Sunday I went to the premiere of GENEALOGY OF THE CHILD TO MY BACK, directed by Vilma Rodriguez, NoAvestruz (Humboldt 1857 / reservations: 4777-6956). Sundays at 17.30
The brief
The previous review was talking about a work whose own filmmakers designated as "tiny." Tiny poetic ceremony for 25 people, set in the back room of a beautiful house on a Sunday afternoon. " Rosa Shining" , I wrote toward the end, "beautiful, sensual, subtle invocation, leans on his own say." A female that an invocation of pleasure and presence.
As inverted mirror, Genealogy child behind me, without knowing seems comment. It is also a short work, in his poetry. It does not last more than forty minutes and runs on a Sunday afternoon in an area full of charm. Also leans on their own say, a male say, an invocation of aches and absences. From the inside, Buenos Aires seems to now take place for these small pieces of enchantment.
My son, my father, I
A decade ago perhaps there was no such space. The first staging of this play, directed by Vilma Rodriguez, saw the light at the Festival of Rojas more than ten years ago, in a cycle that had as its antecedents that "little genre" curated by Rubén Szuchmacher, for which I wrote call Part of a stretch on a Sunday afternoon. I was not father still, the "child on my back" seemed to be, obviously, myself.
Now, this afternoon, the small waves and bangs Vicente from the uterus Carolina's belly and not left alone. My son will be born in late April or early May. For him and for that child who went to the man that still looking for his father expected to be called dad for another man, to parents who were and those to come, for all our children, for the reflections and tears of release, this new, I would say perfect - making this little classic.
Plot Summary
S. Rz runs and mythical zoo staff, whose cages and paths distilled theories: the transmigration of souls and the evolution of species. But he has a child on their backs. Who is this child? Your son? He himself? A stranger? Childhood, identity, the invisible presence of death seep into the crevices of this subtle haiku theater, a small piece of collection that was revived ten years after obtaining the first prize at Teatro Metropolitan 2000.
Childhood
Oh, childhood. That dreaded region naif.
Oscar Ferrero
Genealogy child behind me has two characters. One is a child. Years ago, in Spain, I attended a reading of the piece performed by two eldest children, as S.Rz., looked gray. The effect (affect) the mirror was moving, and it bent the interpretation to a reading of their own identity. I thought until Sunday that a child actor may not have sufficient resources to create or move situations suggested by the tour.
Oscar not only creates and moves, but emphasizes areas that my prejudices author had not imagined. For him, all my astonishment.
The great Javier Rodríguez
An actor to the world.
As the years go
The work is a beautiful and current bet is a tribute, a look back. Marrale Frederick himself re-composed the musical score, the same Gabriel Caputo makes the lights. The same Javier Rz S. Rodriguez sings in the same Vilma leads. The work looks almost identical to what was, but it is not. Our adolescent arrogance almost a decade ago has subsided, I think. I think, says Vilma, we're not so "combinationes." I think we accept that some things moving. I think it has come to Genealogy the right time. This short review of the blog does not have anything technical. Is what I can do from the excitement as well. Thank and recite with my child back, "out loud and shaky," this poem for you all:
Haiku
Plum
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