15/11/2016 | Cesc Martínez | Linkhttp://ifbarcelona.cat/en/david-espinosa-teatre-dombres-tres-dimensions/ |


David Espinosa: Bwana Devil 3

David Espinosa’s oeuvre, with its contemporary baroquism, congregates a vast territory of performing art forms. Having trained acting and with experience in dance, choreography and physic theatre, he reached a saturation turning point in the use of his own body as scenic material. By that time, he already had a latent and genuine interest towards exploring new languages and territories that are meant to be conquered outside the boundaries of knowledge itself. Since then, he has followed an expansive and coherent evolution that has lead him to presently produce objects and shadow theatre in 3D. However, he did not abandon the path of museum installations he had started previous to that, and some of those were launched in the framework of IF Barcelona.


IF: The sad figure you presented in 2015 was a performative installation that closed the Puppet Trilogy cycle but opened new pathways, right?

David Espinosa: Well, yes. My work with objects theatre begins following the latest crisis, which opened a hole through which a lot of money was lost on big productions. That was when I began to question how I would face the big format. The only solution I saw was to do it in scale. At that first production, My masterpiece, there was a kind of live stop-motion which made my universe intersects with that of the objects theatre. From that point I felt a growing desire to continue working with those bodies but in another direction.

Then I thought about not touching the pieces and I realised that, to animate them, what I could move around these figures was light and sound. At that second show, Much ado about nothing, there was already the idea of compiling a collection of figurative objects that would jointly represent the human body, that would embody characters’ interpretations from diverse works (in this case, William Shakespeare). It is the idea we have been trying to develop since The sad figure of Adult Toys and Performing Arts.


IF: Explain this idea a bit further.

David Espinosa: After Much ado about nothing, I got the sensation that the shadows game I was doing on stage could also reach the audience, that the spectator himself could play and create scenes with different durations. He would be the one to develop the shadows game. El Quixote seemed to fit well in that idea because the spectator reads the sculpture as if it was a novel and makes giant shadows where there are only toys that are like windmills.


IF: What about Bwana Devil 3?

David Espinosa: Bwana Devil 3 follows the same idea of an objects collection arranged in the form of a sculpture, but in this case it refers to the cinematic universe. The title comes from one of the first 3D films in history we discovered in the process between Sad figure and Bwana Devil 3, which is the way to make shadows in 3D.


IF: And how are they made?

David Espinosa: The device is very simple: it consists of applying a blue and a red light over the object and then decode it with glasses that contain filters of the same colours. The idea is to unfold what it will be a Triptych, a route in three shows through cinema, dance and opera. These works will have three basic colours, and they will be white for cinema, black for dance and golden for opera. It is a good thing that the figures in Bwana Devil 3 are all white not only because of the symbolism, but also because they become a screen for the figure’s shadows they have ahead of them, thus creating more three-dimensional figures. The effect is astonishing.