Serrucho
| Serrucho is: | Ana Cortés, Raúl Alaejos and Paadín |
| Concept, creation and construction: | Serrucho |
| Model: | Llorenç Pérez |
| Tic-tac-toe: | Guillén Bayo and Abelardo Gil-Fournier |
| Lighting: | Antoine Forgeron |
| Acknowledgements: | Luis Alaejos, Catalina Álvarez Zarate, Sofía Asencio, Tomàs Aragay, Nikita Bashmakov, Rafael Carvajal, Norka Cosamalón, Ricardo Cortés, Gavina Ligas, Iván Pérez, Peet Kelly, Carmen Segovia and Taller 57 |
| Co-production: | Serrucho and Fundación COTEC |
A large block of filing cabinets located in the centre seemingly floats in the darkness. Around it, archivists open and close drawers, absorbed in their routine of classification. Common sense tells us that to solve a complex problem, we must first segment and classify it. But reality cannot be divided into boxes or isolated compartments that aren't affected by the rest. To open one box is to open another one elsewhere.
“ Unsustainability isn't the result of ignorance, irrationality or greed. It is largely the collective result of rational and well-intentioned decisions taken by people trapped in systems -that range from families and communities to corporations, governments and economies- which makes it difficult or impossible to act in a wholly responsible manner before all those who are affected, in the present or in the future.
What we are rarely told is that the solutions are as interconnected as the problems, that an activity carried out for the benefit of the environment can send out waves of definitive positive effects, similar to the chain of disasters that may be unleashed by an environmental disaster ”.Dana Meadows
Immersive theatre makes its appearance at the 37th Autumn Festival with Serrucho, who discuss the limits of the planet, the use of technology to find solutions, game theory, bachata and biological romanticism.
ARCHIVO is an emotional experience that lets the audience live the unexpected consequences of our actions, for others, for the planet and for ourselves.
A creation that places the audience centrestage and makes them archivists who handle the drawers of the installation.
"The first colour photograph of the Earth from space was taken by the Apollo 8 astronauts only 50 years ago. It was as if we were looking into the mirror for the first time. We saw something we knew about but didn't quite completely understand: that the Earth is unique and so small. That we're really floating in space together, on a little blue marble. We understood that our problems were the problems of all humanity and that our challenges were planet-wide.
If a problem is too big, we divide it, classify it and we put it away in boxes. Someone before you placed this problem here and wished to leave it for later. They didn't think it was urgent, or maybe they thought it wasn't a problem. It's best if we leave it like here, surely someone will come along later and take care of it".
Thus begins this guided trip around an opaque monolith, a "black box" of which we only know the inputs and outputs. By handling the drawers, participants will discover big and small stories, until they realise that each action they perform is not isolated: every individual decision has a direct influence on the experiences of others. Their story influences the story of others, as their story is influenced by those of their companions.