Love was a battlefield long before they sung it that way. Love: A Tragic Etude is expressionist theater that merges the violence of Sarah Kane with the dystopian tragedy of Brecht. The individual pieces don’t always make sense, but they’re viscerally resonant and poetically raw. Taken together, the effect is an overwhelming study (set to live piano accompaniment, for those who don’t know what an etude is) in dismantling our values, punishing our heroes, and torturing our innocence. Love is not just blind—she is unflinching, too.
Written and directed by Juan Souki without a moment of respite or pity for the audience, love is dismantled at every turn. Even the gentle caresses of our two lovers, Fernando (Gil Bar-Sela) and Arena (Melinda Helfrich), are false: Fernando has already left the fictitious Red City for military service and Arena is reading his letter. Their unity is a mirage of Souki’s magnificent staging; a side effect of the short silent film we see that cites their celebration “five years of union.” Over the next ninety minutes, Souki carves time and space, using jagged physical techniques and delicately synchronized movement to make a brutally beautiful play.
Read on at [New Theater Corps]
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