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Rumo a Cardiff
Video adaptation of Bound East for Cardiff
Companhia Triptal de Teatro
São Paulo, Brazil, 2006

Director: André Garolli     Musical Director: André Lima
Assistant Director: Adonay Donley    Lighting: Nuno Bezerra
Light Designers: Nelson Ferreira and Roberto Fernandes
    
Video Editor and Cinematographer: Patricia Alegre
Translated by: Fernando Paz
 
Cast: Cacá Amaral, Roberto Leite, André Luis Lima, Bruno Feldman, Uryas de Garcia, Fernão Lacerda, Reinaldo Taunay, Ari Cegatto, Fausto Filho, Igor Constantinov, José Jesus, Rodrigo Juan, Rodney Monteiro, Will Prado, Wilson Rebello, Yoram Blaschkauer, Roberto Fernandes, Alex Del Claro, Alexsandro Santos, Fritz Gianvito, Gildo Fontolan, João Carlos Luz, Jorge Campos, Pedro Canovas, Reginaldo Costa,Wagner Menegare, William Costa Lima, Thiago Tomasi
 

Companhia Triptal was formed in 1990 with the mission of creating innovative productions for children.  Their first project, Maria Clara Clareou, staged seven texts of Maria Clara Machado, a popular writer of plays for young people.  For the past decade, the company has staged more adult productions with a special interest in the O'Neill's early sea playsZona de Guerra (In the Zone), Longa Viagem de Volta pra Casa (The Long Voyage Home) and Cardiff (Bound East for Cardiff), collectively titled Homens ao Mar (Sea Plays).  Crafted in a variety of nontraditional spaces, Triptal's rendering of these works has brought the company considerable success in their home country:  Zona de Guerra was awarded the prestigious APCA (Criteria Association) Award for "Best Spectacle" and was nominated for the Premio Shell de Teatro (Shell Theatre Award) for its striking gritty production.  Cardiff received Shell nominations for its outstanding direction and musical direction, and received the Premio Shell for Best Scenic Design.

To director André Garolli, O'Neill's sea plays deal with characters who feed themselves with dreams that they couldn't achieve, because the chosen ways lead them to failure.  Garolli parallels O'Neill's time period with that of the contemporary world by abstracting the original texts and creating a highly physical and environmental staging.  Garolli intends the resulting tension between text and staging to bring O'Neill's common humanity to the forefront, while drawing the audiences into the world of each play in unexpected and unconventional ways.

This imaginative approach to O'Neill's work is meant, says Garolli, to open cracks to disclose worlds that the text only suggests....  The friction between these texts from a century ago and the contemporary theater we are producing is the spark that keep the fire in the furnace and the ship on course.

In the audiovisual versions of the plays, says Garolli, we did not want simply to film the acting performance. Specially in Cardiff, we tried to "walk" the camera into the stage, integrated into the scenery and take part of the action, a language dialogue between theater and video. There was no change in the actors interpretation or its original play format.


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