Exterior Window Shutters

On Ostende, Sol Rodríguez Seoane

On Thursday I went to Ostende, Sol Rodríguez Seoane, to Elkafka (Lambaré 866, tel 4862 5439). Thursday, 21 hs. Geography

mutant
is said that the dunes in the area Gesell, Pinamar, Ostende, Cariló-anti-mythical resorts and marketing, were once wild and mobile. As in the parable of Christ preacher, Gesell old home stood on the sand, not rock, and the dream fell apart. That dune that was west at dusk, at dawn they had moved. In order to "fix" the very ground to stop moving ground underfoot, for reason to prevail over the wild robinsoneana to conquer, the old Gesell planted a forest, the quintessence of the ominous, dark, evil ...

The forest is as artificial as a hostel for Reebok. But his metaphor prevails. Synthesis

argument appears
A couple flee but surely able to hold an ominous forest with a house in his heart, which is the paradoxical source of mystery. Interior, there is outside. Metaphors

Ostende works by accumulation of metaphors, symbols and paradoxes. The forest, hyper-present, is a metaphor for loss-physical, vital, temporary. The dune, a metaphor for the loss of references. The rain, which is condensed in a real bowl of water, becomes symbol, which accumulates to other symbols: the door, archetypal symbol of the passage (highlighted by the ominous sound of its hinges), the wig, which is the mother, and the bride, who is the fragility, guilt and Evil This is compounded by the endless and phallic gun, which is the pre-announced (from the first scene) death and will be displayed and will narrate. Paradoxes

Best Performance
Ostend is in that death. Going against everything expected, a Death Foretold is surprising, because the attitude belies and dematerialized. Eat well, in four minutes, suggesting abundant words during other times of the show: the paradox is the design principle (paradoxically destructive) of this piece. The spatial paradoxes-that excellent vision to get home is lost, or lost is to find the source itself, are the poetic heart an interesting author. So its temporal paradoxes that promise progress stopping, starting end. So ends: Oostende presents the best at first, and eat at the end. In the future ...

The personification of a place in the future
insists announcement stating his intentions. As if that explosive, functional, political manifestation of the work of Lope Fuenteovejuna did "was a motif leiv initial and underline every corner of the room: Ostende did. Ominous sites that have power over those who come, those places that become, perhaps revealing an underlying truth, the isolated mountain hotel The Shining is, here, the forest of Ostend - work in silence and in secret. Ostende the states, the states, the highlights. Maybe, but how to pose a serious hypothesis of a building with a single poetic vision ... Thursday night - maybe the address and the text is discussed. Maybe I can not, in this case, speaking of the work but the theater issued in this city and this time.

abundance
I can not help thinking Ostende as notable downside of the Rough , Santiago Gobernori (click here ), in which the director and playwright is proposed to develop a compendium of procedures theater of Buenos Aires at the end of the decade and got a result reflexive and parodic. On the matrix of the exercise in style, "a poetic Gobernori executed. Ostende has, perhaps, the same unspoken will, but of course, leaves the exercise. Sol Rodríguez Seoane, author and director of Body Art works this Ostende thoroughly and from an awareness and willingness to work. I think that affects the outcome. Abundance is a loft where you can leave everything and dump everything. In this sense, Ostende is a Rough unintended, a sort of compendium of the reality of the current theater of Buenos Aires, where the abundance appears, from official discourse insistently wanting to impose a virtue that is not so, since the number does not match the value, and not all is something.

And here I stop talking about the work of Sol, of course, that can be read from the critical eye as many ways as have eyes, but whose will is poetic, Buenos Aires to discuss the marketing is just that: a political shell rickety that is not even PRO, PRO for just a vector of damage to the culture, but a legacy of the decade. The splash of mini-plays-works subsiadadas in years gone by used to fit into the sample end of a workshop and now in the political dreams of a lost tourist minister become counted as capital of the theater-not always contain theater. They have a bit of everything and to my surprise in decline, quite a thing.

Ostende, in short, making the death poetic form that is appropriate and beautiful. And he points out, in his way (and me) that the crowd (of procedures, for works, sign on the road), the rest is silence.