“I BELIEVE THAT, MORE THAN BE AN INVENTOR, A DIRECTOR SHOULD BE A DISCOVERER. THE WORLD OF CONTEMPORARY ART IS DEEPLY OBSESSED WITH INVENTION, BUT I BELIEVE THAT A DIRECTOR IS SOMEONE WHO APPRECIATES THAT WHICH ALREADY EXISTS, WHO RELATES TO THE VIRTUES OF THE TEXT, WHO KNOWS HOW TO READ THEM, WHO LEARNS HOW TO VALUE THEM AND TO TRANSMIT THEM TO THE PERFORMERS WHO IN TURN MAKE THEM THEIR OWN AND WHO ARE CAPABLE OF COMMUNICATING THEM TO THE AUDIENCE IN AN ORGANIC WAY, REAL, IN AN IMPULSIVE WAY, IN A DEEP AND MEANINGFUL FORM.”
There are two aspects of stage directing that, following the teachings of Meyerhold, Ignacio García puts into practice with care and efficacy: the concept of the mise-en-scène as the art of composition coupled with the need to establish a dialogue with the dramatist; in other words, referring to the second point, the obligation to carry out a deep study of dramaturgy, just as we know it today. García believes that a stage production possesses an interdisciplinary component, whereby text or musical score, scenic space in its broadest sense, interpretation, elements of significance, and so on, are transmitted to the spectator by way of “an ecumenical perception”, according to Barthes, that is harmoniously constructed within the scenario through “sensual artifice, gesture, tone, distance, substance, lighting…”
Text by José Gabriel López Antuñano
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