El pasado es un animal grotesco
It’s 1999 in Buenos Aires. Mario, Laura, Pablo, and Vicky are in their mid-twenties and ready for careers, love, and adulthood. Over the next decade, Argentina’s economy will collapse and their ... More
About This Performance
It’s 1999 in Buenos Aires. Mario, Laura, Pablo, and Vicky are in their mid-twenties and ready for careers, love, and adulthood. Over the next decade, Argentina’s economy will collapse and their lives will take a series of unexpected turns. In this fast-paced, multilayered “mega fiction,” director Mariano Pensotti deftly unfolds the lives of these 4 characters. El pasado es un animal grotesco is a funny and moving portrait that takes place atop a slowly spinning turntable stage. Guided by a narrative voice-over, we are granted access to a string of defining moments in the touching and tumultuous lives of the group. Moments that illustrate how quickly and easily real life can transform into fiction and back again.
Performance: Feb 11, 2012
Venue: On the Boards | Seattle, WA
Duration: 110 min
Posted: May 30, 2012
Cast & Credits
|Text & direction||Mariano Pensotti|
María Ines Sancerni
|Set & costume design||Mariana Tirantte|
|Light design||Matías Sendón|
(& Ricardo Sica)
|Sound Engineer||Demian Chorovicz|
|Assistant director||Leandro Orellano|
|Technical and production assistant||Juan Pablo Gomez|
About The Artist
Mariano Pensotti, a young director and writer based in Argentina, has become one of the most noted experimental directors throughout the world. His unique sets and depictions of life are told with a filmic sensibility honed in years studying cinema at the Dramatic Arts Instituto Universitario Nacional de Artes. For his work he has won the prizes Rozenmacher, Clarin and Premio F; and the schollarships Unesco-Aschberg, Rockefeller Foundation, Fundación Antorchas and Casa de América de Madrid.
“[Pensotti creates] a compelling portrait of the self-obsession of his own generation that achieves that rare feat of profoundly moving an audience without ever descending into trite stereotypes or easy sentimentalism...The production is also blisteringly funny.”
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