about the production
It is about show business in the Third World which also includes India and Argentina. It is about the connection between politics and show business. Corruption here is a part of every-day life so people respond to it by very open humour. It is, on the one hand, the only that we are cheated but that is the way the life is. And to add the paranoia of the middle class people that it is them who will meet all the catastrophes of the world they see on TV.
Camilla Hildebrandt, Radio Deutschland
The initial material for the performance was the fascination by the colourful, sweet, chocolate-box-like epics of Indian Bollywood films... distinctive eclecticism is shamelessly offered from all possible models, from spaghetti-westerns to old legends, to tell its own stories. The places are changed swiftly, the flashiest total art: Disneyland. And these penetrating and synthetic pop-worlds are mingled with records from slums in Bombay, news about Argentinean economic crisis and problems of teenagers.
The cult of “popstars” and cultural identity are the main motives of the newest production by Constanza Macras. Far from their roots, the performers hope for the great chance of their lives. On their way to the recognition and success, they accept roles believing that they would fit the image and idea of the "popstars" of the culture that is unknown to them. Big in Bombay is a theatrical Tour de Force about intercultural projections, hopes and own identity.
A rapid play with all what's on the spot: Dance styles and pictures. The threatening calmness of the beginning quickly knocks over into activity that may be aggressiveness. .an aggressive show choreographer with broad grinning, violence lurking everywhere – and it is always arising as slapstick. Over and over pictures of global and private catastrophes show up: natural and human disasters. Frazzles of images, supercharging of significance: a bag on the head – Guantanamo. Scattered bodies on the floor – victims of tsunami. Somebody without limbs – Somalia, maybe... Just Macras' wild eclecticism, her eagerness with her own images, her tourette-like fantasy protect her against vein poetry and pantomime lyricism which is shaping dance theatre so often. Her imaging is disrespectful, her investigation in India is not a reverential gazing of the other culture ... also in Bombay Macras is interested only in herself, paradoxically bare of all vanity.
Florian Malzacher, Theater Heute
choreography and directed by Constanza Macras
dramaturgy: Carmen Mehnert
stage designer: Lars Mii
costume designer: Gilvan de Oliveira
composer: Julian Klein, Claus Erbskorn
indian song dhrupad: Amelia Cuni
bollywood choreography: Sangita Shresthová
video: Constanza Macras, Kevin Slavin
videodesign: Anna Henckel-Donnersmarck
light: Jackie Shemesh
sound: Stefan Wohrmann
cast: Nabih Amaraoui, Knut Berger, Nir De-Volff, Jill Emerson, Claus Erbskorn, Jared Gradinger, Margrét Sara Gudjónsdóttir, Rahel Savoldelli, Jo Stone, Anne Tismer, Yeri Anarika Vargas Sanchez
musicians: Christian Buck, Kristina Klein, Almut Lustig, Ulf Pankoke
Constanza Macras (1970) was born in Buenos Aires, Argentina, where she studied dance and fashion design, her dance education continued in New York. She then moved to Amsterdam where she presented her own work at Dans Werkplaats (Entertainment Inc., 1995) and made performances for different clubs. Macras moved to Berlin in 1995, dancing for various companies, and in 1997, she founded her own company 'Tamagotchi Y2K' (originally 'Lonely Tamagotchi'), which productions have been seen in various venues in Berlin and across Europe. 1 From 2001 to 2002, Macras (in collaboration with Theater am Halleschen Ufer, Sophienséle, and the 'Tanz im August' festival) developed and presented the MIR – A Love Story' trilogy (Prologue, The Conquer, and Endurance) which has since played in London at The Place Theater. Her work PORNOsotros (2002) was presented at Schaubiihne am Lehniner Platz.
Script of the production: SK, EN
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