Le soleil ni la mort ne peuvent se regarder en face

Lebanese culture, as seen in the references of this work, is linked from the earliest times to the same cultural background. From Greek mythology to the Bible or the Koran, the patrilineal and clan war blood path forge the societies and civilizations that develop in the world. From the time of Cadmus to ours, these cultural structures remain intact.
This led us to place the world of the piece in a single theatrical space, inspired by the lobby of an old grand hotel in Beirut, partially destroyed during the Lebanese civil war of the 70-80’s. The hotel had just opened. Looted and burned down, it has remained in ruins to this day.
This monumental space is the microcosm in which the protagonists are at loggerheads: an environment that can offer everything its inhabitants need: shelter, food, and entertainment. Outside, the urban warfare of the militia, forces the people from the hotel to leave the upper floors and settle in the lobby. Some staff members still ensuring minimal service despite the deteriorating situation.
The characters of the piece incarnate in this population adrift. They are no more Lebanese than Greek, nor more Muslims than Jews or Christians. They are our archetypes, models of our collective unconscious. Which is why the set materials are an extension of the materials the spectators will find in the theatre. The "fourth wall" of the hotel is behind the audience, who is, in a way, part of the stage. In this staging, the concept of architecture therefore imposes itself over the traditional concept of set.
Pierre Henri Magnin
Something similar happens with the sound and the image: the sound has been designed so that the space becomes a real time experience, and in order for time to have a place in the constructed space, image is in motion. Alternating between the fable written by the author, and our own fable which takes place on stage. To make this creation happen, the Colombian-Swiss team has invited young Mexican artists: Juan Ernesto Diaz (sound designer), Pablo Ramirez (cinematographer), Kay Pérez (illuminator) and Hugo Arrevillaga (resident director), whose imagination, talent and experience have been definitive in shaping our project.
Heidi and Rolf Abderhalden Cortés


Artistic Team 
Teatro de las Artes del Centro Nacional de las Artes

March - April, 2009

Mexico City, Mexico