El Spanish Theatre of Madrid adds a new version of After the rehearsal, one of the most personal texts by the Swedish filmmaker and playwright Ingmar BergmanThe proposal reaches the Margarita Xirgu Room with version and direction of Ernesto Caballero, which opts for an intimate approach and is very focused on the word.
The montage is presented as a sober and concentrated approach to the Bergmanesque universe, where human relationships, memory, and the theatrical craft They constantly intertwine. Far from stagecraft, the play relies on the power of the text and the work of the performers to reveal the emotional layers hidden behind a simple rehearsal.
A Bergman classic that leaps from the screen to the stage
The piece is part of eponymous television film that Bergman premiered in 1984, considered one of his most intimate creations. In this text, the author projects himself onto the figure of Henrik Vogler, a veteran theatre director who remains alone on stage when the rest of the team has already left after a rehearsal.
That empty space, barely illuminated by the remnants of light from the scene, becomes an almost mental territory where Memories, affections, and old wounds resurfaceVogler's artistic obsessions mingle with his personal doubts, and the stage, normally conceived as a place of fiction, is transformed into a place where life sneaks in without asking permission.
In this context, it emerges Anna Egerman, a young actress in the companywhose presence triggers an intense conversation with the director. At the same time, the memory of RachelAn actress from the past and Vogler's former lover, she carries with her a host of unresolved emotions. A complex emotional triangle develops between the three of them, bringing to the forefront... desire, the passage of time, and the intimate cost of artistic creation.
The play unfolds through a sharp dialogue that exposes the creator's contradictions: his thirst for control, his fragility, and his constant struggle to find a balance between his commitment to art and his emotional loyalties. Instead of grand plot twists, what is offered is A meticulous portrait of the inner world of a director who knows he is in the final stretch of his career.
All of this places After the rehearsal within Bergman's more confessional style, where the reflection on theatre as a way of life It weighs as heavily as the plot itself. It is no coincidence that the main character literally remains on stage: it is there, on the boards, where his identity is defined and where his greatest doubts also surface.
Directed by Ernesto Caballero and with an austere staging
The version presented by the Teatro EspaƱol bears the signature of Ernesto Caballero, who bets on a austere stage proposalWithout excessive artifice or elaborate technical displays, the director's focus is on the acting, the rhythm of the dialogue, and the tension that builds between the characters as the conversation progresses.
This minimalist approach allows for a clear exploration of that unstable terrain where Fiction and personal life become blurredThe performers constantly move on the border between character and person, so that the viewer is never entirely clear where the scene ends and where the confession begins, something very much in line with the Bergmanesque spirit itself.
The staging seeks to create an intimate atmosphere, almost like a closed-door rehearsal, in which the public becomes a close witness of what happens. There are no big changes of scenery or spectacular effects: the focus is on the words, on the silences and on the looks that complete what the characters do not dare to say.
Along those lines, Caballero's direction underscores the introspective dimension of the text, emphasizing artistic aging, the weight of memory, and the power dynamic between director and actressesThe work does not limit itself to talking about a theater production within a theater, but rather delves into how the lives of those who dedicate themselves to this profession are forever marked by what happens on stage.
The result is a restrained yet nuanced spectacle that invites the viewer to closely follow every gesture and every line. Without heavy-handed commentary or explanatory speeches, The piece relies on the intelligence of the viewer. to build their own understanding of what they see and hear.
Cast and artistic team at the Margarita Xirgu Hall
The cast is headed by Emilio TomĆ©who takes on the role of Henrik Vogler, the veteran conductor who is left alone after rehearsal and confronts his own demons. Beside him, Elisa HipĆ³lito plays Anna Egerman, the young actress who bursts onto the stage and maintains with him a dialogue that is both professional and deeply personal.
Complete the cast LucĆa Quintana as RachelA figure from Vogler's past and former lover whose presence, whether physical or evoked, triggers much of the tension that runs through the work. A web of relationships develops between the three of them, marked by... dependence, admiration, reproaches, and an inevitable generational difference.
In terms of visual design, the set design and lighting are the responsibility of Victor Longaswho designs a stark yet highly evocative space, with a use of light that mirrors the emotional journey of the characters. The costumes, designed by Jose CoboIt aligns with this general sobriety, while precisely defining the place of each figure within the story.
The sound environment is the responsibility of Bastian Iglesiaswhose work reinforces the feeling of being in a theater that breatheswhere every echo and every silence matters. Without overpowering the text, the sound helps to underline nuances and changes in tone, contributing to that atmosphere of prolonged rehearsal in which buried emotions surface.
The combination of these elements results in a very cohesive stagingIn this production, everything seems to revolve around words and the characters' inner conflicts. With this production, the Teatro EspaƱol reaffirms its commitment to bringing great works of contemporary European theater to audiences, revisited with a modern sensibility while remaining respectful of the original.
Dates, venue and accessible performance at the Teatro EspaƱol
This version of After the rehearsal is presented in the Margarita Xirgu Hall of the Spanish Theatre within Madrid's spring program. The work is thus situated in a context where the municipal coliseum continues to strengthen its link with key authors of the European sceneAmong them is Bergman, who remains highly relevant to today's audiences.
The planned functions include one accessible session with audio description and surtitles for deaf people, scheduled for Friday, April 24. This specific event aims to ensure that spectators with different needs can enjoy the performance under suitable conditions.
For those who will be using the supertitleIt is recommended to avoid the first rows of the auditorium and purchase tickets from the row 5so that the projected text is clearly visible. This is a practical detail that can make all the difference to the experience of the performance.
With the arrival of After the rehearsalThe Teatro EspaƱol not only adds a significant title to its program, but also It underscores its commitment to a theatre that combines reflection, risk and care for accessibilityThe choice of a text so focused on the theatrical craft fits well in a house that, for years, has become a point of reference for those seeking proposals that go beyond mere entertainment.
In this way, the Madrid public has the opportunity to approach a work that, although brief in its premise, opens many doors: The film explores the creative process, the fragility of relationships between directors and actresses, and the role of theater in the lives of those who work in it.All of this, condensed into an empty stage after a rehearsal, demonstrates the extent to which a seemingly silent space can be full of voices, memories, and questions that continue to resonate long after the lights go down.