{"id":247,"date":"2017-07-24T18:51:00","date_gmt":"2017-07-24T16:51:00","guid":{"rendered":"http:\/\/www.alfredo-arias.com\/new\/?p=247"},"modified":"2017-07-24T20:01:19","modified_gmt":"2017-07-24T18:01:19","slug":"tatouage","status":"publish","type":"post","link":"https:\/\/alfredo-arias.com\/new\/tatouage\/","title":{"rendered":"Tatouage"},"content":{"rendered":"

Tatouage, Trois tangos, Cabaret Brecht Tango Broadway<\/a>\u00a0\u203a\u00a0Tatouage<\/em><\/strong><\/h4>\n

d’Alfredo Arias<\/h2>\n

en tourn\u00e9e\u00a0de novembre 2010 \u00e0 mai 2011<\/strong><\/h4>\n
\u00e9crit et mis en sc\u00e8ne par<\/strong>\u00a0Alfredo Arias
\ntraduit de l\u2019espagnol par<\/strong>\u00a0Ren\u00e9 de Ceccatty
\navec<\/strong>\u00a0Alfredo Arias, Carlos Casella, Sandra Guida, Alejandra Radano, Marcos Montes
\narrangements musicaux<\/strong>\u00a0Diego Vila
\naccessoires<\/strong>\u00a0Larry Hager
\ncostumes<\/strong>\u00a0Pablo Ramirez
\naccessoires<\/strong>\u00a0Larry Hager
\nson<\/strong>\u00a0Julius Tessarech<\/h5>\n

Cette pi\u00e8ce musicale retrace les \u00e9pisodes rocambolesques et douloureux de la vie de Miguel de Molina, n\u00e9 dans une famille modeste en Espagne. Miguelito va quitter le foyer maternel pour devenir boniche de bordels. Entre les prostitu\u00e9es et les tor\u00e9ros, il apprendra l\u2019art de divertir et de chanter. Ce qui le conduira tout naturellement sous les projecteurs.<\/p>\n

La guerre civile espagnole \u00e9clate. Il chante pour les soldats r\u00e9publicains. A la suite de quoi, il sera surnomm\u00e9 la \u00abfolle rouge\u00bb ou le \u00abp\u00e9d\u00e9 rouge\u00bb. La guerre termin\u00e9e, Franco prend le pouvoir. Un sordide impresario franquiste tente de l\u2019exploiter. Miguelito r\u00e9v\u00e8le sa nature, ce qui lui co\u00fbtera presque la vie. La police du r\u00e9gime le passe \u00e0 tabac et le laisse pour mort. Comme ils n\u2019ont pas r\u00e9ussi \u00e0 l\u2019\u00e9liminer, il sera mis en r\u00e9sidence surveill\u00e9e. Apr\u00e8s maintes p\u00e9rip\u00e9ties, il parviendra \u00e0 s\u2019\u00e9chapper. Il triomphera \u00e0 Buenos Aires, mais le bras du tyran le rattrapera une nouvelle fois, l\u2019emp\u00eachant d\u2019exercer son art. De nouveau en Espagne, \u00e0 la merci de ses bourreaux, il s\u2019enfuit au Mexique o\u00f9 la chance n\u2019est pas au rendez-vous. Finalement Eva Per\u00f3n, femme du pr\u00e9sident argentin, lui donnera refuge. Le spectacle th\u00e9\u00e2tral que nous avons construit \u00e0 partir de cette rencontre, s\u2019ouvre sur une s\u00e9rie de dialogues entre les deux personnages qui nous permettent de saisir jusqu\u2019\u00e0 quel point ils sont le miroir l\u2019un de l\u2019autre. Elle lui dira : \u00abVous avez \u00e9t\u00e9 un p\u00e9d\u00e9 pour le franquisme et moi j\u2019ai \u00e9t\u00e9 une pute pour l\u2019oligarchie de mon pays !\u00bb Ces dialogues, \u00e9maill\u00e9s des musiques et chansons, font revivre ces deux \u00abmarginaux\u00bb, lumineux et uniques, qui ont d\u00e9fi\u00e9, chacun \u00e0 leur mani\u00e8re l\u2019Histoire : lui avec celles qui sont propres \u00e0 la sc\u00e8ne et elle avec celles des coulisses du pouvoir. Le spectacle \u00e9pouse la forme du music-hall, alternant des sc\u00e8nes, monologu\u00e9es ou dialogu\u00e9es, et des chansons, donnant ainsi la possibilit\u00e9 aux personnages de s\u2019envoler dans les stratosph\u00e8res de leur d\u00e9mesure et de leur folie.<\/p>\n

\u00abL\u2019histoire de Miguel de Molina est tellement espagnole qu\u2019il est douloureux de seulement l\u2019effleurer. Le drame d\u2019un talent bris\u00e9, broy\u00e9 comme celui de la g\u00e9n\u00e9ration divis\u00e9e par la guerre civile dont les vainqueurs ont fait preuve d\u2019une infamie d\u00e9pourvue de toute d\u00e9cence et de toute compassion. Miguel de Molina \u00e9tait l\u2019artiste le plus g\u00e9nial de cette \u00e9poque et c\u2019est sur lui que la hargne des nouveaux ma\u00eetres d\u2019Espagne s\u2019est abattue. Avec toute la force, l\u2019arrogance et la vulgarit\u00e9 de ceux qui se sentaient intouchables.\u00bb<\/em>
\nArturo Perez<\/strong>\u00a0\u2013 Reverte extrait d\u2019un article publi\u00e9 r\u00e9cemment dans El Pais<\/p>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

Tatouage, Trois tangos, Cabaret Brecht Tango Broadway\u00a0\u203a\u00a0Tatouage d’Alfredo Arias en tourn\u00e9e\u00a0de novembre 2010 \u00e0 mai 2011 \u00e9crit et mis en sc\u00e8ne par\u00a0Alfredo Arias traduit de l\u2019espagnol par\u00a0Ren\u00e9 de Ceccatty avec\u00a0Alfredo Arias, Carlos Casella, Sandra Guida, Alejandra Radano, Marcos Montes arrangements musicaux\u00a0Diego Vila accessoires\u00a0Larry Hager costumes\u00a0Pablo Ramirez accessoires\u00a0Larry Hager son\u00a0Julius Tessarech Cette pi\u00e8ce musicale retrace les …<\/p>\n

Tatouage<\/span> Lire la suite\u00a0\u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":260,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[8],"tags":[],"class_list":["post-247","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sous-page"],"acf":[],"_links":{"self":[{"href":"https:\/\/alfredo-arias.com\/new\/wp-json\/wp\/v2\/posts\/247","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alfredo-arias.com\/new\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/alfredo-arias.com\/new\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/alfredo-arias.com\/new\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/alfredo-arias.com\/new\/wp-json\/wp\/v2\/comments?post=247"}],"version-history":[{"count":3,"href":"https:\/\/alfredo-arias.com\/new\/wp-json\/wp\/v2\/posts\/247\/revisions"}],"predecessor-version":[{"id":261,"href":"https:\/\/alfredo-arias.com\/new\/wp-json\/wp\/v2\/posts\/247\/revisions\/261"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/alfredo-arias.com\/new\/wp-json\/wp\/v2\/media\/260"}],"wp:attachment":[{"href":"https:\/\/alfredo-arias.com\/new\/wp-json\/wp\/v2\/media?parent=247"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/alfredo-arias.com\/new\/wp-json\/wp\/v2\/categories?post=247"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/alfredo-arias.com\/new\/wp-json\/wp\/v2\/tags?post=247"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}