Teatro de la Laboral

After Maria-Dolores and Jean-Baptiste, Maria-Magdalena takes its place as the final part of the trilogy in which Wayn Traub combines theatre, dance, cinema and music to lead the audience through a labyrinth of meanings and enigmas related to religious iconography.

Seductive Salomé takes centre stage to reflect the power of seduction and the sense of loss. Abstract movement, faces painted white, suggestive lips, totally black costumes and music composed of electronic sequences, entice us in this search for a “ritual theatre” which evokes a modern world full of aggression, speed, night-life, seduction, decadence, depression, fear and the desire for beauty and consistency.

Maria-Magdalena is a reflection of Wayn Traub’s fascination with the Orient and ritual, with kitsch and Catholicism, with mystery and eroticism, with the archetype and psychoanalysis.

Wayn Traub began studying classical ballet at the age of eight and at eighteen he began his studies of film direction. He has developed a ritual through which he configures his own school of theatre, based on multi-discipline creation. His first international success was in 2002 when he toured Europe with his work Maria-Dolores, his first big-scale production. Since then, Toneelhuis has become Wayn Traub’s artistic home. It was there, in 2004, where he created Jean-Baptist, the second part of the trilogy, in co-production with the Théâtre de la Ville in Paris.