Archimedes’ Principle It takes us to the day when “Seahorses”, the children’s swimming group, start swimming without bubbles. This crucial moment for the little ones in the pool is the trigger for suspicions, doubts and fears to arise. Anna, the director of the swimming club, asks Jordi, the Cavalinhos’ coach, an explanation after some parents complained about how the boy managed to refuse to jump in the water because of a fight or scare. But the problem is different: the parents see with concern and concern that, to reassure him, he hugged him and gave him a kiss. (THEATER QUIQUE SÃO FRANCISCO).
It’s been 10 years since the first time Archimedes’ Principle performed on stage. On the occasion of this very special anniversary, Josep María Miró returns not only as the author of this play, but also as a director. The story that is exposed causes great interest in the moral and dialectical enclave that forms on the scene.. A seemingly innocent gesture between a monitor and a student turns into a battle of doubts, fears and prejudices, giving rise to a very strong debate on the protection of minors. Far from wanting to give an answer, it offers a reflection on the complexity of discerning what is right and what is not, and the dangers that surround the closest environment. by which, it is logical that the dramaturgy has managed to permeate the public.
Despite being written 10 years ago, is still very current, which shows the difficulty of knowing to what extent the limits of morality, correction and suspicion are licit depending on what kind of situations. In addition, the structure in which it was written is valued, revealing different details that complete the visions and perspectives of each of the characters. Thanks to him, there is a complete construction of the facts and they allow the participants to be the ones who make the value judgments. However, with the passage of time, there is a need to get more involved in the problem, to get to the bottom, to be politically incorrect. Consequently, the motivation and crux of the matter remains a little decaf in front of the chests you want to open.
In this version of Archimedes’ Principle, features Ana Belén Beas, Pablo Béjar, Guillermo López and Alejandro Tous. In the first place, Pablo Béjar offers a remarkable interpretation, with a very good attitude and a totally well executed expressiveness. So you can feel that unease in your flesh, while offering that ambiguity that you need to convey to establish the debate of your innocence. by which, his interpretation exposes a knowledge and concentration on body and facial expression, which stands out without problems. However, it would be important to watch your diction, especially at times when there is this flood of content in your words. Later, Ana Belén Beas starts in a remarkable way, where you feel your character’s concern. However, the tone of his dramatic work always ends up the same, so he needs more dynamism, movement and vocal direction.
William Lopez completes the youth duo, along with Béjar, incarnating the protagonist’s partner. Despite having moments when he doesn’t finish locating himself in space, once he understands where he has to go, he has really revealing scenes. Plus, it projects the voice in a way that allows you to finish composing your character’s personality. TThere is also an interesting advance in the way it interacts with the other components of the scene., which means that, despite not being constantly present, it gives a more than plausible probability. Lastly, Alejandro Tous gives a stupendous interpretation, despite not having many scenes on stage. Even so, he manages to make the participants stay with your work, being a sample of your good stage work.
One of the most interesting aspects Archimedes’ Principle it’s the staging. To start, It is appreciated that the montage is not limited to exposing the points of view from the text, but also promotes it from the movement of the scenario.. Therefore, as the different parts of the story are revealed, the viewer can see the different reactions, approaches, as all the elements move, preserving the continuity in each of the objects. This creates a dynamism that becomes attractive to participants. There are components, such as air freshener or cigarettes, that define a slightly immersive environment, providing an olfactory stimulus. Later, the choice of costumes follows a standard scheme, according to the theme of the play and the design of the characters.
The pace of work is quite light in most parts, seeming somewhat overshadowed by the lack of voice projection at times. Consequently, when what is said is understood in a less accessible way, it makes it difficult for it to flow more organically. The organization of times is also carried out in an optimized way, connecting all events with each other and making it clear. Thanks to this, the audience does not get lost at any time, but easily follows what is happening on stage. On the other hand, something else is missing from the ambiguity or suspicion that the story wants to offer, since such energy is not experienced. With that, the tension could be potentiated in the direction of manufacturing this sensation and permeating the tents.
Archimedes’ Principle part of a text that raises a very interesting debate, about the limits of morality, protection and fears that arise from the parental gaze. Likewise, it offers a story that shows different points of view, with the chosen structure being fresh. On the other hand, Pablo Béjar and Alejandro Tous stand out in the cast with a wonderful job, especially the second. Later, the scenic proposal follows that dynamism that gives the movements in the scenario, as well as a light and pleasant rhythm that accompanies the work from start to finish. Even so, it could improve the proposal to go deeper artistically and impact more. Value judgments are placed on the tables with an execution that doesn’t exploit the full potential it could have.
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