Django in Pain
16th April, 2022
I would like to thanks this year’s 2022 Brighton Fringe team who had the foresight of sending me this link for the special performance of the already outspoken ‘Django in Pain’. The unfolding story of Django has been, as you will see, a work of many good facets. We are met with its writer and director in the figure of Antonio Vega who came on screen to speak about of the reasons for this work of how it had all come to be. So then he opened it all up to us, all in the name of a period of debilitating depression during the last few years and of its way of having a permanent downward spiral.
This special puppet and shadow performance had to immediately shed the skin from our character Django. His name was inspired and used to act as the protagonist, and as hero, so accompanying his puppet were a dog, a strange looking vulture and other gentle things. The mentioned pace was from another time looking straight at a puppet world of animation.
From what we were told in the playwrights short introduction this time of suffering happened to him through the realities of having to be very tough in a world of big difficulty for this man’s head and even heart to bare. And so the sparkling intimacy of grace was unconditional in the great, grave and the varied compositional and elemental processes served in great detail with a gratitude from all of those who in one way or another took part. And in its promise the whole team included spaces for writing, directing, editing, photography, all founded by the two; Antonio and his fellow creativist Ana Graham.
It was formal, informal, and expressive in so many ways, from dark black and white cut outs to cheer full coloured ones that were in his unravelling standardisation in the understanding that made for a wonderfully well equipped theatrical accomplishment.
We can know what it is to even try to make scene’s that were into a self preferably inner, potent conversation that skilfully and artfully stood its ground of the personal and the impersonal that is in life and death as we know it.
It would take journeys and adventures for our man Django to overcome his dark desire to take his own life (hence was born the prolific noose that was constant companion for Django). In its art of which there was plenty its very nerve had persuasive, inductive, smart and even wisely contrasted models all coming together for this story to be told as he unveiled his laptop into the scene. And in truth I didn’t know what was to happen next.
The smart collaboration had a miniature world in play and it strode to cover every clause and facet, with shapely time changing in its support of life and into everything from truthful form to breaking long silences. We could tell that his heart was truly pouring out of his succinct imagination after the pain, inner and other which was the name of the play anyway. But being down to the point of extremes highs or lows it came together as timely and worldly as puppet on the end of a string? But the show would have worked very differently if these experiences had not been lived to his expense.
This was an hour of magic, and was a filled out with some properly animating of thoughts from the first to the last, mixing certain innocence while being also bent on destruction. The voice of the vulture often whispered its way’s into poor Django’s ear and also seemed to be bent on pushing Django into his desire as he took to the stool to actually do it, several times.
The story makes its bidding as a tale of woe and yore, from the great and sharp insight of puppets and shadow theatre but the light of delightful art and cunning, extreme composition held the account both at bay and self sufficiently in turn the revelry for an end in sight. After all sincerity and tearful truthfulness that had come to pass for Antonio, were the attacks that inspired the show. The suffering Django went through was called and he continuously insisting on acting out an act of arbitration as his final plan.
Shown from out of some shady alley way the call to the jungle led to one final embrace for a full life. A deeply seeded and set yet open doors and windows are suggested for this act that has now come to be, a commanding insight into a sense of everything taken by the throat and offered to the living.
Written and presented by Antonio its surprises are understanding’s that the play’s life had come from the real one.
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