How would define the
political content of your work?
STARDUST is a piece that
dissects the journey from the coca leaf sacred to indigenous communities in the
Amazons and the Andes to a line of Cocaine in a mirror in the fast moving world
we live in; a world driven by an insatiable need to consume.
In the piece we talk about the human and cultural cost that
cocaine production, traffic and consumption have in communities in Latin
America, the general association that Colombians are by
default directly linked to cocaine and narcotrafic, the criminal element that
is immediately transferd to us as a result of the stigma and how this allows
xenophobic narratives and policies to exist. It questions the role played by
the Western world in the history that lead to the growing popularity of
cocaine, the voracious demand for the drug, the point in which the whole thing
became illegal, the economical reality of the illegal trade and where the money
actually goes to, the anti drug policies, and of course the war on drugs and its impact on the less privileged
and marginalised communities all over the world - but in particular In Colombia
and Latin America.
Yes, we know... this is an gigantic issue, an extremely complex
worldwide problem that has millions of sides to it, and strong interest that
drive it – there are no easy solutions.
But STARDUST is not a piece created to just deliver information or
to provide answers - afterall, the information already exists and can be easily
Googled by anyone. So what the piece is intended to do, is to make the journey
a relevant one for the audiences and to be an affecting piece of theatre and to generate a strong emotional connection with
the audience inviting them to actively engage and play an active part in the
search for change.
STARDUST departs from the understanding that any real change
starts with the individual and that in order to generate individual changes we
need to touch people’s inner fibers and invite them to empathise, to care.
As humans it is part of our survival instinct not to engage or
care for things that don’t affect us, and why would we? Everyone has enough things to deal without
spending extra energy on things that
they don’t really care for.
If we don’t empathise with something or someone, we don’t care
about them - and if we don’t care, then we do nothing. And that is exactly
where the transformative powers of theatre play a pivotal role. The shared
experience of seeing a group of people – actors - go through live struggles in
front of our very eyes, the intimate
relationship that can exist between the
audience, the actors and the show, means that people can empathise with a
difficult life situation without having to live it themselve, or have a direct
connection to those to it through a family member or friend.
With STARDUST we aim to
deliver information and speak out about
a pressing and complex issue but our main goal is to create that that emotional
connection with our audience that we know can transform them into active agents
of change.
Are there ways in which
your work can engage the audience beyond the immediate emotional rush of the
content, and move forward towards further action?
There are many things to be done; the issue is complex and
around the world individuals and organisations are working tirelessly to find
solutions working to change drug policies, supporting problematic users,
supporting farmers in small communities in Colombia, supporting farmers and the
use of other coca products like teas, creams and shampoos that is happening in
Bolivia and parts of Colombia, defending the lives of social leaders who are
demanding state support in isolated areas of Colombia and many more. As a
theatre company we are particularly encouraged by the potential of channeling
our audience’s response to the work and we direct them towards practical steps they
can take. In our previous show ‘Pedro and the Captain by Mario Benedetti’ A
play about torture, we partnered up with NGO REDRESS who support victims of
torture and we gave the audience three simple actions to take, sign a petition,
donate, write a letter to a victim.
With STARDUST the journey to define those exact practical
actions is still finding its way. People may think we’ll be telling people to
stop using cocaine, but that is too simplistic; the issue is much bigger than that-
and whilst that is an action some people might chose to make, we are certainly
not telling people what to do and it might not necessarily be the only or
actual solution. For this show we have counted with the support of the IDCP (International
Drug Policy Consortium, RELEASE (UK), ATC (Col) ANZORC (Col) and others who
have informed the piece through their knowledge and experience and who have joined
us during the post show conversations we organise with the audience, a space
where we invite the audience to talk and voice their opinions - which is the
very first step to further action and change.
With STARDUST we are not necessarily looking to give answers or
solutions, we are looking to connect deeply with the audience and invite them
to join us in the conversation, be part of an open an honest dialogue where we
question our relationship with the whole issue, the role we play and our share
of the responsibility. This might not seem like much, but we strongly believe
that further action starts with an emotional reaction and the urgent need to do
respond to that emotion. With this show we have seen how are audience is
desperate to talk, to share their points of view and to react. Yes, we have
heard of radical changes people make in their behavior regarding cocaine
and the way the see the drug issue, cocaine,
coca, Colombians and themselves - which is a testimony to what the impact the work
can have. And whilst we will continue to try find those exact actions that we might
guide people to take, we are motivated by starting a conversation.
How far do the material
conditions of the Fringe impact on the process by which you make theatre for
it?
This is the first show I’ve taken to the Edinburgh Fringe and
whilst the conditions of the Fringe mean the show needs shrunk a bit to fit the
space; and also the length, (the piece originally lasted 65 mins and we had to
cut five ... not easy) the show since its inception was created with the idea
of it being portable and adaptable. STARDUST was initially R&D’d as part of
an Artist in Residence program at CASA Latin American Theatre
Festival in 2017 and the full production premiered at VAULT festival 2018, so
the structure of fringe festivals has already been taken in to consideration.
The main goal with this show was to be able to take the message
everywhere and with that in mind the decision for it to be a solo piece came
about, as well as the choice to use a minimalist set. The one thing that been
important for the work, is not to let the conditions affect the ambition and
quality. I tend to see parameters and creative challenges more than limitations;
there is so much that can be achieved when there is little. In a way the game
is to outwit the conditions; that in itself is exciting and tickles the
imagination, challenging creativity and resourcefulness.
I have had the chance to do
excerpts of the show in places without theatrical
conditions, places like small galleries and outdoor festivals - and what is initially
a bit daunting, has given birth to new solutions and new details that now
inform the show. I am very much looking forward to Edinburgh fringe, I am
excited to see what new things will come and how the piece will develops.
STARDUST
Pleasance 10
Dome
August 1st –
27th 4.20pm
