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Teatro de los Sentidos Press Comments on „La Memoria del Vino“ during the festival „Fòrum 2004“ in Barcelona It is a tantalizing trip through every corner of sensuality and warmth, a token of the organical term describing the scenic experience which was sought after by Artaud or Grotoswski. It is an elaborate piece at the antipodes of cold microphones and screens presented by fashionable theatre. If we follow this imaginary trail using our body’s memory the spectator gets a lasting impression, sensing that he has lived through a stimulating and never to repeat adventure surrendering to the world of illusion as soon as he has put off his shoes. Avui, Spain It is a strange perplexity emanating from the feeling that something inside has been divided. Maybe it ist our alter ego who has us dance with strangers, to communicate with all of them, to be accomplices on all secrets which pass from mouth to ear... When we leave the tent, drunk on the experiences and a bit also due to the wine, two hours will have passed whithout us noticing. Night falls on us to prolong the dream that we have returned to our childhood. It is amazing how good these people can leed us! El Pais, Spain  The third production of Teatro de los Sentidos gets to us during the Fòrum like a fresh gust after all these stand up microphones, screens, discjockey and other excitements... The poetry resulting from the way that space has been transformed is an intricate part of this production full of stimulating elements, hold toghether by the spirit of the Mediterranean See and connecting to the most ancient tribal rites. El Periódico, Spain  „The Memory of the Wine“ reminds us of initiation rites for the visitor, starting the minute he puts off his shoes to enter a world of textures to be touched and smelled, which will plunge him into the universe of Bacchus (Dionysos)... The behaviour of the actors and the atmosphere created by light and shadow is essential to seduce the spectator, even more than in other productions. Every one will experience caressing the grape, treading it and finally drinking the most during a celebration full of atavistic connotations depending on how much he can get himself uninhibited. La Vanguardia, Spain   Other press comments „Oráculos“ never leaves anybody fully untouched, for what starts in a mirror hall with the gaiety of a fair results in a radical experiment as we step forward with columbian director Enrique Vargas blending elements of magic and psychoanalysis into an emphatical theatre of counter enlightment. We quickly lose any sense of time an space, and those who can´t recall why they as kids refused to sleep in darkened rooms will remember it here. A certain structure is only dictated by the random principle of tarot cards whose often sinistre messages create the thrill of a ghost train. The actors of the Teatro de los Sentidos are the inhabitants of the labyrinth: they tell tales full of symbols, teach you to grind the corn but also may put an end to a visitors lifeline, who has reached a hippie-like realm heavy with the smell of incense after having crossed swaying bridges and passed through narrowings like a mother’s uterus. Abendzeitung, Germany Enrique Vargas is subversive, this he confirms with a childlike smile. His theatre of the senses is a game that is playing with the perception we have been taught. Visitors must pass one by one through a dark labyrinth looking for the answer to a question they have put themselves. They have to feel, smell or hear the answer which they already bear inside without using words. „There is no such thing as innocent playing“, Vargas tells us. „Of course there is a political aspect to Oráculos. Our civilization lives on rationality and amnesy.“ If you’d question both you would draw quite different consequences than those spread by the church or governments. Nevertheless you shouldn’t picture Mr. Vargas as being a Che Guevara of theatre. The subversive force is a side product, it is not the principal target. Vargas’ work is based on the greek mythology. The first labyrinth was called „The Thread of Ariadna“. „This is the thread of that which passed. The Minotaur lived in the labyrinth as a symbol of the irrational. This was destroyed by the Greeks. We still have to bear with the consequences.“ To part with the world of conceptionalism and rationalism the visitor must let himself fall. Therefore security is an important issue. Without fealing safe nobody lets himself fall. „It ist just like children with their grandmother“, Vargas explains. „They also ask for beeing scared as a game, but only beacause the feel safe with their grandmother.“ It is also due to children that the Columbian discoverd theatre as a game. „I had a very sinistre phase during which I could find no meaning in theatre. Just for therpeutical reasons I startet to investigate the connection between myths, customs and the games of children in the Amazone region.“ His own theatre and the research work behind it lead to many prizes like one from the UNESCO. „The aknowledgment is pleasing“, he smiles slyly, „but it gives you no money.“ Abendzeitung, Germany In Columbia people refer to a „tertulia“ when friends, neighbours and relatives get together on a square to exchange stories. You may pick the guitar while doing so, speak with your hands or decorate the story with play requisites. In „Oxtail Soup“ Enrique Vargas and his Teatro de los Sentidos want „to share stories with us“ in the Ufa-Fabrik. We are meant to see the biggest in the small and the smallest in the biggest. Berliner Zeitung, Germany  The Thread of Ariadna is a delirium of the senses, an avalanche of impressions, a stream of emotions, a singular experience that noone should miss. Le Figaro, France During this trip to Ittaka there are intimate corners where you would love to linger. It is theatre, of course, but it is far away form beeing a presentation. It is rather an encounter with yourself during half an hour of impressions and relaxed intimacy. Diario 16, Spain Leave your stress in the cloak-room, leave as well your shoes and socks, let yourself be lead through the labyrinth of life. Vargas managed to smell today’s air. You cannot possibly describe this trip, you only have to know, that you have to smell, touch, play and listen. L’Express, France A trip full of whispering. Time Out, England I had the intimate experience of having discovered a miracle. It feels as if you’d stand at the beginning of a road to yourself, a road you once forgot. Repúblika, Slovenia Oráculos gives you the feeling of having been given an extremely valuable gift, but at the same time it is so fragile it threatens to disappear when your try to put it in words. The Times, England The presentation ist fascinating because it manages to drive the traditional concept of theatre into a crisis by having each spectator live his own experience. Il Manifesto, Italy Since his creations at the Gut Theatre during the Seventies in N.Y. Vargas’ theatre uses as pivot the spectator who in the Labyrinth-Trilogy becomes the absolut protagonist of an individual and intense experience. There are no familiarities with the spent take-part-theatre... El País, Spain The spectator advances slowly, feels his way between walls of cloth, he’s lead by whisper, by far away laugh, he advances as small children do, curious, at the same time confident and slightly perplex. Le Parisien, France