Woyzeck is the animal, like Dostoievski’s idiot, like Kaspar Hauser. Theatre is a form of Becoming-animal, as Deleuze would say, a pre-social human act . The actor is an animal in a waiting state. Incarnates, as in no other discipline, this animal state. Is the chaman that speaks with the gods to let the Leviathan appear. There is a monster to build, to create, the one that we can not describe with words nor with elements of our understanding, the one that affects us every time we face a performance by Kantor for example. That monster is present in all of Woyzeck’s characters; Woyzeck the black/dog, as Müller says. All characters in Woyzeck are animalized, therefore this zoo, this set, this freak show. Theatre is a state of barbarism, in atavic sense, as mass or rite. An act of barbarism disguised as act of culture. That is what theatre is. And that’s why Goethe’s oak in the middle of the concentration camp. Theatre as the stinking wound in the foot of Philoctetes, in the dagger of Macbeth, in the beans/popcorn that Woyzeck incessantly eats until his understanding gets darken.

Emilio García Wehbi

With
MARICEL ALVAREZ
GUILLERMO ANGELELLI
BLAS ARRESE IGOR
CECILIA CANDIA
EVA CARRIZO VILLAR
LEÓN DOGODNY
RICARDO FÉLIX
FEDERICO FIGUEROA
EZEQUIEL FINGER
NORBERTO LAINO
FERNANDO LLOSA
HORACIO MARASSI
MURIEL SANTA ANA

Text
GEORG BÜCHNER
Translation and version
RICARDO IBARLUCÍA
Artistic assistance
EZEQUIEL STEINMAN
Assistant to the costume designer
CARLA DOORM
Tango choreography
DANIEL SANSOTTA
Assistant to the set designer
SILVINA SORIA
Costumes
MIRTA LIÑEIRO
Lighting
ALEJANDRO LE ROUX
Set
NORBERTO LAINO
Music
CECILIA CANDIA
Directed by
EMILIO GARCÍA WEHBI


Sala Casacuberta, Teatro san Martín, Buenos Aires, Argentina, 2006.

Fotos Maijo D’amico, Carlos Furman