Holy Shit
Title:
“HOLY SHIT” or “We Couldn’t call it what we wanted to call it so we called it HOLY CRAP”
Characters: 1
Human: Man (or woman) of any age.
Stage Setting: a toilet
Type of Theatre:
An entertaining comedy that revolves around constipation, education and the religious experience.
Scatology and eschatology mixing together: excrements and the after life.
A fun comedy about a constipated, mature man set against those marvelous diarrheas of his childhood.
Your entertainment functions as a spiritual form of self-help in order to open up the entrails.
Polemic:
Upon its debut in Madrid, Christian religious pacifists verbally assaulted the play on a daily basis and created the cultural medium so that a military arm of the Christian religious pacifists, in his traditional comprehensiveness towards the freedom of expression, could rise up onto the stage with the objective of burning down the theatre and beating the actor, author, and tech group to blows, all of whom ended up in the hospital.
One of the few plays in current Spanish theatre that everyone has heard of.
A play that received much controversy throughout the media during months.
The only theatrical play that, for a time, held the historical record of having received more formal complaints (over three thousand) than viewers.
Since the transition, this has been the first play in Spain where artists are violently assaulted.
A play that has had two court proceedings in Madrid: that of the denouncers against the author which the judge dismissed; that of the author, the actor, and the technical group against the assailants. In a recent sentence judge Esteban writes that “…the outrage or blindness that served as the site of the behavior on behalf of the accused, is comprehended by the judge…” and she lets them off free with only a small fine. That is to say that, this turns into the argument of the rapist and the miniskirt that never ceases to serve as a source of provocation.
Productions:
A debut at the Theatre “The Grotto” from the “Greek Cultural Center” of Mexico under the direction of José Saldaña and the performance of Omar Medina. 2004. Subsequent re-opening in the Theatre La Capilla in Mexico. It ran for a year and a half.
Debut at the “Circle of Fine Arts” in Madrid under the direction of Pedro Forero and the performance of Fernando Incera. Subsequent re-opening at the Theatre Alfil in Madrid. 2004
Debut at the “Theatre 14 Jean Marie Serreau” in Paris under the direction of Susana Lastreto and the performance of François Frapier. Subsquent re-opening at the “Théatre Lavoir Moderne Parisien” in Paris. 2004
Debut at the “Theatre of the Commune” in Lisboa under the direction of Íñigo Ramírez de Haro and the performance of Carloto Cotta. 2006
Performance at the Festival of Performance and Politics in New York under the direction of Daniel Banks and the performance of Tyrone Henderson. 2003
Performance in Kinshasa under the direction of Wedou Wetungani. July 2006.
Translations::
-English: “In God we shit”. Translated by Héctor Magaña.
-French 1: “Vers toi, mon Dieu, je chie”. Translated by Luc-Françcois Granier.
-French 2: “Bon Dieu de merde”. Translated by Joseph Maleaba
-Italian: “Un Cagata da Dio”. Translated by Roberto Giacomelli.
-Portuguese: “Cagome en Deus”. Translated by Carlota Cotta.
-Hebrew: “Elohim batachat sheli”. Translatied by Yotam Benshalom.
Publications:
“Me cago en Dios y otras cagadas”. La Vispa Editorial. Madrid. 2004
“La gloire des athées”. (The glory of the atheists). Anthology. Editorial “Les nuits rouges”. Paris. 2006. Anthology of rationalist and antireligious texts from antiquity up to present day.
Critics have said:
“Us none-believers would be offended by such repeated clerical and civil manifestations, but we’ve gotten used to it: as long as we’re not burned to death.”
Eduardo Haro Tecglen. “El País”
“The performance is a scatological satire on the repressed hypocrisy of fanatic Catholicism, of double standards and the worship of suffering, of humiliation and of punishment.”
José Henriquez. “Guia del Ocio”
“In God we Shit…provoked within the public, the need to reflect on one’s own religious beliefs and the consequences that such diverse ideologies have provoked as wars or fanaticism.”
Patricia Cordero. “Reforma” (Mexico)
“The monologue’s irreverent and provocative language sets off the laughter of the young spectators who see their reflection in the mirror of the stage.”
Cristina Tamariz. “El Universal” (Mexico)
Studies:
“Irreverence and transgression in the face of Spanish mysticism: the dramaticism of Íñigo Ramírez de Haro.”
Carlos Manuel Rivera. Davidson College. (United States)
Excerpts of revues:
“A mental constipation satire”… José Henríquez, “Guía del Ocio” Spain
“Scatological Eschatology”… García Garzón, “ABC” Spain
“A holy diarrhea”… Tomás Cuesta, “ABC” Spain
“Well written… Bold comedy”… Haro Tecglen, “El País” Spain
“People don’t talk on anything else”… Carmen Pasadas, “La Razón” Spain
“Clearly humorous”… François Musseau, “Liberation” France
“Caustic (acerbic), wild and disrupting”… Audre Bedy, “L’humanité” France
“Spiritual catharsis… It makes you think… A purification metaphore”… Patricia Cordero, “Reforma” Mexico
“Utterly sarcastic”… Carlos Paul, “La Jornada” Mexico
“A liberating ritual of purification”… Verónica Díaz, “Milenio” Mexico
“You roar with laughter”… Cristina Tamariz, “El Universal” Mexico
“Ironic, subtile and rich”… Maria Francisca Seabra, “Woman” Portugal
“Controversial”… Sofia Canelas de Castro, “Correio de Manha”Portugal
“A provocative meditation on religion”… Maria Joao Caetano, “Diario de Noticias” Portugal
“A satirical and critical reflexión on guilt and faith… to exorcize intestinal problems” Ines Calado Saraiva, “O Publico” Portugal
“The best orgasm”… Rosa Pedroso, Portugal
GALLERY
EXTRACT: View PDF
Translated by Natalia Perellón
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