The war breaks out. Jean, a young private, and the virile Captain Fidel Castra are stranded alone in the most complete solitude, far from the front line. The enemy is approaching.. They are awaiting on the orders..
« The show alternates intense violent moments with lighter poetical instants in the style of comic trash. It is a politically incorrect and caustic show that involves the art of pantomime and plays on different genres; burlesque, art performance, not to be missed! »
Froggy’s Delight (october 2012)
Fidel Castra is a dictatorial clown with dreams of
greatness. Like all dictators, he is fascinating,
attractive and repulsing at the same time. He
exacerbates both a devilish and enticing violence.
Yet, his war jacket hides the tenderness of the heart
of a Lady.
Juan-Luis Barox is a clumsy clown, devoid of
manliness, a sissy. He is fascinated by Captain
Castra. He is looking for a father who could teach him
the masculinity he lacks in. This fascination is going to
lead him to commit the worst, by murdering an
He is an Air clown.
Barox engages in combat under the orders of Captain Fidel Castra in the Army of “Savoir Vivre”.
War breaks out.
Fidel Castra and Juan-Luis Barox are suddenly propelled into battle and then very quickly isolated away from the
They settle camp and await an order that never comes.
Fidel Castra is going to teach Juan-Luis Barox what “Savoir Vivre” is and will try to make a real soldier out of him.
STATEMENT OF INTENT
How could the Age of Enlightenment – rational and philosophical –, Parliamentary Democracy and Scientific Research lead to the brutal political aberrations produced by the last century?
The show itself is an aberration in response to a non-less aberrant historical reality.
The performance unites and brings closer, in a same grotesque form, both Civilization and Barbary. By claiming values assimilated to Good, our civilization invariably invents a malediction made of all that does not enter this definition of Good.
He is an Earth clown.
From then on, it designates an anathematized enemy that must necessarily be eliminated. This is what the last century, “the century of (powerful) ideologies”
eloquently showed with its death camps and gulags, its racial genocides, class cleaning and mass atrocities.
However, in the beginning, it is not unreasonable to believe that a true and sincere desire to change the world might have existed. In the end, nonetheless, a real slaughter it is. In this subconsciously deliberate mistake or acte manqué, in this vile failure, there is something deeply human, an archaically fundamental fall. This universality of the fall is an issue that Clown always deals with.
This show was “born from the stage” throughout the improvisations of clowns Fidel Castra and Juan-Luis Barox. They are the ones who have engendered this hideous world, a bizarre object sprung up from the primitive and muddy depths of Clown.