The king dies, Eugène Ionesco and Mauro Molina
The king of a rainy
The king of a rainy
A Mauro Molina was missing an Ionesco himself to pour the Argentine specialist in theater the absurd and, let's put it bluntly, he has succeeded. Le roi dies
was premiered in 1962, almost fifty years, and in the hands of an expert did not lose a drop of life and representation. Of course, it is, perhaps the lesson of the few tragic farce, as he liked to label a disorienting Ionesco seekers orthodoxy, which could be staged anti-rationalism, because it was located exclusively on the verbal level, as they have, as inconceivable as it was, his characters. Rhino got the director in a jam: how to turn people on stage? Not to mention the air pedestrian or James or submission. But King all the unspeakable, the complete dislocation of the nature around the throne-to Ionesco would have loved the language ... pun - comes to speech and do not need to see it. Thus, a bottomless cliff swallow reality, a virus paralyzed the army, the cows calve two calves a day, the grass springs out of the borders "which was a desert until Thursday", "twenty-five people were liquefied and twelve lost their heads, this time without my intervention "(noted by the King) and he is dying after exercise" two hundred seventy-seven years and three months. " Ionesco invests, while settled at last, the mythical ghost of Oedipus of Sophocles with his perfect antimyth. The world around the king's incestuous Greek disintegrated, starting with nature, and this was the sign from the gods, metonymic, that something was wrong at the palace. Shakespeare took a step toward demystify the history of its tyrannical selfishness prevented kings building, designed by the subjects to leave an everlasting kingdom. The Romanian-French playwright paste the latest twist to his nihilism Cosmicomics, simply because everything dies with the king, without elaborate explanation, no reason other than death, without God and need Him
Molina, compliant adapter, the foot is the author the letter, as always leading to an excellent team acting, and knowing lead. Removed, yes, the stage directions. There is music, "ridiculously royal 'or the palace hall" vaguely Gothic original text, that in a way that enabled puestista freedom. Yes the three thrones, the middle of the sovereign and the sides for the two wives, upholstered in red. A Queen Margaret prefers pale and dressed black, a thin Morticia firm and loud voice. With his other queen, Mary, is allowed a miniskirt on the squeaky little voice. The yeoman, unclassifiable livery, the astrologer-physician executioner washer and glass, does not clash with any courtier average, the servant maid Juliet dress like all of the twentieth century Berenguer I, purple robe, the crown golden halo poorly disguised cardboard. Just a couple of licenses allowed in the set, as the launch of Beefeater, and the scepter of the King, surrounded by a rustic wire and an old man that used to flit from killing insects. In summary, low temporal dislocation, uncertainty, austerity. Nothing distracting. Now, to enjoy performance.
And this is where it should be noted this group. The hard and at times dizzying dialogue Ionesco has interpreters deserve. The king ridiculous, with its Oedipal traces, their sudden attacks of disability, unenforceable orders, lives in Facundo Cardosi, so different to what we saw in Sketch for Theatre I, Molina-Beckett as the most eloquent descendant Ubúes actual and we have witnessed dramatic. That looked Urriaga dazzled and now you're not fit the character is Mary, also nothing like it, as if it had been written. Baldin Joaquin clown shows through its ductility doctor away from the mime, and Mary Viau (Juliet) and Dario Peralta (the yeoman) are also excellent.
Again, pregnancy and composition of Valeria Tercia (Margaret), who was nominated disclosure of Estrella 2008 and now a candidate for dramatic actress, Molina summary temperament director and the preparation of your company. You imagine what good will that you earn on the short list, if you must have another postponement, for such an actress, in that you're not already fascinated by the feeling of being able to choose any work of the universal code. Extraordinary.
definitely a director found his cast, and vice versa. Given that MM comes out unscathed from an Ionesco as Alejandra Pizarnik write is not difficult to augur more risks overcome. For men of courage (and talent) are big business. Gabriel
Cabrejas
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