PREFIERO QUE ME QUITE EL SUEÑO GOYA A QUE LO HAGA CUALQUIER HIJO DE PUTA
(I'd Rather Goya Robbed Me of My Sleep Than Some Other Arsehole)
In a sudden rush of self-awareness, the narrating character has decided to invest all his life savings in a tour to El Prado Museum in Madrid to see Goya’s black paintings, hiring German philosopher Peter Sloterdijk to lecture him with his viewpoint on the world. Thus, the performer plunges us into his chaotic and relentless universe through provocation and sharp language, by which he depicts the state of the world in an unforgiving way, where the main topics are family, compulsive consumerism nonsense, the replacement of an authentic imaginary for one globalized and commodified, ethical values and symbolic values. It is beyond comprehension how an Argentine author of the magnitude of Rodrigo Garcia has been ignored in our country for almost twenty years, while he is considered both in Europe and in Latin America as one of the most notable playwrights of the beginning of the century. The plan to stage this piece (the first part of a trilogy of works by R. Garcia) is related with the intention to recover an uncomfortable author who writes and stages theater as an Argentine, although he is based in Europe for over two decades. In the scene of ‘I'd Rather Goya Robbed Me of My Sleep Than Some Other Arsehole’, the director is the interpreter of the work, where he interacts with a series of projections of the Chapman brothers’ visual work "Insult to injury" (To make matters worse), where Goya’s etchings "Disasters of war" are altered with clowns or typical Disney iconic characters like Mickey Mouse or Donald Duck, all in an environment with a kind of zoo-like stench, where the interpreter initially wears a gorilla costume to start mutating into other types of animal -a feathered hen, and finally Mickey Mouse-, coexisting with live and stuffed animals, eating dog food, to tell his route in first person. Such vicissitude is a bitter criticism over the banality of contemporary society.
In a sudden rush of self-awareness, the narrating character has decided to invest all his life savings in a tour to El Prado Museum in Madrid to see Goya’s black paintings, hiring German philosopher Peter Sloterdijk to lecture him with his viewpoint on the world. Thus, the performer plunges us into his chaotic and relentless universe through provocation and sharp language, by which he depicts the state of the world in an unforgiving way, where the main topics are family, compulsive consumerism nonsense, the replacement of an authentic imaginary for one globalized and commodified, ethical values and symbolic values. It is beyond comprehension how an Argentine author of the magnitude of Rodrigo Garcia has been ignored in our country for almost twenty years, while he is considered both in Europe and in Latin America as one of the most notable playwrights of the beginning of the century. The plan to stage this piece (the first part of a trilogy of works by R. Garcia) is related with the intention to recover an uncomfortable author who writes and stages theater as an Argentine, although he is based in Europe for over two decades. In the scene of ‘I'd Rather Goya Robbed Me of My Sleep Than Some Other Arsehole’, the director is the interpreter of the work, where he interacts with a series of projections of the Chapman brothers’ visual work "Insult to injury" (To make matters worse), where Goya’s etchings "Disasters of war" are altered with clowns or typical Disney iconic characters like Mickey Mouse or Donald Duck, all in an environment with a kind of zoo-like stench, where the interpreter initially wears a gorilla costume to start mutating into other types of animal -a feathered hen, and finally Mickey Mouse-, coexisting with live and stuffed animals, eating dog food, to tell his route in first person. Such vicissitude is a bitter criticism over the banality of contemporary society.
PREFIERO QUE ME QUITE EL SUEÑO GOYA A QUE LO HAGA CUALQUIER HIJO DE PUTA
Performer
EMILIO GARCÍA WEHBI
Text by
RODRIGO GARCÍA
Production
COOPERATIVA GOYA
Press
EZEQUIEL HARA DUCK
Interns
FERNANDA DÍAZ
MATEO DE URQUIZA
Aid to Director and Participation on stage
PABLO RAMÍREZ
Graphic Designer for Program and Stage
LEANDRO IBARRA
Music and Sound Designer
MARCELO MARTÍNEZ
Video and image design
SANTIAGO BRUNATI
Lighting Designer
ALEJANDRO LE ROUX
Set Designer, Executive Producer and Assistant Director
JULIETA POTENZE
Dramaturgie, Staging and Director
EMILIO GARCÍA WEHBI
Teatro Timbre4, Buenos Aires, 2012.
Fotos Santiago Brunati, Leandro Ibarra, Mariano Rapetti.
EMILIO GARCÍA WEHBI
Text by
RODRIGO GARCÍA
Production
COOPERATIVA GOYA
Press
EZEQUIEL HARA DUCK
Interns
FERNANDA DÍAZ
MATEO DE URQUIZA
Aid to Director and Participation on stage
PABLO RAMÍREZ
Graphic Designer for Program and Stage
LEANDRO IBARRA
Music and Sound Designer
MARCELO MARTÍNEZ
Video and image design
SANTIAGO BRUNATI
Lighting Designer
ALEJANDRO LE ROUX
Set Designer, Executive Producer and Assistant Director
JULIETA POTENZE
Dramaturgie, Staging and Director
EMILIO GARCÍA WEHBI
Teatro Timbre4, Buenos Aires, 2012.
Fotos Santiago Brunati, Leandro Ibarra, Mariano Rapetti.