THE VAGINA MONOLOGUES

Producciones Imperdibles returns to Palacio de los Marqueses de la Algaba one more summer to meet again with the Sevillian audience. Those who for years, come to see our summer shows.

This year we wanted to make a nod and pose a very different show to what was done until now. Without leaving the comedy, we enter the world of women through one of the most celebrated and represented texts in recent years. A play created from interviews conducted by the author of more than 250 women from all walks of life. All of them have in common the vagina and all about symbol and reality women that represents itself, either through sex, love, the rape, menstruation, mutilation, masturbation, birth, orgasm and variety of names for the vagina, or simply as a physical aspect of the body.

 

In the staging, our intention was to dramatize and even discuss some of these monologues looking for a very dynamic scenic pace, like a "roller coaster", between the texts,  let’s say, more "fun" and those with higher dramatic charge.

 

Besides the documentary value, Eve Ensler's texts are full of poetry, courage, irony and some humor that permeate a human commitment beyond one's claim of gender.

 

The Vagina Monologues

 

Eve Ensler wrote the first version of this work in 1996, after interviewing more than 200 women about sex, love relationships and domestic violence.

The interviews began as casual conversation with her friends, who told him stories they had heard from other friends, and so the chain of stories that gave rise to the work began.

The monologues are seeking to "celebrate the vagina", describing it as superior to the male penis, due to the fact that it is connected with the clitoris, the only human organ that has no other purpose than to give pleasure.

The Vagina Monologues premiered on October 3, 1996 in New York. Originally included one actress: the author herself who gave life to a dozen characters telling their stories. Age, attitude and mood of the characters varies, but all monologues are related to the vagina, either because it sexuality, menstruation, masturbation, orgasm, childbirth, rape or genital mutilation.

Over time and in all cultures of the world, the power of women has been linked to their sexuality and their ability to bear children. Therefore, Eve Ensler considers that the vagina can be an instrument of power.

Since 1998, the work goes on to become a movement against gender violence.

In the United States the popularity of the work reached such levels that in 2001, with performances of several famous artists, packed the quota of 18,000 seats at Madison Square Garden.

 

The work has been translated into more than 45 languages and performed on stage in almost 120 countries. 

 

THE SHOW

 

The Vagina Monologues is formed by a number of monologues performed by women.

At first, Eve Ensler performed every monologue herself, with subsequent action by three actresses, and the latest versions with a different actress for each function.

In our version monologues are played by two actresses with huge experience.

In our staging our intention was to dramatize and even discuss some of these monologues looking for a very dynamic scenic pace as a "roller coaster" between the texts,  let's say, more "fun" and those who have more dramatic charge.

Every monologue somehow relates to the vagina, either through sex, love, rape, menstruation, mutilation, masturbation, birth, orgasm and variety of names for the vagina, or simply as a physical aspect of the body. A recurring theme throughout the piece is the vagina as a tool of female power, and the ultimate embodiment of individuality. 

 

Some of these texts are:

 

- I was twelve, my mother slapped me: a chorus describing the first period of many young women and girls.

- My Angry Vagina: in which a woman with humor speaks about the injustices wrought against the vagina, such as tampons, douches, and tools used by obstetricians and gynecologists

- My vagina was my village: a monologue about testimonies of Bosnian women subjected to rape camps.

- The Little Coochie Snorcher That Could: a woman recalls memories of traumatic sexual experiences in childhood and described as "positive healing" sexual experience as a teenager with an older woman. In the original version, is 13, but later changed his age to 16 years. This particular work has aroused much controversy and criticism because of its content (see below).

- Claiming the Pussy: a work narrated by a woman shows that the word “pussy” itself is a very nice word despite their bewildering connotations

- The woman he loved making happy vaginas: in which a sex worker for women discussed the interesting details of his career and his love for women who give pleasure. In several performances that often reaches the end of the play, literally climaxing with a vocal manifestation of a "triple orgasm."

- Because he liked to look at her: a woman describes how she thought her pubic area was ugly and was ashamed to think of it, but changed his mind because of a sexual experience with a man named Bob who liked to spend hours staring.

- I was there, in the room: a monologue in which Eve Ensler describes the birth of her granddaughter. 

 

The production of The Vagina Monologues has become the pillar on which the draft V-day is based. The "V" is for "Valentine's Day", "vagina" and "victory." Through the name it seeks to establish a connection between love and respect for women, and an end to violence against women.

 

Each year, between February 1 and March 8 (International Women's Day), groups of volunteers around the world take the stage for the work of Ensler to help raise funds to regional programs to combat violence against women and young women, including shelters for victims of domestic violence and support centers for victims of rape. 

 

 

 

 

The Vagina Monologues Images

JA slide show

The vagina monologues Video

The Vagina Monologues poster

Cast The Vagina Monologues

Actresses:
Antonia Zurera, Alicia Remesal

Lighting and Sound:
Sergio Collantes, José Pipió

Communication:
Pepa Muriel

Administration:
Mela Peñalver

Direction Assistant:
Javier Castro

Direction:
José María Roca