In 1990 Czertok wrote for Teatro Nucleo a dramaturgy from the novel “Don Quijote de la Mancha” by Miguel de Cervantes Saavedra. In co-production with the Theater-am-Turm Frankfurt (DE) a performance for the open spaces has been created, whose debut was held in Spain at the 1990 Classical Theater Festival of Almagro with the direction of Cora Herrendorf. A successful world tour followed until 2007: hundreds of performances on three continents, dozens of international festivals, but above all, the presences in the villages and suburbs all over Europe. From being a playwright , Czertok became Don Quijote. The character did not willingly accept the end of the performance: after some years he began to appear to the playwright-performer in his dreams: he wanted to return to life, either even the scenic one. Since the resumption of the show is not practicable at the moment, it was decided to turn it into a soliloquy, a monodrama with several voices. The famous novel in reality is among the most famous, most quoted but least read and therefore least known. The dramaturgy has identified the various giants to which the Don fights or wants to fight, in addition to the famous WindMill. It has been deepened the research done in 1990 on the novel, the author and his time, reaching new discoveries. On stage we see the actor, the character Don Quijote, Sancio Panza, Don Miguel de Cervantes, all in close relationship, often conflicting, also with spectators, invited and enticed with this work to deepen their own knowledge of the extraordinary novel.
FROM DON CHISCIOTTE TO THE DESAPARECIDOS
Simone Azzoni Review for “Artribune”
On the stage where the performer’s body is agitated there is nothing, the La Mancia desert beaten only by the noise of the train that is traveling towards Venice, as the actor help us to integrate. In the dark only the “tremulous” flesh that shakes Artaudian shocks. Horacio no longer has the rattling machines of the Nineties but lets us imagine them, blushing with eyes and wrapping us with hugs of words in Spanish. Other than windmills. Forty battles fought Quixote, and won twenty. Who calls him a loser lays. Who calls him crazy as well. Horacio jumps from one spotlight to another and from the author to the character, from the actor to the narrator, “ingenious narrator” as Ivano Fossati called him. the Wind mills become the Fuggers – usurping bankers of the Spanish peasants – and “the shepherdess” the first woman to emancipate herself already in the seventeenth century. “Any form of human emancipation brings man closer to Christ”, he taught his guys the desaparecido Venturelli. Here the theater is the one and only way.
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