Margarita Isabel presents:
Diary of a Madman
By Nikolai Gogol
A one man-show with
Mario Iván Martínez
Edyta Rzewuzka, set design/ Matías Gorlero, lighting designer
Omar González, original score
Costume design, Mario Iván Martínez
Andrea López, photography
Adapted for the stage by: Mario Iván Martínez and Luly Rede
Diariy of a Madman
opens a door to Gogol´s bizarre world of broad comedy, fantasy and social commentary through the portrayal of a petty official´s mental
disintegration as he struggles for the attention of the woman he loves.
In this new production Luly Rede and Mario Iván Martínez have embraced Gogol´s imaginative gifts which satirize the bureaucratic excesses of
Tsarist rule and at the same time portray a very meticulous, both comic and tragic study of the pathological mind.
Award-winning Mexican actor Mario Iván Martínez undertakes a tour de force in this staging of Gogol´s short story. He embarks on this provocative
adventure joining forces with director Luly Rede. They worked extensively in the adaptation of Gogol´s famous text in order to translate literature
into the full language of the stage. Thus they recruited a talented group of artists who accompanied them in this venture:
Edyta Rzewuska collaborated with her highly imaginative set–design, which draws from the work of Escher´s disturbing and illusionary perspectives.
With the help of Matías Gorlero´ s inventive lighting scheme, the two artists visually empathized with the gradual deterioration of the character´ s
Martínez also undertook the complex yet fascinating task of interviewing and studying many schizophrenic patients at very close range; their pathology and mannerisms enriched and coloured his portrayal of Gogol´s Aksenti Ivanovich Poprichin.
This Mexican staging of Diary of a Madman opened in Mexico City, October 2012 at the prestigious Hellenic Theatre. From the beginning it has enjoyed
success with audience and critics and it ´s still playing once a week, Monday evenings.
The adaptation in Spanish derived from Luly Rede´s own translation from the original work in Russian. Martínez has in turn translated the work into English himself.
For his performance in the film Like Water for Chocolate he also received the Ariel Award (Mexican Oscar) and the ACE New York prize for best actor. Other credits include: Molina in the musical The Kiss of the Spider Woman, Iago in Othello with the Mexican National Theatre Company, Malvolio in Shakespeare´s Twelfth Night and Henry II in Anouilh´s Becket, or the Honour of God. In 2012, he played Howie in the Mexican staging of David Lindsay Abaire´s Pulitzer Prize-winning play, Rabbit-Hole. Sponsored by the Anglo Mexican Foundation. Mario represented his country with Mestizo, his one-man show comprising Mexican legends for children within the Aztec Exhibition held at The Royal Academy of Arts in London, 2003 and in 2009 at the Edinburgh Book Festival.
Sponsored by a National Arts Council Grant, she produced José Triana´s The Night of the Assassins in order to stage it St. Petesburg, in 1994
Another production under her name includes Tango by Mrozek, (1995). At the Tenth Theatre Festival of the Mexican ITI-UNESCO Centre, this work was awarded first prize and designated to partake in the nations ´ theatrical program of that year.
Her staging of Escorial by Ghelderode obtained the Best Theatrical Review of 1999 given by the National University and government institutions.
Rede´s production of Flight over the Ocean by Brecht was selected for Mexico City´s Festival of the Arts and received first place at the Second Biennial of Professional Theatre, 2008.
In 2012 and drawing inspiration from Bulgakov´s novel Margarita and the Master, she staged Seven at the Milagro theatre.
She currently teaches and coordinates various stage disciplines and workshops at the Bicultural Centre of Film and Acting, presiding over the Master´s Degree in Drama at London University in Mexico City.
The main wall of the set design changes positions throughout the play; It is raised, tilted and handled with hoists and rigging systems at various moments in the show. The wall comes apart forming four manageable sections for travel. These, along with three required pieces of furniture, (Bed, night-table, carpet, hat-stand and chair) may be flown in a cargo plane or transported in a large moving-van for shorter distances.
A computerized lighting and sound console is required for audio reproduction and programming of fresnel lights, spotlights and pared cans with a few coloured gels. (The exact arrangement and quantity of these would be sent and specified to interested parties).
Original set design by Edyta Rzewuska
Diary of a Madman lasts for one hour and thirty minutes without an interval and requires two days for preparation in the theatre: A full work day for the setting of scenery, wall hoists and lighting. The next day would be needed from early in the morning for final technical adjustments and dress rehearsal, until the time of the show which would begin around 8.30 P.M.
The full length DVD recording of Diary of a Madman can be sent upon request.
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