Pessoas Patiencies
a dramatical fuga in four voices
based on the 'Book of Unrest' and other texts by Fernando Pessoa
text, stage-direction, set- & costume-design: Cordelia Dvorák
production assistant: Claudia Cabrera
light: Raffael Mendoza
choreography: Rafael Rosales
music: Erando González
with Silverio Palacios / Erando González, Arnoldo Picazzo, Juan-C.arlos Remolino / Carlos Orosco
and Antonio Salinas
production: Cordelia Dvorák & Companía Miranda
Teatro Helénico / Festival Londrina
Mexico / Portugal / Germany / 2005
Lisbon. Rua dos Douradores : The desk of an accountant who is a poet.
And from there he imagines life. The sea is not far. And yet too far.
Thought sails are hoisted, day after day. But the longing remains.
On the lower floor: the ordering of the seas as trade correspondence all over the world.
Above: fictional dialogues, imagined encounters with 'alter egos' and heteronyms,
reflected in infinite monologue-loops and mirrored again and again along imaginary life coordinates.
Have and should of unpaved days. Daily verification of the existence account.
A "drama en gente".
Script and director: Cordelia Dvorák
Lightening: Raffael Mendoza
Set- and costumedesign: Cordelia Dvorák
Music: Erando González
Production assistance: Claudia Cabrera
Producer: Cordelia Dvorák / Companía MIranda & FONCA
Teatro Helénico, México City: 2005 / 2006
Festival Internacional de Londrina / Brasil
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with Erando González, Silverio Palacios, Arnoldo Picazzo, J. C. Remolina
Carlos Orosco and Antonio Salinas
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Lisbon, rua dos Douradores: The desk of an accountant, who is actually a poet,
and from there thinks life.
The sea is not far, and yet too far to set sail and set out.
Sails of thought are nevertheless hoisted, day after day. But the longing remains.
Downstairs: The accountant Bernardo Soares, behind half-closed blinds in the semi-darkness
of an import and export office.
The upper floor: imagined encounters, fictitious dialogues and alternating life hypotheses
between Alvaro de Campos, Ricardo Reis and Alberto Caeiro.
First-person drafts are played out, like desperate patience.
Everyday reassurance of one's own existential account: credit and debit of unsecured days.
"Pessoas Patiencencies: a thoroughly sensual enjoyment !"
Bruno Bert, TIEMPO LIBRE
“... a poetic collage that leads us into Pessoa's reflections on life.
A moving theatre experience that reminds us of the impetus of the Book of Unrest.”
Silvia Ortega, time out
"Based on the fragmentation of the main character in four voices, an extremely
convincing scenic play that doesn't neither avoid humor (...) The evening is compelling
in its discipline, rigor and simplicity, with which a great enchantment is achieved, we rarely
experience in contemporary theatre."
Noé Morales, Jornada semanal
“Cordelia Dvorák and her experienced team set out on the difficult path
to make the invisible universe of the poet Pessoa visible on stage. The result is great (...)
At the end of the theater evening, the impression remains of having been a secret guest in Pessoa's soul world.
Thanks to the dramaturgical rigor and the compellingly magical image, there are no emotional excesses,
but the moving encounter with this kind of Pessoan world and life pain, which persecutes us all again and again."
Fernando de Ita, REFORMA
“Cordelia Dvorák shuns the theatrical convention of conflict dramaturgy by offering much more intimate encounters ...
Pessoa's language complements wonderfully with the scenic and choreographic elements,
including Portuguese fados and Stravinsky touches. ”
Erika Bucio, REFORMA
- awarded in 'Tiempo libre' as one of the three best theatre productions in 2005 -
Un Mambo con La Catrina
13 scenic calaveras between this world and the beyond
after 'Bajo tierra' by Davíd Olguín
with texts by Octavio Paz, José Gorostiza, Xavier Villarutia, Rosario Castellanos, Jaime Sabines and José Gudalupe Posada
Text-adaptation, stage-direction, set- & costume-design: Cordelia Dvorák
Production: Cordelia Dvorák & Cia. Miranda
Lightening: Raffael Mendoza
Choreography: Emma Trujillo
Music: Erando González
with Adriana Ríos, Carlos Cobos, Arnoldo Picazzo and José Flores
Switzerland / Mexico / 2009
Kulturbahnhof Basel / Festival más acá del más allá / FONCA / Fundación Bancomer
The Mexican death - La Catrina - is a woman: sensual, humorous and sexy.
Dressed in chocolate and sugar and tastes sweet. That's why you'd rather dance with her than flee her
- a mambo for example ...
A modern interpretation of the Mexican death myth, inspired by Holbein's Dance of Death-Zycle in Baal and the calaveras by the famous Mexican lithographer of the revolutionary era, José Guadalupe Posada.
"A sensual satire about Mexico, how it suffers and lives - a great tragic comedy!"
Reforma
“A round of thirteen scenic vignettes in a meta-theatrical role play:
Theatre as an escape and a playfull space in the face of transience ...
On the painful borderline situation of Mexican migrants, the sexual confusion
of Catholic priestsand cowboy-like political conspiracies are alluded to as well as our
own paradoxical attitude between hate and love, humor and horror that characterizes
our attitude towards finitude."
Noé Morales: La Jornada semanal
“In a powerfully ironic-satirical gesture, the director unites Posada's caricatures
in this vivid baroque spectacleabout the difficulties of life with the idea of ​​Hans Holbeins'
dance cycle. Cordelia Dvorák brilliantly portrayed the artist Posada in his own universe in
this macabre carnival. (...) A bittersweet mambo. "
Jorge Ricardo, La Jornada
“A death-dance imaginary-sheet between pleasure, shudder and critical satire (...) with a lot of dance and singing
on the catwalk between this world and the afterlife (...) as well as allusions to the political scandals of recent months (...)
which are held up to the public as a frightening caricature mirror.
This multifaceted chamber musical was celebrated with great enthusiasm by the festival audience.”
Ingrid Vega, La Crónica
“And so we live the 'borrowed' life of two gravediggers, the clerical meeting of Father Cobos and his valet Clavito, the“ preciosos ”and other personalities of current political life, which are wonderfully reinforced due to the great musicality and physical expression of Carlos Cobos and Arnoldo Picazzo, the vocal sensuality of Adriana Rios and the troubling presence of Marcelino Flores.”
Oswaldo Valdovinos, Uno más Uno
Ulissas - mujeres urgentes
homage to Clarice Lispector
Text, direction, set- & costume-design: Cordelia Dvorák
Production: Cordelia Dvorák & Cia. Miranda
Lightening: Raffael Mendoza
Music: Erando González
with Gelía Álvarez, Adriana Ríos, Flor Edwarda Gurrola, Norma Angélica and Tara Para
Mexico / Brazil / Germany / 2009
A contemporary odyssey with seven oddyssas into the female cosmos, where they discover the secret and the challenge of their lives in the supposedly banal and everyday: in the reflection on motherhood while watching an egg on the kitchen table; or becoming aware of the impermanence when chewing a chewing gum aswell as encountering their demons in the face of cockroaches, rats, chickens and a buffalo ...
In search of an emergency exit from their lives, they accidentally stumble into fantastic, surreal universes, where they have surprising encounters with God, death, love and their own masks
.
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Yvonne, Princess of Burgundy
by Withold Gombrovic
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stage direction: Sylvia Ventoretti
costume design: Cordelia Dvorák
130 Grados
von Sylvia Pellaez
Regie: Sylvia Ortega Ventoretti
Kostüme: Cordelia Dvorák
Teatro Granero, México City, 2006
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Las Meninas
by Ernesto Anaya
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stage direction: Juan Pablo García
set- and costume design: Cordelia Dvorák
Teatro Juan Ruíz Alarcón
Titus Andrónicus
after William Shakespeare
​
stage-directíon: Anna Francis Moor
set-design: Juliana Fessler
costume-design: Cordelia Dvorák
Petroucka
by Igor Stravinsky
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choreography: Angel Michels
light: Raffael Mendoza
costume-design: Cordelia Dvorák
choreography: Angel Myers
light: Gabriel Mendoza
costume-design & masks: Cordelia Dvorák
Companía de Danza Contemporanea Querétaro 2001
Opera Fantasma
The Four Seasonns
by Antonio Vivalentine
Choreography: Angelo Myers
Lighting: Raffael Mendoza
Costumes: Cordelia Dvorak
Companía de Danza Contemporanea de Querétaro, 2004
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TrilogÃa Copi
director: Daniel Giménez Cacho
set-design and light: Gabriel Pascal
costume-design: Cordelia Dvorák
Teatro El Milagro, México City 2003
by Robert Gernhardt
director: Anette Spola
stage & light: Er´berhard Kürn
costumes: Cordelia Dvorák
Kammerspiele München, 1998