Societat Doctor Alonso
| Director: | Tomás Aragay |
| Writing: | Sofía Asencio |
| Creation and performance: | Sofía Asencio and Nazario Díaz |
| Collaboration in creation: | Virginia García del Pino, film director |
| Executive production: | Imma Bové |
| Distribution: | Sara Serrano |
| Co-production: | Temporada Alta, Festival Alto de Vigo and Fundación Cataluña La Pedrera, in cooperation with La Caldera - Barcelona |
“In this play we talk about art not as a portrait of reality, but as a reality among realities, establishing a formal, sound and scenic dialogue with the film Andrei Rublev”.Tomàs Aragay and Sofia Asencio
One of the most formally risky companies of our theatre proposes a reflection on the iconography of the human body in relation to sound and scenery as symbols of landscape. Andrei Rublev takes as his starting point and title the 1966 film by Andrei Tarkovsky, in which the iconoclastic painter Andrei Rublev (1360-1427) makes a long journey to medieval Russia to paint the frescoes in the Kremlin's Assumption Cathedral. The work of this special painter, with his unique iconographic style, has an impact and provokes an interior retirement on the viewer due to the use of the inverted perspective, which speaks to us of art not as a portrait of reality, but as a reality among realities. Societat Doctor Alonso revisits now this piece premiered at the Temporada Alta Festival in 2016 in order to continue researching the many formal, sound and material moments on stage and thus deepen this dialogue.