The magic was the first approximation to massive cognitive and senses games in the nineteenth century. A magician was primarily a magician who deceived the senses based on the progress made with the understanding of optics and techniques that are developed around the light´s phenomenon. From this perspective, the reality could be manipulated, first in pictorial realism of romantic illusion-idealistic, photography and the cinema were ascending the steps that created formats containment and creating reality.
From "No blood," could say that is simply a sensory experience as a game experienced in these interactive museums, that the "reality" have a different interpretation, as if the character of his jump animation gaining "a real life" without the need to be in front of viewers with 3D glasses.
Drama is one way to contain and create realities, language that has been long settled in the development of humanity, representing the official truth or subversion, has made history with a potential infinity. The modernity brought with their efforts refounding new forms and formats. Since the photo-printing to the development of equipment deployed lived movement, the construction of texts containing universes, designed to disseminate a message, distracting, again contain truths official or subversive. We talk about the casting of two ways, which in any case have been in ongoing relationship and dialogue during the twentieth century.
Drama and film are two means that finally there to make us suppose, anchors that allow playful entertainment, sensory or mass fascination of a message. They are instruments available to a creator of "Power", which have enabled understand or know the observers these worlds created intentionally to change our references with onirical influence our ways of accepting or socializing generate dialogue of ideas and trends. This crossing is what surprised "No blood" It is a game of artifice, multimedia should say, where various techniques are used to stimulate the senses, illusions, from the gaze of the viewer posed a projection of moving pictures, showing a montage scenaries designed to worry, with glances subjective , the effect of "ghost tour", planes and other general forms of cinema that help at a pace unusual intention that in any case could be resolved in developing the techniques of drama, with a creative team tested in the deployment of art former "La Tropa" - but that was appreciated by the visual richness that succeeds. It''s drama of the breaking of forms. The death looming shadow over which the cold fields of rye.
Adapted from a play by Alessandro Baricco, "No Blood" is the exploration of the nature of man in particular circumstances. "Murdering is not only kill…" think before Chen''s body asleep arms merchant in "The Human Condition" André Malraux.
This idea could give a reference to the multiple dilemmas that presents the adaptation of the "Cinema Theatre" since the decision by the trio of "justice" who seek to end the pain hit "Hyena" Manuel Roca, a doctor involved in crimes, is clear and premeditated. Only death cure the pain of death, appears to be the message. And the consequences remain to the survivors to death, again, that sum revenge by revenge. In developing the act of "justice", revenge operates from the viewpoint of subjects but also from the State executed when the undesirable, is the hand that is extended when the joint human face harrowing struggles, when the pain of another is in order to achieve the supreme triumph.
All this has always been what we have seen in human history, which is still repeating on a cyclical basis and perfect in its logic of annihilation: Iraq, Rwanda, Kenya, Guatemala… and that is justified since it functional speech in power. The perversion of the human condition. But behind all this is a light, thin line that we inquired forward, as the conclusion of a nightmare that at the end of the closure has a dream of hope, breaking the circle, the optimism of not letting all fade away in the night of rye field, confident that ultimately emerges daylight.
Work: "No Blood". DG: Juan Carlos Zagal. Author: Alessandro Baricco. Company: Cinema Theatre. Cast: Laura Pizarro, Juan Carlos Zagal, Fontecilla Diego, Ernesto Anacon, Etienne Bobenrieth. Text and adaptation: Laura Pizarro, Daun Totoro, Juan Carlos Zagal, Fontecilla Diego. Art Director: Rodrigo Bazáes. Comprehensive Art and Design: Cristian Reyes, Cristian Mayorga. Original Music: Juan Carlos Zagal. Running time: 1 hour 30 minutes