“El Fabuloso Mundo de la Tía Betty ” (ghostly theatre) is the dramatization of the collective unconscious in a society that builds its behavior dynamics through lies, cruelty and death. It is a ghost that reminds us, with its apparition, the physical laws of nature: that every act committed remains embedded in a functioning social mechanism of repetition, abandonment and self-destruction.
BETTY 1: María de los Ángeles Oliver.
BETTY 2: Victoria Guercetti.
BETTY 3: Ada Cottu.
TIA LUCÍA: Maywa Vargas.
TIO PILÓN: Sebastián Arriete.
TIO JOSÉ: Exequiel Orteu.
“EL RAYO MISTERIOSO”.
Direction Assistant: Gianina Rodriguez.
Technical Assistant: Iván Brodoloni.
Text, Dramaturgy and Direction: Aldo El-Jatib.
Duration: 70 min.
A TRIP TO THE INSIDE OF OUR GHOSTS
More than 20 years ago, a bunch of actors gathered together around the figure of their master and director, unleashed an electrical storm of ethics and aesthetics over the calm waters of the river that surrounded the city that woke up one day illuminated by a lightning, both mysterious and blinding. Today, that “Mysterious Lightning” sets out on a new adventure, inviting us to take a ride in the ghost train of the enigmatic Aunt Betty, a new journey through their obsessions, a passage to the dark world of dreams, a one-way trip to “The Fabulous world of Aunt Betty” Julio Cejas, ROSARIO 12 Daily Newspaper, Sunday, May 3 rd , 2015
A POWERFUL SOCIAL METAPHORE Dynamism. A powerful display of trained bodies on stage. The play envelops the audience with chilling images. Everybody collaborates with a dynamism that never stops, a wheel that spins and spins, stimulating the spectator's senses. This play has many moments where humor appears, based on the repetition and the absurd. The play is enjoyable because of its power, its great capacity to stimulate spectators of different ages, and allowing a thoughtful laugh. Ulises Moset, LA CAPITAL Daily Newspaper, Sunday, May 17th, 2015
EL FABULOSO MUNDO DE LA TÍA BETTY, A PARADOX OF THE WORLD The play, written and directed by Aldo El-Jatib, generates a great visual impact and manages to unfold time and space, creating an infinite universe. The actors make use of their many resources, making their bodies, their voices and their movements to guide the spectator into a state of trance. Aldo El-Jatib, in a monumental work, sculpted giants of bones, dust and rotten flesh, that are born and die at every
instante ” . Barbara Blati, Via Rosario, The Journal of Bárbara, May 2015
"Here is one of all: the military dictatorship and Eva Peron, the naked and the dead, the trenches and family lunches, the madhouse and witches. The hodgepodge disconcerts the viewer, but also fascinates him. The repetition can tire him and disorient artificiality but instead, the physical courage of these great performers and disturbing beauty of many of the compositions are overwhelming." Francesc M. Rotger, The Journal of Mallorca, Palma de Mallorca – España
"All performers, plus an excellent technique, show a perfect combination. On stage, they squander exorbitant energy, as interpreted each endless characters. The plot does not give pause or respite and is based spun very brief scenes that occur at breakneck speed. It intuits that on the scene has vomited all the dramatic cosmogony is in the subconscious of the average Argentine. The director is at all times on stage, dressed as a nurse. It is the caretaker of the madhouse. His proposal achieves beautiful moments, with just a door, a table and a simple carra. A worthy and interesting work." Víctor Iriarte, NOTICES OF NAVARRA, Pamplona - España
"I often wonder why there are shows that drag on the undercard and plays involved like this happen in a flash in Madrid ... See this type of work is a breath of fresh air to hollow theater. A grotesque ritual filled with disturbing images, full of poetry." Adolfo Simón, QUE REVIENTEN LOS ARTISTAS, Madrid - España
"One of the most powerful and incredible work that I have attended in recent years, not only for the content and development, but also for the risky and the commitment of the play. The proposal that the company presents has two possible solutions when accepting: one would be very simplistic, and can be summarized in sequential crazy scenes describing the history of Argentina. The other involves a deep analysis, which should be made to the idea of the characters, the complex construction of their relationships or their misunderstandings, how to express it through formats of all kinds, some rhythms of vertigo, scare and trap while the public. Inevitably say: the work is complete madness, format plays with the emotional perceptions, while the texts and the development of action do so with hard fragments of history. The breakneck speed at passing the recent history of a century in Argentina, is perfectly reflected in the huge and almost crazy team dynamics. It is the convincing portrait of a society that is divided by the mass acceptance of the realities that encroach on them, and the minority left struggling to life." Julio Castro, LA REPUBLICA CULTURAL.es, Madrid – España
I left completely dazzled by the show and took a couple of days to process the information. The voices of the characters. The power in every face, every look. I got to wonder if they were human. How they passed from one character to another without a gap. I really recommend it and I could go on praising this play for more. Micaela Gazza, “El Corán y el Termotanque”, Rosario - Argentina
Assembly time: 3 hours.
Disassembly time: 2 hours.
Amount of people to move in tour: 8.
Stage space: Minimum space needed for staging: 8 mts x 8 mts x 5 mts height. Black box. It must be able to achieve total darkness in space
Lightning and Sound Requirements:
Lights: 18 Ellipsoidal ETC Source 15°/30° 750 Watts with Iris and 8 PC 1000 Watts. Console table of lights of 12 channels minimum, with dimmers.
Sound: Powerful enough to cover the whole room with high volume and good definition. Sound return on stage.
Other Requirements: Fog machine that is operated manually from the scene.
See lighting and scenic space plan.