mercilessly.

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The staging

The original dramaturgical structure created by Vene Vieitez for this piece is based on a solid pact with the audience, a pendulum that vibrates between the multiple characters played by Cecilia Scrittore, whose technique of using the mask is innovative and hypnotic.

On stage there is nothing more than a handful of earth and the odd face waiting patiently to tell its version of the story. Tierra y pólvora is a staging based on the essential, there are no decorations, no ornamental gestures, no sound filler. In this show everything is essential… necessary… like the story it tells.

The theatrical technique

Teatro Strappato is a company that is characterised by its constant research into both the use and the construction of the leather half-mask. Tierra y pólvora is no exception: the change of masks in this piece borders on the game of transformism and introduces the audience to the illusion of a world that is real and exists only thanks to the imagination. The mastery of the performer makes the audience forget that there is only one actress on stage, a precise physical and vocal work allows to create all the contrasts and nuances that a story like Tierra y pólvora and its multiple characters require.

The sound environment replaces the scenography in this piece and shows us, as if the sounds were metaphors, the way in which each character lives and feels.