Grandissima Illusione

In my head, there is the play with the 16th century Marquis, the Juggler, the Cuban Astrologist, the Technical Engineer, The Extras, the Greek Choir, the Dramatic Expert, the Text...

There was the eclipse, the time travels and the elusive zone, and more.

And all this just to tell a story of an intertemporal love and class struggle!

I started with an emotional orchestral prelude with the orchestra completely blacked out [hmm, I wish I’d been able to get the money together so that you could see the orchestra live] and with the scene of the Marquis and the Actress That Plays The Servant Maid, who sometimes gets people into the habit of speaking in verse,
using a trick that is rather perverse,
while outside the weather is adverse
and there’s nothing left, not even the universe.

What was I saying to you? Wait a minute, how long have I been writing this text? How many days have I been at my mum’s house? Is there anything left outside? Are you still here? That noise, was it the pressure cooker? Or is it you while you’re reading this text?

I hope it was and you come to see Grandissima Illusione.”

Born in Madrid, Cris Blanco lives in Barcelona. He has been writing his own scenic creations since 2003 and he works as a performer of dance, theatre and cinema. He has worked on the stage with Cuqui and María Jerez, Amaia Urra, Juan Domínguez and Xavier Leroy, and in the cinema with Roser Aguilar and Icíar Bollaín, among others. He supports artistic projects, teaches at the Institut de Teatre and takes part in educational projects. Among his works for stage are cUADRADO_fLECHA_pERSONA qUE cORRE (2004), ciencia_ficción (2010), El Agitador Vórtex (2014), Bad Translation (2016) and Pelucas en la Niebla (2018). In 2019, he created Lo mínimo y lo pequeño with Jorge Dutor and Guillem Mont de Palol. His creations have been seen on stages and in festivals across Europe, America and Asia.