fassbinder: everything is too much

written and directed by lisandro rodríguez 

This work is a landscape, an approach to an author and a life determined by doing not enough. Everything seems too much. The impossibility of loving and the imperative need to be accompanied at any price. The bodies want to be oppressed, this is the main defeat of the second world war. Fassbinder as a pig, as a poet, visionary, melancholic and somnambulist. With a work that runs out, that runs out and that subverts any type of moral and psychological order. An acting, sound and plastic landscape that breaks us apart means and moves us. The strength of Fassbinder lies in the possibilities it offers us; its brutal and luminous look on a world that continues burning. Money and love. The need for a break. The imperious force of recognition, a sacrifice to oneself, something that make us shine.

Poetics of Lisandro Rodríguez. The organization of Fassbinder: everything is too much, fuses sensitivities and affections: love songs, scenes that disarm, conceptual monologues, graffiti that scream of anger, melodrama porteño, a structure sound and space. Money and love. Let appear the tensions atmosphere that is not solve Create sensitive and sensual atmospheres. A Fassbinder world in Buenos Aires in 2018. Answer the questions that move Lisandro: what to do with him? With his work? See all the movies? Read everything? See everything? Love everything? What do we have to do with him? Germany and Argentina? Are we all accomplices? Theater today for what? What does it mean to do shows in the official theater? What would Fassbinder do with that? To move the unshakable. Hit the rock and get into the hole to see how it gets out of there. Live. Theater existentialist? But is not all existentialist art? Political theater? But is not all theater politician from Athens itself? Narrate. But narrate what? Not a happy art, but a society happy that you do not need art. Art in Buenos Aires in 2018? For what, for whom? Who does not Do you want to be loved? Work with chance, with the unexpected, with the detail, to configure a sensitive spatial framework with boiling bodies. Affect the viewer. Affect Affect us Who does not want to be loved? Fassbinder and his politicity: Fassbinder connects us with ourselves.

About Lisandro Rodríguez

He trained with Agustín Alezzo, Lizardo Laphitz, Julio Chavez, Mauricio Kartún, Alejandro Tantanian, Ricardo Bartís, Federico Irazabal, Mabel Salerno, Camila Mansilla, Juan Doffo, among others. He is a dramatist graduated from the Municipal School of Dramatic Art of Buenos Aires. In 2004, he created his own research and stage production studio called Elefante Club de Teatro (recently renamed Studio Los Vidrios), a platform where he develops and produces a large part of his work as well as coordinating laboratories / management workshops, staging , acting and writing for actors. Coordinates scenic laboratories in the interior of the country and in Uruguay, Peru, Mexico, France, Chile, Paraguay and Spain. Among her most outstanding works in theater are: Domestic Happiness, Diptych: Simple and She deserves the best, Switzerland (Annual cycle of small events), Conversations - a question of dignity, Asco, The earthly life, The future is old age ( Festival Scene 2012), Mabel and the immaculate, How the brothers sleep Moretti, I was born to see you smile, The love of the wall (Chile Emerging Festival 2010), Winter animal pudding (FIBA 2011), The sow woman (FIBA 2013 ), Urgent - images of a fair in extinction, intimate story of a new man, parody is fashionable and alternative venues encourage amateurism, etc.

In Film he starred in the feature film La Paz de Santiago Loza, premiered at the Forum of the 63 Berlinale and winner of BAFICI as best Argentine film and Special Jury Prize at the 17Festival of Lima. Win the award for best actor at the 22nd Biarritz Festival for his performance in the movie La Paz by Santiago Loza. He is assistant director and acting coach of the feature film "Ártico" by Santiago Loza. He is selected and participates in the Berlin Talents 2014. He is a jury of the official short film competition of the Guadalajara Film Festival 2015. He dictates a performance and direction seminar at the Talents Guadalajara 2016. In 2015, he presents at the 65Berlinale Forum, as an actor protagonist, co-writer and co-producer of the feature film "Mar" directed by the Chilean Dominga Sotomayor. In 2015 he presented his video-installation "No somos de acá" as director, within the framework of the Festival Manifiestos at C.C.Ricardo Rojas and at the Night of the Museums. He is currently working on the post-production of his first feature as a film director, Mío. In 2017 he is a jury of the INT Fiesta CABA and Curator of the National Programming of 11FIBA together with Maricel Álvarez and Luciana Acuña. In August of 2017 he presents a new work called "Dios" at the Recoleta Cultural Center. In 2018, he presents "Fassbinder, Todo es demasiado" at the San Martín Cultural Center and "Acá no hay fantasmas" at the Cervantes National Theater. Currently, he directs "Abnegación 3", which was part of the third Festival International Dramaturgy.

Cast: Horacio Banega, Sofía Cobás Alé, Carlos Defeo, Norberto Laino, Carla Petrillo,
Lisandro Rodríguez
Costume: Norberto Laino
Scenography: Sofía Cobás Alé
Object: Norberto Laino
Set Design: Norberto Laino
Espace Design: Norberto Laino, Lisandro Rodríguez
Ph: Nora Lezano
Costume assistant: Sofía Cobás Alé
Director's assitant: Paco Gorriz
Dramaturgy and direction: Lisandro Rodríguez
Lengh: 70 minutos

* This show premiered on March 3, 2018 in Room B of the San Martín Cultural Center (Buenos Aires). He was part of the Invocations Cycle under the curatorship of Mercedes Halfon, the executive production of Gabriel Zayat and the general production of Carolina Martin Ferro.