
The latent voice
(first movement)
An actress, Raquel Ferri, gives birth. And an actress, Raquel Ferri, plays the night and day during which she gave birth.
Dreams can also be a matter of life or death. In this dream, the actress multiplies into different women, and prepares to give birth. And in some moment (from the past or the future) he relives the desires, the fears, the hopes, the friction of the bodies in transformation.
At the decisive moment of childbirth, real life and acting embrace and look into each other's eyes, just as it always does in our lives.
Access by professionals
With a deliberately dreamy tone, The latent voice explores the desires, fears and hopes of a woman at such a decisive moment in her life as childbirth.
Artistic team
Direction and assembly
Isaki Lacuesta
Performers
Raquel Ferri, Silvia Perez Cruz, Albert Ubach Font, Martí Ferri Ubach and Luna Lacuesta
photography
Adriana Villa Guevara
Camera Assistant
Pau Mira
Executive production
Isa Field
Changing room
Lorena Panea
laboratory
Cinelabs
Cinelabs coordination
Cornelia Pope
Kodak film
Alejandro Paino
Team Sílvia Pérez Cruz
Alex Sanchez and Albert Smiles
Music
The Womb (Silvia Perez Cruz / Sylvia Plath)
The latent voice
(first movement)
An actress, Raquel Ferri, gives birth. And an actress, Raquel Ferri, plays the night and day during which she gave birth.
Dreams can also be a matter of life or death. In this dream, the actress multiplies into different women, and prepares to give birth. And in some moment (from the past or the future) he relives the desires, the fears, the hopes, the friction of the bodies in transformation.
At the decisive moment of childbirth, real life and acting embrace and look into each other's eyes, just as it always does in our lives.
Access by professionals
Related Videos
the fire
In an ideal setting, the theater is a place of collective reflection where anyone can be, one of the last spaces of freedom we have left.
If there is freedom in the theater, it should also exist in its advertising. And the most free advertising would be the one capable of questioning its own product and consumer.
The theater is only the flame, but it is the audience that must stir it.
XII Playwriting Tournament (Semifinal 1)
14/11/22
DAVID MATARÓ - CARLA ROVIRA
The most anticipated match of Temporada Alta. Eight playwrights face the audience's verdict with the only weapon of the word. Each week two texts and four actors without technical requirements. Yaiza Berrocal, Víctor Borràs, Xavi Buxeda, David Mataró, Berta Prieto, Lola Rosales, Carla Rovira and Sergio Serrano are the participants of the twelfth edition of the Dramaturgy Tournament.
After four bouts, two semi-finals and a grand final, only one author remains who is declared the absolute winner. Let the show begin, authors in the ring!
XII Dramaturgy Tournament
(Final)
12/12/22
CARLA ROVIRA - XAVI BUXEDA
The most anticipated match of Temporada Alta. Eight playwrights face the audience's verdict with the only weapon of the word. Each week two texts and four actors without technical requirements. Yaiza Berrocal, Víctor Borràs, Xavi Buxeda, David Mataró, Berta Prieto, Lola Rosales, Carla Rovira and Sergio Serrano are the participants of the twelfth edition of the Dramaturgy Tournament.
After four bouts, two semi-finals and a grand final, only one author remains who is declared the absolute winner. Let the show begin, authors in the ring!
The Voice of Spain
In 1971 Jeanette revolutionized Spain with the song I'm Rebel. The subject was a worldwide success but here it was banned for underage girls. In 2018, and having suffered the biggest rollback of freedoms since Franco, another singer once again made an entire country fall in love with her Rebellion.
Amaia wins the reality show OT and represents Spain at Eurovision thanks to her talent and personality. She is the transformative figure capable of reaching all levels of society. She sings this song for us to hear again. She is the voice of Spain.
XII Dramaturgy Tournament (1st Battle)
10/10/22
DAVID MATARÓ - SERGIO SERRANO
The most anticipated match of Temporada Alta. Eight playwrights face the audience's verdict with the only weapon of the word. Each week two texts and four actors without technical requirements. Yaiza Berrocal, Víctor Borràs, Xavi Buxeda, David Mataró, Berta Prieto, Lola Rosales, Carla Rovira and Sergio Serrano are the participants of the twelfth edition of the Dramaturgy Tournament.
After four bouts, two semi-finals and a grand final, only one author remains who is declared the absolute winner. Let the show begin, authors in the ring!
Spot Temporada Alta 2009
A theater festival is like a melon: you have to open it to know how it is.
As a fruit, the melon has many virtues (against depression, for example) and is used in different cures. Apart from being a fruit, however, it has several symbolisms that can give rise to many, sometimes suggestive, interpretations.
THEATER
Is it legitimate to exercise violence in any situation? Can we use it for purely artistic purposes? Who can and with what intentions?
We have denied violence and that is why we no longer know how to react to it.
This hypothetical play or performance takes place in a train carriage, it is a real sequence shot, it takes the time just between two metro stops and you are its only spectator.
What will you do? What would you do? What are you doing?
XII Dramaturgy Tournament (4th Battle)
07/11/22
VÍCTOR BORRÀS - YAIZA BERROCAL
The most anticipated match of Temporada Alta. Eight playwrights face the audience's verdict with the only weapon of the word. Each week two texts and four actors without technical requirements. Yaiza Berrocal, Víctor Borràs, Xavi Buxeda, David Mataró, Berta Prieto, Lola Rosales, Carla Rovira and Sergio Serrano are the participants of the twelfth edition of the Dramaturgy Tournament.
After four bouts, two semi-finals and a grand final, only one author remains who is declared the absolute winner. Let the show begin, authors in the ring!
The Pleasure Island
A dangerous idea has taken hold: Culture is only for entertainment. It's a luxury. Because from the outside this place looks like a sunny amusement park? Maybe we sold ourselves badly and cheaply. Can we change it or is it useless? It is urgent to point the gun at us. If we consider culture as pure entertainment we will be Pinocchio on the island of pleasure. Playing, sleeping and laughing as we turn into donkeys that no longer serve only to carry stones.
Classic texts are part of our tradition and are never missing from festival and theater programs. Now, in the middle of the 21st century, perhaps the time has come to consider how we read and represent them. What do we make of their misogynistic, racist, LGBTI-phobic, classist and more messages, a product of the times and contexts in which they were written and, above all, how do we offer them to new generations, both in theaters and classrooms ? We talk about adaptations, revisions and subversions, always with a feminist perspective and a bit of punk.