I have never loved any characters as much as these. Perhaps, the reason is that I had never created a piece of Documentary Theatre in such all-round complete way. In this show, Nate, Xirou, Farah, Mustafá, Ionut, Hugo, Kamila are real. They have different names, but they exist. I met them at a state-funded Secondary School, and they were so generous that they told me their stories. Likewise, their mothers, their teachers, the school staff…over the course of a month they saw me walking through the corridors, and we spent time together as they wondered what would I do with the interviews I was doing.
The outcome is this Fiesta, Fiesta, Fiesta where reggaetón mixes with Verdi, the girls with hijab are galactic, the flutes are soundless, Mustafá is attracted to Christian girls, the magnificent seven are never seven, and every adult keeps a secret. The conflict in this piece is a conflict in the present that is named in the future.
Fiesta, Fiesta, Fiesta talks about Education and the Spanish education system, about adolescence, immigration and above all, reflects upon identity: the personal and the collective. What are we made of? Where are we from?
#IamFrom a state-funded Secondary School that opened its doors widely and told me about its life, and then said: now tell it properly. #IamFrom a willingness that the world gets into the classrooms because the classrooms are full of worlds.
And you? What are you?
Fiesta, Fiesta, Fiesta was written by Lucía Miranda and selected by the INAEM (National Institute for the Performing Arts and Music – Spain) for the V Programa de Desarrollo de Dramaturgias Actuales (Programme for the Development of Contemporary Dramaturgies).
During the Spring of 2016, Lucía Miranda interviewed teachers, school staff, mothers and students from a Spanish state-funded Secondary School where she also facilitated a workshop of Documentary Theatre along with the students. Upon the interviewees’ request, the real names and location were changed to assure their anonymity.
Approximately, 95% of the work is a direct transcription of those interviews, and the remaining 5% is fictionalised and scripted based on the real-life stories. The text is transcribed using the Verbatim’s technique. If you would like to know more about the dramaturgy creative process you can read it on our blog.
Before the final publication, two readings were done involving all the participants. You can read the full publication on the Muestra de Teatro Español de Autores Contemporáneos website.
Dramaturgy and directed by Lucía Miranda
Kamila, Farah, Naima, Galactic girl: Anahí Beholi
Alfredo, A police, Galactic girl, Xirou, Imam: Huichi Chiu
Alma, Ana, Dulce, Flori, Xirou’s Mother: Miriam Montilla
Hugo, Ionut, Antonio, Galactic boy: Ángel Perabá
Nate, Mustafá, Yolanda, Galactic boy: Efraín Rodríguez
Special collaboration of Laura Santos as the voice of the School Official; and Esther Sánchez playing the Viola.
Technical and artistic team
Sound designer: Nacho Bilbao
Set designer and Graphic image: Javier Burgos
Light designer: Toño Camacho
Assistant director: Belén de Santiago
Movement advisor: Ángel Perabá
Costume designer: Paz Yañez
Chinese-shadows workshop: Carlos Nuevo
Creative Director’s Notebook
To make the creative processes visible, to share it so you can know what is brewed before stepping onto the stage. This notebook is our effort to share the inside out of the development and creation of a theatre piece: what have we read, what have we seen, our playlist, our creative director’s notebook.
El público ha dicho
El 95% por ciento del texto resultante es transcripción directa de esas conversaciones, siguiendo el patrón del verbatim, género dramatúrgico que predica tal literalidad. La realidad ni se edulcora, ni se exagera, ni se estiliza. Se refleja. Afloran escenas muy duras, propias de la convulsa -y confusa- adolescencia, por lo que guarda el anonimato del centro
El mundo que ella sabía que encontraría tras la puerta de un instituto de secundaria cualquiera resultó ser mucho más vasto. Las historias de identidad, migración, desarraigo, racismo y xenofobia se entretejían y ramificaban mucho más allá de lo que podía esperar.
Su obra, a la que dan vida cinco actores que interpretan 17 personajes distintos, trata precisamente de eso, de lanzar preguntas para que cada uno les dé sus propias respuestas. Sobre el escenario hay historias con nombres y apellido
La Verdad (Murcia)
La realidad se vislumbra más transparente que nunca, en una serie de discursos tan verídicos que dejan entrever, incluso, giros del idioma racistas, pero también sexistas e incluso homófobos.
El Norte de castilla
RNE. La Sala
RNE. De lo más natural
A worldwide must-see production (…). The fast-paced story rhythm catches the audiences from the very beginning and takes them on a journey of multiple realities, of multiple emotions and reflections which are hard to leave behind.
It must be made clear that the aim of this review is not to sugar-coat the readers. No. It’s to warn them that Fiesta, Fiesta, Fiesta by Lucía Miranda and her company “The Cross Border Project” is well worth of getting out of the house and go to the Theatre; and be aware that this play sells-out quickly; and if possible, bring all your children. There are plenty of reasons
|Toro||april 28||Teatro Latorre|
|Madrid||april 18 – 22||Teatro Español|
|Murcia||april 13||Teatro Circo|
|Alcalá de Henares||november 26 – 27||Corral de Alcalá|
|Valladolid||november 11 – 14||LAVA|
Here you can download the dossier of the work with all the information
HIGH RESOLUTION PRESS PHOTOS
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