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ARIADNA

CRITICA
AWARDS
PHOTOS
VIDEOS
ATALAYA ARTISTIC TEAM
ARIADNA CLOSES THE TRILOGY

After Elektra and Medea (the foreign) -that represent Atalaya most international plays, performing in about 250 cities and 20 different countries- Ariadna completes the trilogy of the Tragic Heroines. This is the first play writing in Spanish dealing with the myth, that is among the most famous and performed in the history of art. It is a myth associated to the labyrinth and to the thread that allows Teseo escaping from the labyrinth and to kill the Minotaur, which was Ariadna’s brother.

It represents a myth associated to the labyrinth and to the thread that will help Teseo to escape from the labyrinth and to kill the Minotaur. Besides her enigmatic personality, Ariadna represents the lucidity and the rebellion. The heroine challenges the power established by her father- king of Crete- and for love she helps Teseo in the mission of killing the Minotaur, to consequently escape with him, being aware of the consequences of her actions. The big dilemma of the tragedy lays between passion for life and Power submission, both human or divine. Ariadna will refuse the future imposed by Dionysius: the immortality in return for being her submitted bride. Ariadna did not submit to the power and not to be bought for fame and success, today are indispensible values to contrast the anxiety of an easy and fast triumph.

The emotional intensity of the ethnic canto of the play’s music interpreted by the actors goes beyond Elektra and Medea moreover the music is enriched by the arrangement by Luis Navarro-director of the Threepenny Opera– Carlo Iniesta version is supported by text of Marina Tsivetáieva, Nietsche Catullo, David Pujante, Ovidio y Hofmannstahl.

With this staging Atalaya and CAT celebrate respectively 25 and 20 years of activity. Moreover the play is a posthumous tribute to his creator Carlo Iniesta, who during his last days worked on the last arrangements for the definitive text (published by GESTOS of California University in its n.48).

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