ZAHRA, FAVORITA DE AL-ANDALUS
ZAHRA, FAVORITE OF AL-ANDALUS
Segundo texto de una TRILOGÍA DE MUJERES MEDIEVALES.Zahra fue la favorita de Abderramán III, en honor de la cual mandó erigir la fabulosa Medina Azahara en las inmediaciones de aquella Córdoba centro del refinamiento, cuando el Islam dominaba gran parte del mundo civilizado.Esto conduce a una reflexión sobre el devenir cíclico de la Historia. Quienes fueron los dueños son ahora inquilinos de segunda fila. La favorita del harén en aquel lejano siglo X, tiene su contrapartida en otra Zahra, la magrebí del siglo XXI, que llega en una frágil patera a nuestras orillas, las del antiguo Al-Ándalus. Ambas historias se van entremezclando, conducidas por un narrador ciego.Relación con el público como elemento activo del drama, apelando a su imaginación creadora, donde una alfombra se transforma en barco, un actor agitando una rama produce una tormenta, una fruta es el paraíso y un puñado de tierra el desierto. Intertextualidad. Las historias empotradas de las 1001 Noches.Propuesta de realismo mágico, donde el sueño convive con la realidad, lo subjetivo con lo objetivo, la metáfora con la anécdota, lo cotidiano con lo maravilloso. Vinculación con el Teatro Épico más contemporáneo.
Second text of a trilogy of medieval women. Zahra was Abdelrraman III´s favourite, in whose honour he built fabulous Medina Azahara in the vicinity of Cordoba, centre of refinement when Islam ruled over a great portion of the civilized world. This leads to a reflexion about the cyclic evolution of History. Previous land-owners are now second class tenants. That X Century harem favourite has its counterpart in another Zahra, a XXI century Maghrebi arriving to our shores in a fragile dinghy, the shores of ancient Al-Andalus. Both stories intermingle, conducted by a blind narrator. There is a relation with the audience, an active element in the drama, in which the author appeals to their creative imagination, where a carpet becomes a ship, an actor shaking a branch creates a storm, a piece of fruit is paradise and a hand-full of dirt becomes the desert. Intertextuality. The 1001 Nights embedded stories. A magic realism, where dream coexist with reality, subjectivity with objectivity, metaphors with anecdotes, daily nature with wonders. The play is connected to the most contemporary Epic Theatre.
Second text of a trilogy of medieval women. Zahra was Abdelrraman III´s favourite, in whose honour he built fabulous Medina Azahara in the vicinity of Cordoba, centre of refinement when Islam ruled over a great portion of the civilized world. This leads to a reflexion about the cyclic evolution of History. Previous land-owners are now second class tenants. That X Century harem favourite has its counterpart in another Zahra, a XXI century Maghrebi arriving to our shores in a fragile dinghy, the shores of ancient Al-Andalus. Both stories intermingle, conducted by a blind narrator. There is a relation with the audience, an active element in the drama, in which the author appeals to their creative imagination, where a carpet becomes a ship, an actor shaking a branch creates a storm, a piece of fruit is paradise and a hand-full of dirt becomes the desert. Intertextuality. The 1001 Nights embedded stories. A magic realism, where dream coexist with reality, subjectivity with objectivity, metaphors with anecdotes, daily nature with wonders. The play is connected to the most contemporary Epic Theatre.
EspañolSpanish | |
DramaDrama | |
11 - 15 | |
11 - 15 | |
11 - 15 | |
> 3 | |
90 - 120 min. | |
AtemporalAny | |
Français, | |
Árabe | |
2001 | |
20 Octubre 2002 | |
Festival de Otoño de Madrid. Compañía Antonia Bueno. | |
4 publicaciones: Madrid 2002. Toulouse 2007. Cáceres 2009. El Cairo 2021 | |
3 publicaciones: Asociación Autores Teatro y Comunidad de Madrid, colección "Damos la palabra" nº 22. Presses Universitaires du Mirail-Toulouse, Théâtre de la Digue, collection nouvelles scènes. Bueno Pérez, Universidad de Extremadura. Colección textos UEX nº 16. Editorial CIFET, traducción Khaled Salem | |
Documento | |
En la casilla fragmento aparece el texto entero. | |
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Note: "All data have been provided by the authors, therefore, the AAT is not responsible for its accuracy".