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One of the most acidic and fun portraits ever made of social hypocrisy.
Oscar Wilde’s glorious career was suddenly ruined with a two-year prison sentence that accused him of indecency for his private life, just three months after he premiered this comedy.
The writer, who would not recover from such a hard blow, had often denounced the hypocrisy of an increasingly conservative and controlling society about the privacy of its citizens. A hypocrisy that, in a premonitory way, would become the protagonist of this delicious masterpiece about the love affairs of two young British men and their secret double lives, which anticipates some of the main avant-garde of the twentieth century.
NOTES BY THE DIRECTOR
Paco Nieva says that The Importance of Being Earnest is “a perfect theatre dream, a ruthless and eccentric comedy, perfect, beautiful and dreamlike like the life of a rose on the strange walls of a vertical garden”. A delicate rose that reminds us of that ephemeral and revealing beauty and life.
Wilde wrote a perfect piece full of dramaturgical wisdom and vital intelligence. With his uncomplicated replicas he makes the truth explode in the face of the spectators who feel constantly questioned.
Wilde works a large number of territories through which his characters walk: love, desire, origins, commitment, hypocrisy, identity and, above all, freedom, his much esteemed freedom, to be who he truly was, which led him to prison shortly after writing The Importance of Being Earnest. This feeling of freedom is present in the whole play. And perhaps the clearest concretion of this freedom is seen in two of the female characters, Gwendolen and Cecily, who live their dream life with as much or more intensity than their real life. Where are the limits of each of us? Why do we self-censor? How can we become, fully, ourselves?
Although it may be difficult to see, since we are faced with a luminous comedy, within The Importance… there is also a strong death drive. Like any work of art that resonates with us, after more than a hundred years of being created, what Wilde explains to us about how to live is profoundly linked to the fact that this existing think (as we know) only happens once and that our “stay” in this world only makes sense if we become free.
Directed by: David Selvas
Translation: Cristina Genebat
With: Miki Esparbé, David Verdaguer, Paula Malia, Paula Jornet, Laura Conejero, Mia Esteve and Norbert Martínez.
Sage designer: Jose Novoa
Lightning designer: Mingo Albir
Sound drsigner: Lucas Ariel Vallejos
Costume designer: Maria Armengol
Make up and hairstyle design: Paula Ayuso
Choreography and movement: Pere Faura
Musical direction: Pere Jou y Aurora Bauzá (Telemann Rec)
Original music by: Paula Jornet
Assistant director: Sandra Monclús
Costume designer assistant: Raquel Ibort
Technical chief: Arnau Planchart
Stage manager: Julio Aparício
Sound operator: Efren Bellostes
Tailor: Irene Fernández
Stage builders: Carles Hernández “Xarli” and Òscar Hernández “Ou”
Costume made by: Goretti Puente
Photography by: David Ruano | Felipe Mena
Teaser: Mar Orfila
Produced by Teatre Nacional de Catalunya and La Brutal.
With the collaboration of: Marco Pascali, Punto Blanco y Optica Sanabre
Thanks to: Fluren Ferrer y Dagoll Dagom
Lenght: 1h 45 min.