In telling the myths of the Aztec peoples, Master Storyteller Mera Reyes is weaving a fine line between the art of theatre and restoring the authentic stories of the peoples of pre-colonial Mexico.

In a production that has been decades in the making, Reyes worked with archaeologists, Elders with oral histories to share, and Indigenous martial artists to form The Strategy of War.

The production will have its world premiere at the Motel Theatre in Arts Commons as part of Downstage Theatre’s new season of work.

The title refers to the prominence of warrior culture in Aztec society and how death is not seen as the evil it is in Western Christian culture, Reyes said.

“Death is a blessing,” she said.

The production, which is half-play, half-storytelling, invites audiences into a highly ritualized world of Aztec culture that presents the myth and religion of the Central American empire pre-invasion by Spanish troops in 1519.

“At the core of this project lies a profound mission to resurrect and celebrate the rich spiritual heritage of the Aztecs,” said Javier Vilalta, who directed and choreographed the performance.

“It is incredibly exciting for me to honour my Mexican-Indigenous roots through oral storytelling and discover the possibilities of introducing tales that are as resonant today as they were centuries ago.”

That fascination with a world that shares many of the archetypes with other world religious and cultures, yet is distinct, forms the heart of the work.

Those archetypes are both familiar to Western audiences but hold distinct meanings separate from the those that were taken by the Christian invaders, said Reyes.

“The colours red and black are seen as evil, but represent wisdom… and of all the animals to pick, snakes represent flow,” she said.

For the Spanish Conquistadors, the symbols of the snake on the side of temples would have been seen as a sign of the great tempter from Genesis, Satan. As too the colours.

But, she said, in the context of the Aztec peoples they had very different and positive meanings. Restoring and sharing those meanings is at the heart of what Reyes said she was doing through The Strategy of War.

Ritual on stage in a world first

That fine line between the theatre and restoration extends directly into how the production discusses aspects of what audiences will see on stage, eschewing the traditional costume designation for regalia which is reflective of the religious and cultural significance of what she is wearing on stage.

That regalia was handcrafted in Mexico, as were the drums that make up the main percussion music.

“I had to explain to the [craftspeople] what I was doing and what I intended before I could bring them [to Calgary],” Reyes said.

The authenticity and reconciliation aspect continued through the production team, said Vilalta, through Chilean Arturo Alejandro Balanza, who composed and performs the music for the show, and Indigenous Canadian multi-disciplinary artist Andy Moro designing the set and lighting.

What audiences will experience when they enter the Motel Theatre is a world untouched by invasion.

A highly ritual space that explores topics that had deep meaning for the Aztec people, but are still relevant to audiences today through topics like faith and violence towards women.

“This is theatre without a net. There is no script, and every night will be different. It’s as if the audience is being invited to gather ‘round the fire,’ as generations have done for millennia,” said Clare Preuss, Artistic Director of Downstage.

“Mera is a master storyteller, and these stories are very much in her as she carries on the oral traditions of her culture as an Indigenous Mexican artist. She is also one of the fiercest, most powerful performers we’ve ever experienced.”

Yet, said Vilalta, the show is not a history lecture. It is meant to be light and engaging, and hopefully conversation-producing.

The Strategy of War runs from Sept. 19 through 29 at Arts Commons. Tickets are available through Downstage at www.downstage.ca.