|PORTRAIT OF A WOMAN WITH SUITCASE (1994)
Imagine a woman who is most "at home" with a suitcase in hand, in a world without geographical or temporal borders; a world one can only find on stage. She is hovering over her life, in that state of musing one often finds when travelling. Its a similar state of mind as that with which an artist creates. She looks at her life as though it were a tiny ant, with her suitcase under her arm, into which she collides, on which she grows, with which she converses, and in which she finds her soul.
A true optimist, although beaten up by life's miseries she's made up some sort of philosophy to heal the wounds. Like Giulietta Masina in Fellini's "La Strada" who, despite the bitter reality in life, maintains that even a small rock has it's own purpose. She made fun of herself, she showed her modesty, she pretended to be strong and embraced the audience with a truthful heart. Using tenderness as a weapon (tool), she provoked a reaction in the oyster-like hearts on the other side of the black ocean, who all opened up- with a pop! This sudden magic, though short, was forever unforgettable. China Times, Taipei (1996)
"This piece..., exquisitely disconcerting, subtley fascinating, posesses, above all, a richness of expression which is always in the forefront.... For nearly an hour and a half, Dulcinea dances, sings, dialogues with her suitcase -that is, with herself- as well as with the audience, in almost perfect spanish, in an effort to make her work accessible. And she achieves her goal.... The three curtain calls the audience demanded of the artist were but a pale reflection of the magnificent experience they had known thanks to Dulcinea's performance. An experience which is undoubtedly well worth renewing." A.M. Leon, Mexico (1994)
||THE LADY NEXT DOOR (1988) Last performed in 1997
What happens when your universe, and your university, is the television? When your teachers are Walt Disney, Humphrey Bogart and Groucho Marx, and your inspiration cartoons, sit-coms and musicals? Especially when you live alone and are approaching what is commonly called the mid-life crisis. Meet the lady next door.
The Lady Next Door is not only a portrait of a lonely woman, but a strong and deeply felt comment about human values. In portraying the reclusive life of the lady next door, baring both her frustations and her dreams, Dulcinea Langfelder has created a many-faceted play that challenges her audience to ask the questions this lady ignored, until it was almost too late.
Dulcinea Langfelder is joined in this piece by Jean Maheux (as The Man Next Door). Langfelder and Maheux have pooled their artistic resources to fashion this eccentric and passionate life story from the elements of mime, dance, theatre and song.
This piece, which has been performed more than a hundred times across four continents, has recently been adapted for film by Diane Poitras, and has been seen in various film festivals and on television.
"one of Canadas best (and likely best hidden) ressources... this miniscule woman with a hefty background packs imcomparable power in performance."
Dance Connection , Calgary (1994)
"Langfelder mixes an elegant physical theater, of the Etienne Decroux School of Corporeal Mime, with a postmodern natural movement to create a fully-fleshed portrait.." DRAMALOGUE, LOS ANGELES (1990)
"... and Dulcinea Langfelder - now here's an artist with a firm grip on her medium. She's simply brillant."
DANCE CONNECTION, CALGARY (1992)
« ... Sencillemente genial ... »
LA JORNADA, MEXICO (1996)
"Langfelder puts fun back in avant-garde. Her sense of pathos and comedy captivates even the most cynical, hard core avant-gardist heart."
THE GAZETTE, MONTREAL (1990)
created in 1991
"My aim is to create form from the movement in everyday life, taking as my inspiration subjects that have significance to everyone and using whatever means at my command to make that subject come alive for the audience. What preoccupies our society more than sports?... and what moves more than hockey? So, it's Hockey! O.K.?"
HOCKEY! O.K.? plays on the dual nature of "the game" - the power of its heros and the fragility of the ice; its physical as well as its sacred nature. Cutting through the familiar guise of the sport with characteristic wit, Dulcinea Langfelder lays bare what she sees as the essential ingredients of the game - sometimes comic, sometimes tragic - transforming the penalty box into a confessional and the battling players into entangled lovers.
It takes two to play hockey. Jean Maheux and Dulcinea Langfelder are together again, on opposing teams. Facing off across the ice, they are Laurel and Hardy, David and Goliath, Othello and Desdemona. In HOCKEY! O.K.?, art is interchanged with sport, slapstick with slapshots. From its sporting beginning to its operatic close, HOCKEY! O.K.? is united by the only thing that athletes, dancers, actors, musicians and children all have in common: play.