Public Domain does without the actor as the main aspect of the show and leaves the audience as the only participant. It is not about turning the spectator into an actor, but about fulfilling the narrative possibilities of the group using statistical tools. The spectators are part of a fiction without the need of exposing themselves as individuals on a stage that, on the other hand, has as many actors as spectators watching the show.
Public Domain is part of a bigger work that deals with audience and participation. A book has been published as well (Querido Público) and we are starting to develop a new scenic project, a part of which could be seen in Nits Salvatges (LP’09), and whose name is Purely Coincidental.
Roger Bernat studies stage direction and dramaturgy at the Institut del Teatre (Barcelona), and he is awarded with the graduation prize of 1996 . Between 1997-2001 he founds and is in charge of General Elèctrica, a centre of creation of dance and theatre, together with Tomàs Aragay.
He is the author and has made the stage directing of among others the following pieces of theatre: 10.000 kg (special critic’s award 96/97), Domestic comfort (dramatical text critic’s award 97/98), Album, Trilogy 70, Good people, LALALALALA, Amnèsia de fuga, Everything is perfect or Rimuski. He has also directed videos like Polar, The tribe, Vero or What everyone knows but nobody dares to say. For the time being he is on tour with Public Domain, “the biggest play in the world” which can be seen in Murcia, Madrid, Barcelona, Berlin, Bruxelles and Zagreb.
This work is shown here with as courtesy of the artists with educational purposes.
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