One fine day, or night rather, a few strange individuals with defects and without noses, met up and founded Ga-Ga, a place to live in, a place in
which to show the best of their art.
And although they stumble, they try they bustle around, setting up and taking down the stage set, fall apart, tall out, lose their rouge, find it
again…Everyone has an obsession: laughter. Laughter as oxygen, laughter as food. Lou, Mirandolina, Marguit andMarguet need laughter in order to live. But the motives run out…
The hallucinated cabaret of Dr. Carrasco
Marta Carrasco is doctor cum laude with Ga-gà, a peculiar cabaret whose dramatic structure fits perfectly to that technique of succession of living paintings of great plasticity that Carrasco used and uses. The characters of Ga-gà are imperfect, strange beings of a hallucinated cabaret to which one
Farándula of excellence
Marguit, Marguet, Lou,
In an incessant run and draw curtains, makes appear the rest of characters that engulf those who come to them, who eat their noses, which twist, grow and decrease, whose food is assisted by a drop to a creepy picture. The appearance of the most poetic of the vaginas, an organism full of life and intentions, clitoris included, is overwhelming. The
A magnificent and exciting show
Ga-gà is a magnificent intimate setting, steeped in humor and emotion. Ga-gà is not a dance show. Nor does theater dance. Maybe we could talk about the theater of movement or gesture or theater of the senses.
Carrasco starts with Jacques Brel and places us in the metaphor of an old fair hut in which several physically imperfect beings exhibit, with a cruel innocence, their defects. Of this ugliness, Carrasco leaves to illuminate a happy sadness and to present to us the laughter like liberator element.
Carrasco saves to stop the rhythm and reach the heart. These are moments of brutal emotion, more and more present as the work progresses. A pampered and rigorous function. It is a show for sensitive souls.