All politics is now “spectacle”. With “Macbeth, Always” we ask ourselves what this is and how it is so. Shakespeare’s text clarifies the question: it looks at the spectacle of politics from within the spectacle, on stage. We submerge ourselves in some of the fundamental aspects of the political spectacle: the music, which dominates in a ritual manner; meetings, displays and speeches; the “colour of the voice”, from the nasal voices on television and radio with the most common colour of the political voice to the echo in meetings in sports pavilions (the seduction of sound is a fundamental part of the present political order); the visual and dramatic forms of the media from publicity to TV news slots. The means of “Macbeth, Always” are those of the modern political spectacle: electronic amplifications and transformations of the voice, projections, posters, and banners.
Voices and music for a spectacle. Based on the works of William Shakespeare.
Idea, direction and music: Claudio Zulian
From 14 to 16 November 1997
Actors: ELEONORA MARINO, ANDREA DE LUCA
Scenography: TONI RUEDA
Graphic design: AGUSTÍ FELIU
Video: JORDI REBOLLO
Electronic transformation of sound: JOAN JOSEP ORDINAS, CLAUDIO ZULIAN
IT conception: JOAN JOSEP ORDINAS
Executive production: ARANTXA GONZALEZ
Communication: MONTSE HERRERA
Magnetic tape made by LABORATORI DEL GRAME (Lyon)
and the NATIONAL CONSERVATORY OF MUSIC OF PERPINYAN.
A production of ACTEON
A co-production of the SALA BECKETT
With a grant from the MINISTRY OF EDUCATION AND CULTURE INAEM