Without anesthesia, without translation. Brutally happy.
It is the theater of the future, nor the work which is repeated again and again from the past. Brute Force is NOW.
A scenario very well thought black, metallic structures managed with pulleys and ropes hanging from arrneses and characters created in the viewer that curiosity as a child when you see something nice and new.
Many lights, fans, smoke, water and live DJ complete a scene that constantly changes the center to the next roof and floor. Very good music, nice colors, everything you need for this, called play, is much more of a circus.
A natural phenomenon inevitable. The result of millions of years. It originated in the ocean, at the bottom of the vessels, in walking down the sidewalk …
Brute force is useless. It …
Ladies and gentlemen, all that happens here is real, as real as your dog. No decorations. No theatrical conventions. Everything has a role in the action. And you too. Prepare.
There is the work the concept of meaning or representation. A door is a door. Means neither more nor less. Neither the costumes, lights, music and gestures.
The lights are red or whatever you want. The language is abstract, if everyone thinks what he wants. Quite abstract. Since the establishment. Nobody knows the meaning of the work. Why not have it.
The space is changed throughout the play. It is vital that nothing is predictable. We will not tell. The surprise is not an effect, is a constant and necessary condition for the effectiveness of the work. To modify deeply the reality of the viewer. His reality.
The viewer is inside an extraordinary reality. Not emotionally safe at any point in the play.
THE PUBLIC
The set of actors, stage and audience is what creates the dramatic action. Each has its role. Along with music and effects.
That the public part of the action causes behavior change work. It also makes the work more real, which is most apparent when there is a lie. That the work is less wear with repetition, because the public is renewed.
The spontaneous reaction of the public determines the other elements to be more forceful. To be real.
We can choose how actors respond to stimuli, but we can not do the same with the public, who will always respond in a true, not planned. If we do not moved, the play sinks during the function.

The public is not involved, is a part. Wounded. Celebrating.
The theater is created in space. The language in purely material. Live. Melee. Forming a common dream with viewers
Bring them to other areas where there are other more powerful.
A space where the pressure of the mind affects the senses.

Where the speed of the stimuli received by the audience reaction than intellectual. That emotion comes first, always first.
That you paste into the body under clothing. Behind the eyes. Inside. A space where the viewer is delivered, knowing that is part of an artistic event, which is within a parallel reality, ethereal, beautiful. Delusional and absolutely more true than the everyday.
Where the viewer knows who is being led to crash into his own sensibility. A collective sensibility, universal.
No translation. Without anesthesia. Brutally happy.