The new era of the National Classical Theater Company, led by Lyla Ripell, begins more with this Fuenteovejuna Purely political, frontal violence that wants to remove conscience. A responsible person, Rakel Kamacho, handed over all his aesthetics to offer a spell against the violence of war, where there is a clear hero: a woman, a great victim of these situations. Testosterone, power, alcohol and good doses of blood, in order to reflect the wrong city of the fifteenth century that tried to survive the injustice of feudal society, but this is a society under bombs and genocides.
Fuenteovejuna This is one of the most maturity of the Golden Age and the one that was most conveyed. We all saw. Japanese companies or cat -d’Ivoirs at the same festival. The meeting is currently transferred as recent Fuenteovejuna, History of poor treatment Uruguayan Marianella Morn, which occurred in a supermarket. A meeting in the city of Cordoba Fuente is a bunny, which usually occurs every three years and where in the first first direction of Maria Pas Ballezteros for the first time suggested that the entire cast consisted of citizens of the city. Or this unforgettable Spanish dance version, consisting of Antonio Heids for National Ballet at the beginning of the century.
But the premiere at the Almagro festival was Fuenteovejuna clean. The assembly respects text and verse. How it should be on the CNTC installation. In addition, in this case, the version of the playwright Maria Folger is proposed, which cleanses anachronism and brings feelings. But from there, work goes to other ways. Kamacho from the first act is clear and begins to demonstrate the theater of the extreme physical shape, which strives for the stomach and conscience showing all the rudeness of numerous violent actions that go through work.
Hyperrealism, which is also surrounded by a special visual ability of this creator. Actions are given in the Universe, full of Symbols of Galik, in a world where there is no idealization of delicate and unrealistic people, as in other installations. Nothing hides, neither the violence of women, nor humiliation for men, nor the opportunism of the people, nor the most aggravated man of the commander, nor the thirst for blood of Catholic monarchs, which are already a little dressed in their first scene for a while. fashion And own swords, flooded with blood.
The premiere was in the hospital of San Juan, an open space created by Adolfo Marsillah, which opened in 1993 from the premiere of the same work. This is not a simple space. The scenery of Monica Borrrollo given to structures (here she sends a podium in the lower part of the scene that extends to the side legs), action and verse to some extent. The rounds of the first act were not fulfilled, a tendency to a pause in a verse that does not need that he forced the assembly not to fly. To this, problems with the setting in microphones, which are further from the Lope verse, were added to this. These are details that will be adjusted. Everything suggests that when the assembly reaches another headquarters of CNTC, Teatro de la Comedia de Madrid, where the action will be more stuck in the square, there will be no microphones, and the necessary adjustments will be performed, the game will be operated in all centripte power that is and much.
In addition, the power of this Fuenteovejuna This is in your faith and conviction. Break this assembly by traditional testimonies that were made from work. Fuenteovejuna, At that time, this failed, only at the beginning of the 20th century he began to gather regularly. This is not strange. This is the first work that collects the social movement. Lope has been moving for two centuries at one time, and, without its expression, he creates a drama, where, given the injustice, people react collectively and with a class consciousness.
The work is moving in the first section of the twentieth century, migrating ideological readings. Some supported the liberation of oppressed people, other protection of the monarchy. Each possessed their causes. Something, which ended in the 40s. It is irresistible not to express the words of the critic ABC Ten Cresspo, to the premiere, that Cayetano Luca de Tena, directed in 1944: “A drama in which the dawn of Spain is already singing, in which the feather and beam in his dawn is an ihir, and in which, finally, the popular god, and o -aoat, and o -Goren.
After difficult and bright years, the ranks of Franco, Fuenteovejuna Restore the vision of oppressed people and is open to another great topic of work: love. Faced with injustice, Lope opposes the ideal of love against Baroque. Excellent negotiations between Lawrence and leaf – a good example of this. There the assembly shield and Marsilles are fundamental. But what is Racel Kamacho doing in this meeting?
Kamacho loses things along the way, because it cannot be otherwise. Maybe this Fuenteovejuna With the highest verse. The problem of love can be diluted. But at this collection, Kamacho can bring out the entire terror of violence that has already inflated there, and that today, after a few moments, when the sabers are protected, are exterminated before everyone is silent and the regression pipes sound in the most Western societies, resonates with special force, with special significant.
For this, Kamacho uses everything that is in the theater. The words of the Lope, the body of the actors, the overflow of actions, musical research, light, space and power of the sign. Some small examples. A sign is what exceeds value. There is an excellent beef horn on the stage. He has no usefulness, the actors move him, turn, rise, never disappear, remains a pure sign of this Catholic and cruel country.
On the other hand, the will not hide. What is happening in the text outside the scene, for example, the murder of the commander, is decided here with an impressive scene in which people ride it with Cowbell. All women and men, crush and cut the body, and then blur it in a large cross of Kalatrava. The image is cruel, reminds of the ends of our modern history, such as Mussolini or Cheius.
Another example, the famous monologue of Lawrence, which leads to the fact that people develop with the whole tragedy of a bruised, bloody and naked body, which has just been veiled. This is the noise of women within the framework of wars and has hellish power in the body and throat of Christina Martin Miro. This young actress has just finished traveling with a young CNTC company and, if I have already notified in other meetings, now, after that FuenteovejunaIt is impossible to confirm without the genre of doubt that we are faced with the birth of a great translator.
Because there are no large installations without great actors. And he has them. Chani Martin as the commander, everyone is delighted with the worst violent courage, that extends to whiskey, depressed and depressed anitality. Jorge Kent, who plays Esteban, mayor and father of Lawrence, is amazing both at moments of his father’s tenderness and in those who are humiliated or in which he raises their voice and everything is force. Both actors from breeds, they were already with Kamacho in Coronada and El -ToroField
But there is another young actor who also left a young woman who fills the space of vital power and crowded energy. His name is Pascal Labor, and he introduces into the role of Lawrenceo. Also distinguish Alberto Velasco in an amazing Mengo, a character responsible for a heartless answer, humor of flat people. Velasco composes the character in a more traditional, even psychological way, which allows Kamacho, even if he differs from the rest. And it works.
Finally, strictly indicate the great work of Rakel Molano in a musical direction. The work of the Lope is based on the contrast between the war and the public universe of the people. The assembly intersects with music, which shares and raises every world. Something for Molano was supported by two heads of experimental music of this country, Pablo Peni and Dario -Doda Moral from the Pony Bravo group. An example of how to interch these two worlds during work sounds another, harmoniously, the throat that stunes and gives an assembly of a very modern sound. The song is processed, but these two sounding divers in the archives of the great American ethnomusicologist Alan Lomax. Its origin: traditional songs on the major.
At the end of the work, a woman from the city covers Isabelle II and does not allow her to say the end of this phrase: “And the villa remains well in us, from us it is worth it until we see that, perhaps, the commander who has inherited it will come out.” An unsuccessful gesture covers the voice of influential and tells him that everything is to change, so everything remains the same. The image of great power against the patriarchy, who perpetuated the centuries in power. The intention is clear here that if the king or another, that if feudalism, monarchy, is if progress or tradition. In this work, the topic is clear: this is a scream before horror. The horror of war, how, when bullets fall, the worst badeners of a person are freed.
There, the actors begin to sing the song of Victor Jara. Even this is permitted by Kamacho, memories today prohibit the revolutionary movements of the seventies. They already know when someone immediately receives politics, there is another who accuses him of a brochure and light. Kamacho does not intimidate and relies on the Latin American revolutionary tradition, without ambiguity or camouflages. To sing the entire cast of the delivered: “Like a yoke with tight, I have a fist, hoping, because everything will change.” Who wants to understand what he understands.
