Encara hi ha algú al bosc
Cia. Cultura i Conflicte (Catalonia)

  OPENING SHOW      VARIOS 

Wednesday 1st September (9.30 p.m.) TEATRE TARRAGONA

It happened in the heart of Europe, two flight hours away from Barcelona. Here we were cherishing the Olympic euphoria. They lived it a few years ago in Sarajevo. Suddenly, the television offered images from the concentration camps in Bosnia and Herzegovina mixed with the count of Olympic medals in Barcelona. In Novembrer 2020 it will be 25 years since that war officially ended, in which between 25.000 and 50.000 girls and women were raped as a strategy for ethnic cleansing. Most of the victims are Muslims, but there are also others who are Croatian, Serbian and gipsy. Their stories are identical, and most of the survivors live in silence, ignored by the institutions, and rejected by their own families. This play gives voice to the memory and the determination of such women and children and the sons and daughters born from the rapings to fight against oblivion, now that the focus and the cameras have left Bosnia a long time ago. For Bevenka, Milca, Meliha, the war is not over yet. The pain they feel is so heavy for them that, “there’s someone in the woods yet”(“Encara hi ha algú al bosc”). And we, where were we? Where are we?

Catalan. 100 min.


Cast and Creatives
Dramaturgy: Anna Maria Ricart Codina
Investigation and documenting: Teresa Turiera-Puigbò Bergadà
Direction: Joan Arqué Solà
Cast: Ariadna Gil, Montse Esteve, Òscar Muñoz, Magda Puig, Judit Farrés, Pep Pascual and Erol Ileri
Movement and assistant director: Carla Tovías
Music: Pep Pascual and Judit Farrés
Video: Erol Ileri Llordella and Tyler Franta
Scenography design: Xesca Salvà
Set construction: Jorba-Miró
Clothing design: Rosa Lugo
Lighting design: Sylvia Kuchinow
Technical manager: Xavier Xipell “Xipi”
Technicians on tour: Rafel Roca and Marc Jódar
Production direction: Òscar Balcells
Production: Judit Codina Serra
Crítica
“Ricart and Arqué could have created a montage even more tremendous. But they decided to only include the moments that allow us to breathe. To do so, they include the real life of the actors, so that they talk to us about what were they doing at the time when, in the Balkans, atrocities were happening and, in Barcelona, we were celebrating the Olympic games or the first Champions of Barça. It is daunting to see how close the tragedy was and how far from it we were. As now, they remember us that the Mediterranean is full of dead immigrants.” Andreu Gomila, El Temps de les Arts.