It is he who brings longhorn the past and the present, well, we anticipate the future with temporar

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Beckett opened the season with the release of a superb spectacle: This is not an appropriate place for dying, longhorn a work of Albert Boronat and directed by Judith Hill, which will run until September 29. Alicia Molina attests to Cloud.
Six players (Xavi Alvarez, Pepo Blasco Cadafalch Rosa Oriol Genis, Oscar and Sergi Mas Torrecilla) longhorn analyze a story that begins when the young man who plays Ronnie Torrecilla found his dog dead on the road on the outskirts of his town. This fact and their intentions to bury it will be the pretext for the story can reveal family as we live about themselves (what they expect, what they try to preserve, how many fears and confront contradictions ...) and respect the town where they live (which is echoed in the eyes of each other, the percentages of these words, rumors, what decisions do you make ...). This is not an appropriate place for dying people speak of the territory, which t'atorguen others what you grab ... A country that draws a line that goes from the point where the external risk in the human relations, to the intimate territory of one that has more to do with the idea of giving yourself permission to hold you, to tell you your own story from the viscera, showing the light parts A darker territory ... which ultimately exposes as a dropper that was falling slowly, the feeling of how difficult life.
Under direction admirable text flowing around actors, from first to last, defended his role with dynamism, freshness, accuracy ... Although it is quite a piece of coral that everyone could stand as vivid and spectacular moments the scene of the car with the actors and Pepo Blasco longhorn Rosa Cadafalch or the Oscar spread rumors But while he continually screwing tools showing a metaphor longhorn for how we screwed longhorn the lives or that father and son played by the Oriol Genis and Xavi Alvarez respectively the real and metaphorical garden's father tries to keep clean, symbolizes a relationship that takes your breath away when you hear such harsh words, no anesthesia or masks that attenuate ... Although it is quite coral, say, the thread of the story will unravel the character he plays Ronnie Torrecilla seamlessly combining the roles of narrator and son together.
It is he who brings longhorn the past and the present, well, we anticipate the future with temporary markers seamlessly integrated into an imaginary time line that is quite clear how these cuts have been constructing longhorn a story that we are capturing and Finally, we as a fan to the ground and rolled our eyes exposed. It is he who takes us into a human geography full of hidden corners and edges and opens the doors of these underground worlds from discursive forms as varied as the narrative that takes us by the Actional history and descriptive and poetic strength with which we plunge into the depths of the characters. Over and over they make you fall in love in each size that you discover and connect with their vulnerability. And of course, the weight falls dialogues full of metaphors, word costing you go and finally see the light ... Dialogues two or three voices with responses and counter staple that provide dynamism and agility to text although it has moments where did you digging in deeper layers longhorn of the skin, you also get a few laughs to boot thanks to embalms ironic situations that arise.
There are other allies to create a relaxed atmosphere at times. Apart from the pace well played by Judith Hill and assistant director John Arqué combine targeting and how each of the pieces of this mosaic human, another thing that stands out is the music of Marcel Bagès playing behind it, as also being a character longhorn and helps to lower the density of the room on occasion or connect with the emotion that is suspended in the air. Highlight in the end the entire set of props: the