Boom Arts, based in Portland, Oregon, is a boutique presenter and producer of contemporary theatre and performance from around the world. They aim to serves diverse audiences with extraordinary arts experiences from around the world, illuminating crucial issues and ideas of our time through theatre, performance, and dialogue. In January, Boom Arts brought to portland, Rodrigo García’s one man play, I’d Rather Goya Robbed Me of My Sleep Than Some Other Son of a Bitch. It was preformed at Disjecta Contemporary Art Center, and featured in featured in the portland monthly magazine.
“Discernment and Confusion in I’d Rather Goya Robbed Me of My Sleep Than Some Other Son of a Bitch” By Robert Quillen Camp, Department of Theatre, Lewis & Clark College
“…This production not only highlights and develops the thematic material of the play (the claims of traditional European culture against the encroaching monolith of American consumer capitalism, the emotional and psychological effects of widespread economic instability, and especially the emotional challenges of parenting) but it also introduces new formal confusions: first, it is being staged in a space that is primarily devoted to the exhibition of visual art, and second, the actors playing the children in this production are piglets.
These two interventions work with one another to subtly disrupt our spectatorial experience – hemmed in by a small picket fence, the actor and the piglets are on exhibition like the Goya paintings at the center of the narrative, and the pleasure that we take in the display of an actor’s virtuosic theatrical skill (provided by the accomplished Ebbe Roe Smith) becomes confused with an altogether different kind of pleasure, the joy of watching piglets just being piglets—no skill involved—their utter lack of pretension to being anything else constantly threatening to overwhelm the world of the play. Traditional theatrical wisdom recommends against the casting of animals (with some notable exceptions – Annie’s Sandy comes to mind), because the fact that we know that the animal isn’t really obeying the laws of the fictional world puts too much pressure on our suspension of disbelief. Famously, the disastrous performance of the dog cast in the 1891 premiere of the symbolist playwright Maurice Maeterlinck’s play The Blind sent its Parisian audience into hysterics at what was meant to be a moment of tragic recognition. But here, in this production, the confusion is productive. Not only because it generates the self-awareness often found in experimental theater (we all know this performance is a performance) but because, as the play’s protagonist argues, confusion is a necessary component of an authentic experience. Otherwise you might as well be at Disneyland. Here our experience is troubled, multiform, and radically incomplete.”