Anaïs Nin loved as to love – Reuters

                 

                         
                     

                         
                     

                 

 
                         

It is a life for people over 18, the Anaïs Nin.

                     

                          Not because of the meeting with Henry Miller and the woman’s life both June, but because of what was already back ( The House of Incest was not only a novel she had written, it was the same house where he had lived with her father, Cuban pianist Joaquín Nin) and would continue to come until 1977, the year he died of cancer and not a natural death, as love never dies (“Anaïs Nin was right”, would tell the Brazilian poet and chronicler Fabricio Carpinejar, love dies “because we kill or let die” in “pathetic deaths, fierce, obituary and seventh day mass . “)

It would be more graphic: had a life for over 18 because of sex – in many futuristic sense, in many senses dangerous – who first lived and then transcribed, using all letters, doing all the drawings in a series of diaries that account an alternative history of the first half of the twentieth century. It is such an alternative history that seems “almost contemporary,” says the Upsilon Queiroz Rui Matos, who enacts Edgar Fernandes Lovebirds , the body-to-body with Anaïs Nin which opens today at the Charles Theatre Alberto, the 25th edition of the International Festival of Puppet Porto.

In many ways, by the way, Lovebirds has the weight of a first time for the Puppet Theatre port. There are precedents in graphics – João Paulo Seara Cardoso (1956-2010), the company’s founder, opened the logo in 1988 with his version for over 18 of a children’s tale, Little Red Riding Hood XXX – but not on the scale (the puppets Lovebirds are the size of an adult of normal height), or the (real and symbolic) weight to put real life on the back of an inanimate object (four in the case because Anaïs Nin articulated and life size, sitting in the chaise longue color pink, is a woman in series). “We wanted to do a show for adults, admittedly for adults, because it is the parent company of children’s plays with creations switch to a more grown up audience. And after some time working on this idea we have come to some conclusions. First, it made sense we use life-sized puppets, something we had never done. Second, Anaïs Nin was the right figure to the imagination – adult – that we will address, “explains choreographer Isabel Barros, who took over the company after the death of Seara Cardoso

Which of. Anaïs Nin (we just write that a woman is in series)? All respond Rui Queiroz and Edgard de Matos Fernandes: “The Anaïs Nin of diaries, Anaïs Nin The House of Incest , Anaïs Nin’s correspondence with Henry Miller, Anaïs Nin, and even of Henry & amp; June [Philip Kaufman's film in which Maria de Medeiros was Anaïs Nin and Uma Thurman was June, the wife of Henry Miller]. Basically, all women, insofar as they are sexier and more sexual. – And although we are men “

vital support

We also have its role here, men: anonymously manipulating the four puppets that are other possibilities Anaïs Nin (his own, watching your life away with and disruption of a voyeuse , a spectator, a visit, but also the other: Bijou, the prostitute; June, the woman of his life, and the androgynous, as Anaïs that moves between two genera), and opposite it (Simon Louis, the only male character Lovebirds , is both Henry Miller and other men who passed by Anaïs Nin, including the father). “It was her father who took her to write, was Henry Miller who took her to continue writing. As a woman and as a writer, the men were to Anaïs Nin a kind of life support. And this is also the role they have in this show – one role that requires a chemical that does not come suddenly, a willingness to discovery. At the same time, the fact that no actresses on the scene of our making to let the puppets are organizing this universe: a woman here would compete with the puppet, and would not be fair, “argue

Although natural size, women-puppet Lovebirds , created by Julius Vanzeler, not be confused with real women – are mechanical bodies, articulated, no blood, no saliva, no sweat. That’s why sex here, although explicit (textual and performatively), is not purely physical. “In her texts, the most obscene and most shocking images acquire an incredible poetic. More than about sex, Anaïs Nin wrote about love – but about love and sex, which basically is an almost contemporary idea. At the time, a life like Anaïs Nin was sinful, grotesque; seen today, almost a century later, it is mostly a very licentious life. Best, a very free life, “says Rui Queiroz de Matos

Lovebirds was done with that freedom -. Freedom of those who” runs the strangest and most wicked ways ” while hovering above it all. Do not bleed, do not salivate, do not sweat, these puppets. But may already have killed and are serial-killers dangerous, like all lovers.