All photos are by Giorgio |
Compared to "Perseus...", “Eric” has much less characters and almost no action.
It has long monologues, mostly between the two main actors. So, the two worked intensively almost every day for 4 months.
We concentrated on the relationship between gesture, word and space, how to make it true and one, the voice, the movement and the space.
The deep meaning of the words was a challenge for the actors, that were trying to incorporate it in themselves. The language's high level and message is inspiring but not easy to express. At the same time it is exactly because we are working with a text by Sri Aurobindo that every thing at the end fall into place, and we are carried...
We choose to have an intimate performance, with the actors sharing the stage with the public.
The play was performed on the 28 th , 29 th , 30 th and 31 st of March at Bharat Nivas Audithorium .
Actors:
Aurevan, Chris, Ruslan, Martin, Surya, Gandhi, Srimoyi, Rajaram, Samuel, Anandamayi, Jivatman.
Voice: Joy
Sounds: Aurelio
Aslaug's theme: Pushkar
Battle scene: Hung Yo
Aslaug's dance: Joy
Costumes: Loretta
Tailoring: Vydia and Nandini taylors
Leather work: Andre
Lights: Jean and Mahi
Stage design: Aryamani and Loretta
Handwritten: Marlenka
Candles: Rolf artist
Iron work: Dominic
Photos: Susana
Back stage: Jean Jacques, Yadav, Dinesh, Susana, Surya, Jayaram, Yelumalai
Map: Marc D.
Poster: Chloe
Material support for last moment little things: Janaka and Ulysses
Our most sincere thanks goes to: Norman, Guy, Batsala, Swadha, Andrea, Siv, Diana, Jiotis, Lila, Kalian, Mirco, Momo
Directed by Aryamani
Sri Aurobindo started working on Eric shortly after His arrival in Pondicherry in 1910. He developed the play over a number of years, making several different drafts. He places the action during the time of the Vikings, in a still divided Norway .
Our performance uses the last version from the Complete Works of Sri Aurobindo ( 1998 ).
Historically, the Kingdom of Norway was united at end of the IX century / beginning of the X. But rather then trying to give to Eric a historical frame, my personal perception and the one that attracted and inspired me, is its message of Love and Unification. Sri Aurobindo, in Eric (as well as in other plays ), freely uses a historical background to introduce His concept of evolution as it pertains to the building up of nations, and of Love as the Force behind this evolution. Also the presence of the Mother, here in the form of Freya , the Scandinavian goddess of love, beauty and fecundity is a major element. It is She that responds to Eric's call when he realizes that a mysterious “something” is missing in him, in spite of all his heroic achievements.
In my understanding, at such a historical time, men were not yet ready for more subtle forms of Love. Therefore, for Love to manifest, it must take the form of a very human love. In Eric , this means the love between a man and a woman. Through the conflicts of Aslaug , the princess and enemy of Eric, struggling within herself to face this so far unknown feeling, and Eric, recognising the force of the Mother, and using his vital strength to overcome her resistance, the play unfolds a timeless story to us, using ageless human archetypes, and thus putting us in touch with eternal Truths.
(Aryamani) |
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