Alberto Herreros presents a Greco between two worlds, two spaces and two-stroke with a distance of centuries who is married in a dramatic lack of grease gear. 'El Greco and the Theban Legion' narrates the life and work of the Greek who tried unsuccessfully to settle as a painter in the Court of Felipe II.
The journey leading to Doménikos Theotocópoulos with the Trinitarian Paravicino the audience with the King in El Escorial, disputes in the Palace with the jester and Chief Cincinatto, the approach to the wife of the monarch Anne of Austria and the meanness of man by very monk who, occur with the struggles of power between mythology and monotheism the Emperor Maximian Maximino and Commander Mauricio el Tebano.
A work that is based on historical dyes which the directors Ignacio García and Natalia Mateo articulated around a canvas in white, sand, and a framework of marble, the universe of el Greco. The soundtrack in the Renaissance, Jesús Almendro lighting and scenery of Tiziano Santi, extolling the text Alberto Herreros premiered a year ago in the Festival de Teatro Clásico de Cáceres and that this weekend has been represented to the Patio of Charles V of the Alcázar.
The author puts on tables topics to read outside of spotlights and between the lines. It makes the Greco spectator of a battle, sacrifices to the gods and the defense of ideals to life itself.
The candiota attends centuries ago on the martyrdom of St. Maurice. The scene for Felipe II plasma in a canvas outside the established canons, as there is no art without freedom and interpretation, and is the master painted the invisible or the eyes, worlds where souls are and are free.
'El Greco and the Theban Legion' has action, armor and swords. A production level with a cast of nine actors and actress dresses by Lorenzo Caprile, who has taken to the scene the canvas and palette of el Greco with the own anachronisms which the candiota employed as historical resource in their works.
Interpretations of weight of Javier Albalá in the role of Herculean Maximino and José Luis Alcobendas as San Mauricio, who along with Ernesto Arias in the skin of the Greco, form a trio of ACEs able to raise and defend a history of starting slowly and expected end.
With the full capacity – for two representations were free – the public recognized the acting work with up to three standing ovations to stop before leaving the yard of Charles V to the reproduction of the protagonist of the work canvas and initialed by the Greek 'the martyrdom of St. Maurice and the Theban Legion'. Ultimately, theatre training to bring history and art to the general public.
Article seen in: La Tribuna de Toledo