There were many ways; and there will be many more. The literature on walking the way has become more popular in recent years, and Le Breton, Thoreau, Herzog, Handke and many others have taught us that the way is an abstract idea and above all a gesture of resistance to the world of capital; an invitation to pause. The idea of walking, pilgrimage and routes underlies all three of the Galician pieces we present today.

The piece by Los Bravú is a trip around the world by the new people of today, including stereotypes and the relationship with new technologies. Pentecostés (Pentecost Day), from the company whose new name is Pálido Domingo, places the emphasis on the body of effort, on small movements that define a body that walks and fights for a goal. Tres vellas (polo menos) (Three Old Women, At Least) tells us, as does all the work of storytellers, of a country full of poetry and intimate and passionate stories; of work, emigration and long journeys taken to survive.

At the same time, all the international artists we present here always include the idea of movement and transformation. That is the case of the journey by Dorothée Munyaneza from her native Rwanda, where she lived through the tragedy of the 1990s, to Marseilles, where she now lives; without missing the opportunity to maintain alive the memory of what happened in her country. But it is also present in the physical journey through extenuation (a performance lasting four hours) of Relay by Ula Sickle. It is present in the infinite routes in Europe taken by the Hungarian Eszter Salamon, who lives in Berlin and Paris (this time with her mother accompanying her) and in the routes of the evil and violence that appear in the piece by Gisèle Vienne. We find it on the route taken by flamenco (Leonor Leal) to its current version and mixed language, on the path of exploration of the language of Romain Teule and on the route taken by Hamlet until he leaves the theatre and ends up being tried by a real judge, in the production by Roger Bernat.

A friend told me once that her grandfather, who lived in a village that was practically abandoned, dedicated the final years of his life to keeping the mountain paths to and from the village open. When she asked him why he did it, he answered simply – in case someone ever needs them. Today that is still our way.

 

Pablo Fidalgo Lareo
Artistic Director
Escenas do cambio Festival