“Los Incontados: Anatomy of Violence in Colombia: Triptych.”

Direction: Heidi and Rolf Abderhalen
Set design: Pierre-Henry Magnin
Costume design: Elizabeth Abderhalen
Lighting design: Jean-François Dubois
Multimedia: Luis Antonio Delgado, Natalia Duarte, Ximena Vargas
Sound design and live performance: Juan Ernesto Diaz
Featuring: Heidi Abderhalen, Agnes Brekke, Andrés Castañeda, Julián Díaz, Jeihhco, Danilo Jiménez, Santiago Nemirowki, Santiago Sepúlveda, Wilman Rodriguez
Mapa Teatro Children Band: Lesly Ramírez, Melanie Ramírez, Sofía Rodriguez, Mariana Saavedra, Dario Sinisterra, Sebastián Zúñiga
Producer: Mapa Teatro
9 June 2017, 21:00
Kampnagel
Theater der Welt, Hamburg, Germany

SPOILER ALERT!

Watching Mapa Teatro’s “Los Incontados,” which translates to “the uncounted,” is like visiting a museum. Behind a Perspex screen the production shows you tableaux depicting scenes of life in Colombia. The screen very intentionally keeps the audience at a distance, asking them to observe and judge for themselves.

The stage thus resembles a diorama. However, the back wall repeatedly gives way to reveal another space, as in a dream or a memory. The first tableau shows the audience a living room in the late 1960s. There is a children’s percussion band, poised, waiting. Yet, the revolution never begins. Instead, the back wall gives way to a garden party. Although the line “it is time to stop the party and start the revolution” is repeated, the decadence on stage merely erupts into chaos.

The audience is thus first shown an ostensibly innocent space: a living room resembling a childhood memory; thereafter a hedonistic party. In the last part of the play, these two spaces seem to spill into each other. Streamers from the garden party spill into the living room. Popping sounds are heard throughout; however, they do not represent gunshots from a revolution, but merely popping balloons and confetti guns.

“Los Incontados” therefore illuminates certain social difficulties in the Colombian context: a revolution that never seems to begin, being hijacked by a party that spirals into decadent chaos fuelled by cocaine. Yet, the audience is purposefully kept out of the events on stage. They are not invited to participate in the party, but asked to observe and draw their own conclusions.

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