Mary is a woman who beats eggs while humming the tune to the Elena Francis programme. This is the first scene which gives its name to the whole work. In Mary d'Ous we picked up again the fifth game from El Joc, the canon. The parallel between music and theatre has always interested us greatly. One of the biggest problems of the theatre is the supremacy of literature and the distance that separates it from the most primary roots of the individual. Music is a very direct art, instinctive and sensorial, though at the same time capable of evoking highly evolved and civilised images. It is an art in its pure state that produces powerful physical reactions: it is capable of making our hair stand on end, of accelerating our pulse, of making us cry. (La guerra dels 40 anys. Els Joglars)

Work on the production began in Pruït (Barcelona) in June 1972, and it was finished in Barcelona in early December of the same year.
The formal intention of the piece might be described being an attempt to achieve the maximum efficacy on stage with the minimum possible story line and stage set.
The production developed out of improvisations and studies made by the actors working around the generic theme of the transposition of the structure of music onto drama (the canon, fugue, counterpoint, variations on a theme, etc.).
It would be wrong to try and read into this work any other conceptual notion since it was never intended to be literary theatre or theatre of ideas. The public is free to take the piece as they wish, just as they would react to a painting or a piece of music.
We set out to develop a language that was nearer the senses than it was to pure intellectual speculation, without prejudging, however, the conclusions that each member of the audience might draw from the images and sounds offered from the stage.

CAST AND PRODUCTION LIST

Marta CATALÀ
Lluïsa HURTADO
Víctor MARTÍNEZ DE LA HIDALGA
Ferran RAÑÉ
Glòria ROGNONI
Andreu SOLSONA
Jaume SORRIBAS

STATISTICAL SUMMARY