Битеф
The only image possible. To begin with, nothing is thrown away: hurry, blows, noise, forward movement, loads, watching, demolitions, horror. Whatever the case, we are moving on artistic ground. We aim towards this; it is what we are left with at the end and what keeps us going. To create one needs living materials. SUZ/O/SUZ is a series of movements, alive, artistic; synthetic. The important thing is that is moves us. Nothing is possible without this impulse; everything is cut off, abandoned and eventually forgotten, without is. SUZ/O/SUZ presents the artistic nature of man, the rulebreaking game of existence, SUZ/O/SUZ, which we see taking place spontaneously, is not an arbitrary, assertive product. On the contrary, SUZ/O/SUZ is the result of precise functioning, inspired, and conveying an impression of effort. SUZ/O/SUZ reflects the moment when man begins to lose his grip; he slackens, dies and gives way to
SUZ/O/SUZ is an abstract performance based on an idea: Man. Starting from there, a fiction is set up-on human nature. In ACCIONS (1984), the actors were bound by matter; in SUZ/O/SUZ matter is in function of the actors. The world is at the service of man; if not, it disappears. And man is not willing any more to let himself be swept awayby the action of the elements, nor even to be taken unawares by matter itself. He is a man in a hurry who seeks, accepts, tosses aside, guided by his sense of smell; he is a man driven to passion and violence by awareness of himself. And he moves to the everlasting, immaterial pulse of rhythm. The rhythm of music. The music he carries inside.
another attempt, Man creates to the extent that he is alive, enters into life. Witholut experience of life -living experiences- there is no possibility of art. There is no man. The moments keep piling up. And one by one they Ьгеак away. SUZ/O/SUZ They cluster, string out and heap again; they create interactive substrata and connections, are spun off by light and music so they can last, or even die. And always against an atmosphere of silence, dominated by sound. Light and dark. Silence and sound. A background against which the momentum itself of the show comes to life; its own continuity that keeps developing until, above the first chaotic haphazard impression, it reveals a biological, animal direction, vital and inalterable. In appearance, the performance is committed to suggestion; to providing a clue so the spectator can feel the whole artificial pressure of reality over and above the simulacrum offered on the stage.
la fura dels baus barselona španija suz/o/suz , ' . . ". ■ ■' r : kolektivna re/ija učestvuju: pere lantina almela jordi árus gorina alex olle gol xavier cereza garcia per gated calvo Jürgen müder carles padrisa singla miquel badosa ricart marcelli antunez roca koprodukeija: la fura dels baus s. a. centro nációnál de nuevas tendencies escenicas ayuntamento de madrid
The show gets at the spectator, backs him into a comer, hypnotizes, magnetizes and irritates him as the episodes link on to each other. Cumulatively, SUZ/OISUZ sets before the eyes and senses of the spectator an organic happening in which the characters bear the mark of heroes, at least at the critical moment, the aura they project onto the little scenes, hard as character sketches. A mythical world whose fascination lies in their strength as they make their way towards the light, but where too the allegory sinks back each time into the world of darkness. Everything takes place beneath the wavering eye of night, in which one direct beam, a spotlight, is moving. For instance, in the episode of the aquariums, this night is an amnotic fluid, a fertile container where life grows regularly through conflicting, uncontrollable impulses; moments of ecstasy, frenzy, madness and rhythm. Either it is under that light or the rest is darkness in repose. From the moment the music begings -an oceanic, solid sound, elemental but full of depth and time, insistent, repeated, enveloping; where gestation begins.
suz/o/suz
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