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A common goal was found; a quest for beauty, poetry,


literature, image and music. They told stories that create an illusion of moving through space and time, all with an exceptional level of creativity. The Troop won widespread acclaim through international tours before winding down. In 2006, core members renamed the group to its current name but with the same yearning to heal the hurt Pinoc- het’s rule in icted. “We still hurt about what happened in Chile, so we must do stories like ‘Sin Sangre’ to heal ourselves. I will live with what happened all my life but life goes on as well,” Zagal told The Herald newspaper in Scotland. Grandly, the reborn troop is


a “quest for a new language” for drama, Zagal wrote in the notes for a 2009 tour of Singapore. The combination of cinema and theatre gives Teatrocinema the opportunity to “jump in time and space in an


instantaneous way, not as cinema does it already, but in the way done by magi-


cians”. ‘Sin Sangre’ has been one of the  rst


efforts from the reborn troop. Last year it made the programme at the Edinburgh International Festi-


val where, to be fair, it received mixed reviews. A review in The Guardian said that the high-tech elements in the performance deadened the imagination that normally drives live theatre. Similar reviews were turned in by The Telegraph.


Big story-telling Just as Chile’s dark years provided the spark for Teatroc- inema’s creativity, the plot owes much to those events. In the immediacy and confusion in the aftermath


of a civil war, three men raid the hideout of a doctor nicknamed The Hyena. He is the alleged perpetrator of macabre experiments on live prisoners and delivered summary justice. He is gunned down, taking his innocent son with him. The Hyena’s daughter survives, even though her hiding spot is uncovered by a gunman hell-bent on vengeance. The daughter grows into a vigilante, seeking justice


for her father’s death. She eradicates her father’s killers one by one until 50 years later, she comes face to face with the assassin that spared her life as a child. It is a big plot, with larger than life characters and a


certain melodrama to the performance. Again, it is easy to see why the company would opt for this hybrid story- telling medium with the bene ts of its surround sound, three-dimensional characteristics. ‘Sin Sangre’ runs over two nights, September 17 and 18, at the Small Auditorium at the Macau Cultural Centre.


JULY 2011


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