Faust, eternally dissatisfied, willing to make a pact with devil in order to achieve genius, immortality and power, is a recurring figure in Western thought since the mid 15th century, and the character who is most often used to describe modernity. Goethe, probably the author that best represents the European literature of ideas, was interested in the Faustian myth since his childhood, from a popular marionette show. Years later, specifically in 1808 and 1832, Goethe’s two-part Faust was published in Germany, although the author would not stop revising it and revisiting its theme until his death in 1832. A century later, another European genius, Fernando Pessoa, took Faust as the central axis of a work, in addition to revising the myth, relating it to the avant-garde movements which had become the focal point of the European artistic scene.
F@ust 3.0 begins where Goethe’s Faust I and II end (this was the only choice considering the complexity of the work and the fact that it is written in verse), and is a free version in which the feeling remains but the landscape is modernized. Faust continues to be held captive by his dissatisfaction but he no longer makes a pact with the devil. Now Mefisto is no more than his dark side, the self hidden by social conventions. On the other hand Margaret continues to be the eternal victim of Faust and the Fausts, a paradigm of violence committed against the weak.
Although the first part of Goethe’s Faust has been adapted many times, no one had confronted the task of staging the second part, which has a less clear narrative but extremely rich content. La Fura undertook the task with full knowledge of how difficult a challenge it was.
This research into the figure of Faust begins with an italian-style drama, continues in La Fura’s staging of Berlioz’s The Damnation of Faust and in the film Faust 5.0.
Àlex Ollé, Carlos Padrissa (La Fura dels Baus).
Pablo Ley, Àlex Ollé, Carlos Padrissa, Magda Puyo.
Dirección de actores
Creación y realización vídeo
Franc Aleu, Emmanuel Carlier.
Diseño de vestuario
Big Toxic, Àlex Martín.
Carles Bertolín, Alberto Pastor.
Directora de producción: Lina Valero.
Ayudante de producción: Mireia Romero.
Administración del proyecto: Anna Vinuesa.
Road manager: Lourdes Español, Carole Groia.
Jefe técnico: Susana Jové, Ramón Tetas.
Regidores: Andrés Herrera, Cristina Sánchez, Joan Náger.
Vestuario: Toni Allende.
Atrezzo: Alberto Pastor, Juan B.Torres.
Maquinista: Carles Bertolín, Pulgui.
Técnico de vídeo: Xavi Correa.
Técnico de iluminación: Dani Santamaría.
Técnico de sonido: Roc Mateu, Marc Romagosa.
F@ust Music On Line
Creación: La Fura dels Baus, Sergi Jordà.
Dirección: Carlos Padrissa (La Fura dels Baus).
Diseño, creación y desarrollo de software: Sergi Jordà.
Gestión Web y Software Web: Microgénesis S.A.
Diseño infográfico: Franc Aleu.
Escenografía de máscaras: Roland Olbeter.
Ayudante de producción: Mireia Romero.
F@ust Music On Line es un proyecto patrocinado por Fundación Autor y Sociedad General de Autores y Editores.
28/4/98, en el Teatre Nacional de Catalunya, Barcelona.
Un espectáculo producido por Weimar 1999 Cultural Capital of Europe, Teatre Nacional de Catalunya y Centro Dramático Nacional; con el patrocinio de Freixenet, Mercedes Benz, Pabellón de España – Expo 98 Lisboa.
With this performance, based on the work of the same name by Goethe and conceived for a conventional theater space, La Fura for the first time approaches the eternally dissatisfied figure of Faust, that is, for many, a symbol of cutting-edge art.
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