The Latin expression HOMO HOMINI LUPUS (literally, “man is a wolf to man”) has its most distant precedent in the Latin playwright Plautus, which effectively sums up an ancient conception of the human condition, in which man should have the instinct to run over others, like the wolf that, in certain circumstances, tears his similes to pieces.
The HOMO HOMINI LUPUS proposal is a free adaptation of Georg Büchner’s Woyzeck, situated in the context of the psychiatric hospital proposed by Peter Weiss in Marat / Sade and in its dramaturgical structure of theater within the theater.
In a psychiatric hospital, a group of soldiers from conflict zones and victims of post-traumatic stress disorders, represent the case of soldier Woyzeck as therapy for rehabilitation. A man who undergoes various humiliations in order to survive, to the point of becoming a doctor’s laboratory mouse. In despair, he is the victim of hallucinations, in which he is betrayed by his wife and obsessed with killing her. The tragedy of feminicide testifies to the social drama in this pyramid of oppression, where Marie, Woyzeck’s wife, is the human sacrifice.
Homo Homini Lupus: a healthy man, has been turned into a beast.
The space where the artwork is set is conceived as a claustrophobic, gloomy and decadent madhouse room, with long side windows through which the public observes the action from the outside.
All the characters wear masks made from natural leather, which were painted nude and stuccoed to give them a grotesque texture.
The music composed for the play is performed live by one of the patients who is always on the scene.
Direction and adaptation: Bernardo Rey
With: Nube Sandoval, Viviana Hernández, Verónica Falconi, Esteban Tinajero,
Alberto Cardeño, Roberto Garcés, Richard Galeano, Roger Rodríguez and Víctor García.
Scenography: Bernardo Rey and Tatiana Ariza
Masks: Bernardo Rey
Costume: Aurora Ghielmini
Music: Vanessa Forero – Cenit
Photography and graphics: Camilo Gómez and Álvaro Caviedes
The work HOMO HOMINI LUPUS was created thanks to the support of the Teatro Mayor Julio Mario Santo Domingo, Iberescena and the Colombia’s Ministerio de Cultura.