Last week I went to see The past is a Grotesque Animal, Mariano Pessoti, the Teatro Sarmiento (Sarmiento 2715, 4808-9479, Thursday Sunday 21 pm)
The Wheel of Fortune
Its iconography is powerful: the big wheel fair, or even older, the big wheel buckets whose mortal bodies are tied , is ruled by a fickle and changeable. Fortuna, which is the counterpart of Destiny or its shadow, highlights the unstable, doomed to change, "moving" in terms of the Golden Age, a movement unpredictable but mandatory as the Law of Changes: do not know where we will be tomorrow ... Fortuna is the one that throws his darts to suffer and he suspects the existence of the Prince of Denmark Fortuna links his name to be or not , the dark plot of a life clinging to life only by the reverent fear of the unknown. Live-that is, suffer, is supported only by an assumed, philosophical ignorance.
And the goddess. The goddess turns the wheel of their own (at their pleasure, on a whim), changing the positions of those who are bound to her, those who are now down-on the same mud, all manoseaos -; those who rise in profit, thrive, gain glory and power ... only to fall again.
The work
Teatro Sarmiento, adjacent to the beasts. Early in the second decade of the third millennium. The wheel of fortune [1] lies horizontal, but still tour. The playwright and director placed the bodies in motion within the tight , former circle. And that wheel without power, still dominates. Destiny is not what it was.
plot summary
The future filmmaker, actress wandering, this tragic story writer who opens a package that may not have been open, the daughter who consume (and consumed by) the secrets of his father. As the wheel rotates, different episodes in the lives of four autonomous characters are presented by four actors. The timeframe is as strict as the twist: Embedded in the chronological memory stalls, what happens happens within ten years from 99 to 09.
Biodrama A hint of
blanket Not in vain the Sarmiento: Pessoti and its players are asking more "real" public events of a decade, and at private events theater of real life into fiction dunks. "Fiction and representation? "Biography and scenic narrative? During the decade that evoke, since that idea Tellas Vivi, the "Biodrama" explicitly or implicitly ruled the schedule for this kind of alternative room Theatre Complex of Buenos Aires. The results were and are varied and interesting, with recurring quality tips. Outside the program, and away from the category of "work drama based on the life of a real person, "even appears, multiplied, that concept in the base-building process typical of the decade represented," a group of actors with a powerful idea by a director experienced playwright and creates a spectacle. Only in this case, as superstitiously corresponds to the opening of a new decade, the result goes further and says to himself, the model calls for a life but no longer the "great nineteenth-century fiction" and dares to account of the great in the small, by the gadgets of the inquiry picky group.
" Is it possible in these times invent great fictions that contain what we imagine with real events of our lives and the lives of people we know? "
Usually the rhetoric is only one answer change of intonation, a deletion of the question. Past ... confirmed. But in turn stands in this case, flat wheel, which is the ironic twist over the past decade ...
The first decade ago
I must admit that I am the looking at the latest creations from the best exponents of a generation something of a showcase the use of techniques (my comment on Ira State which in turn is related to my comments on Rough is a recent example it.) But my feeling does not change: there is a kind of hindsight that distinguishes the provocative use of "cutting edge" (at this point and naive) of a handheld microphone and a guitar background Open House or Luisa crashes home (in the latter, only the guitar), and the subtle, almost necessary presence that microphone in the past is a grotesque animal : microphone is accepted, a microphone taken almost "natural" alternative theater in the previous decade (the 2000), to tell something else, which is the same, but much better and too much.
We're talking about Julieta Vallina, like that of many functions in so many works of Daniel Veronese. In the same Javier Lorenzo full of resources (and whom the old concept does not apply at all). Juan Minujín, in which still resounds microphone "and you like"-hilarious monologue erotic embedded in a spectacle of The Descueve-and also of John Minujín of Dirty . Pilar Gamboa, synonymous with "emerging" in the last ten years (some noise ago, Acassuso, The whole time all ). The wheel turns, the successive frames and mutants are not going to either side, but accumulates significant years that are suddenly a decade. The actors, their biographies, acting for the theater audience share these senses.
depth
Wheel is flat. The poetry of child and moved there: the Brazilian karaoke by Javier Lorenzo speaks of the Great Story made plain. The great fictions of the nineteenth Berreta cornered him in the chest of the insignificant. Called to the arena of a big story (ten years in the lives of four characters) the techniques of theater of the last decade are turning on themselves and that, in my opinion, is the depth of the work: a depth technically very difficult useful, perhaps sad.
Illusions apenitas Goals are individual, casual, traumatic or, at best, nostalgic. The facts, no germs or coincidences rabid. The way to tell is the depth. The four actors ability to act from outside the consciousness (and unconsciousness) and other rendering planes alternating narration, interpretation, interior monologue, dialogue, witness, state, interaction. A wheel that no longer shared misfortunes and joys but just an empty feeling of movement ...
The rest is small. With the genuine items available, uncoupled from any possibility inexorably epic back without rancor of our fathers Seventy-, The past is a grotesque animal wonders about the past, the event, by sense. Which, for a work well done, is, on what on, and miss what is missing, very good.
[1] Mariana Notable theatrical device in the setting Tirantte Pessoti
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