A radio music theater inspired by Louise Bourgeois' installation Red Room (child) and Red Room (parents) about truth and lies, about lust and abuse, about love and power for voices, chamber ensemble, recorder trio, Revox tape machine, radios, cassette player and electronics in seven tableaus/acts.
Color is stronger than language. It's a subliminal communication. Red is an affirmation at any cost - regardless of the dangers in fighting - of contradictions, of aggressions. It symbolizes the intensity of the emotions involved. (Louise Bourgeois)
In the universe of the Red Rooms there is a radio station, Radio Roja.
But also, hidden, perhaps underground, there are cages, many, many....
In "Red Rooms - Cages" the sound worlds of these three cages are in the foreground: sounds and noises, singing and roaring, panic, poetry, air, noise ... a kind of song of dark passion and misery.
Cage 1 - Ulf (Wolf)
The three main characters - Little Red Riding Hood, Wolf and Grandmother - (in this case a family, mother, son and daughter/granddaughter) each appear in different versions that represent different components and points of view of these protagonists.
That is, we hear the members of the family literally living in cages and expressing their urges and feelings. Through this, perhaps, it becomes clear how claustrophobic a family can be structured and the impact this has on the souls and reality of the people, so everything that can only happen in terms of bad things happens there.
So there is both a double Little Red Riding Hood - the "red" and the "white", its two sides called "Beel Blanchette" and "Beel Rouge" - and the grandmother in three variants: "Hope S", "Hope E" and "Hope I", the grandmother in trio in the sense of a seemingly perfect being, but also a kind of chimera, multi-headed monster, as well as a special form of the three monkeys that do not want to see, do not want to hear and do not want to speak. The wolf as the third character - "Ulf" - in comparison seems the most at peace with himself, because he is probably the most primitive of all. He is also the only one who does not experience conflict. However, at some point in the course of the piece, one might think that everyone who inhabits these cages or who is involved in the action, including the instrumentalists, is handling like lonely wolves or forming a kind of wolf pack.
Musically, the piece is essentially built up by repetition, because these tableaux are also a kind of reappearance or loop that cannot be easily escaped. Corresponding to this are musical loops and quotations from early music and rock, which Castelló sometimes uses more hidden, other times more prominent. The artist also makes an attempt to combine the worlds of composed music and improvisation, both of which have equal importance in Red Rooms.
Production i5haus with the kind support of Stadt Wien Kultur, BMKÖS, Sistema Nacional de Creadores de Arte (FONCA) Mexico, SKE of Austro Mechana in co-production with Wien Modern, PHACE, Musica Strasbourg, La Muse en Circuit and ORF Ö1 Kunstradio, and in cooperation Schauspielhaus Wien.