Original and Innovative Show Prize
Festival Internacional de Teatro y Artes de Calle de Valladolid 2016
The street becomes an unusual stage that enhances everything that happens. Situations are fleeting, casual transients, images that, treated from the game, humor and absurd, lead us to a reflection on human behavior and relationships. Groups that are randomly formed, improvised meetings, quiet rebellions that occur at any moment in the world without being perceived and that allow us, from time to time, to be optimistic about the future of humanity.
Flux is an invitation to the game and to the participation of the public. An invitation to look at each other in the eyes, with the intention of transforming the street into a space of communication and fun.
Flux, from Zanguango
Review by Enrique Gavilán
(Professor at the University of Valladolid)
The street theater recovers an artistic form that our world has become marginal, for an audience that would otherwise be alien to it. It contributes to transform the street and its inhabitants.
The street is itself a theatrical space, but not only as decorated. It is rather the play of looks that constitutes it, a simple and at the same time very subtle distribution of papers. Flux, from Zanguango, is counted in this respect among the most interesting representations that have been seen in the TAC of Valladolid in recent times. It does not present a spectacle alien to the street, but it makes of the street itself a spectacle, with a surprising intelligence and efficiency.
By means of a simple and inexhaustible device it turns those who, sitting in wait of the spectacle, we have believed to adopt the position of spectators, in defenseless victims of the attention of those who pass. Afterwards, it is the passers-by themselves who are trapped, protagonists of an open and unforeseeable drama. They cross the crossfire of our eyes as characters from their own history. It is the trap of theatrical space and the effect of Txubio's irreverent tale, a delirious and brazen speaker who parodies the voice-over of the media, making it erratic and accurate. Involuntary actors in a space they thought they knew, the walkers are portrayed in caricature, so lucid and uncomfortable profiles.
For a little more than an hour, in a dynamic constructed with realities that seem fictions and fictions that unmask realities, Miguel Muñoz transforms the street into a surrealist crossing between the Benjaminian Passage and Callejón del Gato valleinclanesco. No one escapes a game that catches and fascinates. The red carpet of Zanguango allows for a few seconds the peddler reaches his ridiculous glory. It makes him see himself differently in a scenario that denounces the present and at the same time claims the future.