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CHIFLÓN, El Silencio Del Carbón

Compañía Silencio Blanco

Stage of the Grande Auditório (September 9, 10 and 11, at 20:30)

Archive-House (September 12 and 13, at 16:00)

>6 (50')

9 Sep - 20:30 | 10 Sep - 20:30 | 11 Sep - 20:30 | 12 Sep - 16:00 | 13 Sep - 16:00 | 2015

Admission 15 €

The mine collapses. A young miner is expelled from the coal mine in which he works. His only chance to keep working for the mining company is to head for the area of Chiflón del Diablo, known as one of the most dangerous places a miner can work. Daily situations allow us to know the intimacy and fragility of the characters, their daily heroism, and the unconditional waiting and uncertainty endured by their women, not knowing if their miner will come back again. It is a forgotten by history or perhaps buried deep in the coal mines, immersed in a true black silence. Silencio Blanco rereads the story of El Chiflón del Diablo by Baldomero Lillo, distinguished Chilean author, expressing the human side of the characters through white paper marionettes, which do no speak and narrate the story through their movement, gestures and a sonorous universe that lacks dialogue. The audience shall undergo this silence as well, giving a meaning to history through their experience.


Em colaboração com o Programa Gulbenkian Educação para a Cultura e a Ciência


Chiflón © Lorenzo Mella

The Silencio Blanco company is characterized for working with white marionettes, constructed with a newspaper base, and in silence; no dialogue is used and the marionettes do not speak. In the montage, human sensations are representen through everyday situations through gesture movements. This demonstrates that the human movement transmited through the marionette can provoque such an ilusion that it appears as if even the heartbeat of characters can be heard. The company, created in 2010 with the De papel (Of paper), continuing with El Pescador (The Fisherman), concentrates on its third montage Chiflón, el silencio del carbón (2013) (Chiflón, the silence of coal), whose creative process lasted more than two year, in which an investigation trip to the mining town of Lota and the marionettes were constructed. By not using any text nor dialogue, the company has been able to include a very broad audience, without the limitations of language nor the use of subtitles. There is no cultural, social or age limit for the audience.