The scenes are arranged in a somewhat rehearsed order. Actors and playwrights read the text face to face at the table, and then the play seems to begin early. In a way, we witness the preparation process of a work with a project format. Ivor Martinik meet William Miranda exist barcelona. Both men left their countries for different reasons. Ivor is a Croatian playwright who collaborated with Buenos Aires after Guillermo Cacacce staged his play My Son Just Walks Slower in 2014 An almost foundational relationship is established, and the play continues, albeit with some changes. Without exaggerating, suspecting some imprint of the Argentinian director, the long rehearsals within the show provide the feel of an open, chaotic stage, with actors and actresses enacting the drama in costumes that are far removed from the real scenes. Costumes have always been immersed in the hearts of Croatian playwrights.
The blissful drama of a young Salvadoran from one of the most violent countries in the world, Guillermo Miranda, who works as an actor and model in Barcelona. Ivor was fascinated and intrigued by his biography, perhaps because they all came from peripheral countries, from places where violence was daily life, producing a language, a way of reading that was closest to Chekhov’s attitude, in which drama, violence And sad it can be, one is always trying to think about those happy moments that the characters hold dear, but also expresses the need to escape that world.
Most recently, Cacace presented his version of “Ante,” Martinic’s first of four performances at the Teatro Company de la Gopuelo in Casero (Chubte). The text refers to the war in the former Yugoslavia, when Serbian troops murdered Ant’s mother, the same bomb that cost the boy a leg. His father was on the front lines of the war at the time, and the work follows the aftermath of the war, when Ant was twelve and the events of the past were still very much with them.
exist A young man’s joyful drama in the most violent country in the worldGuillermo performs on stage a biographical drama based on his life story El Salvador. He used a collection of family documents and we see photos of his mother and grandmother when they were young. These images have narrative power that gives these female figures status. His grandmother suffered the most brutal abuse.
As a result of the abuse she suffered, she had two children out of wedlock. The first death occurred when the owner of the house where she worked as a domestic help forced her to sleep on the floor with her child, who had bronchitis. His grandmother was a woman destroyed and driven mad by a system from which Guillermo managed to escape.
The story never loses a certain interesting stamp, as if the fictional space of the theater determines the tone of the scene, while the real figures are diminished or made less brutal because they don’t belong to the present moment of the scene. Guillermo’s speeches always refer to the past, and what’s happening before us is an imprecise situation, saying more about the connection between Ivor and Guillermo and the violent drama they intend to tell. The desire to see drama as our story. Being able to invent strategies to live through happy moments.
The dramatic device is intended to construct alternatives, and indeed it is Guillermo’s desire to become an actor that prompts his departure. El Salvador. When she arrives in Barcelona, she realizes that her androgynous beauty is a resource that allows her to survive, not a reason for discrimination. This change in feeling, where a problem becomes an advantage, is a mechanism that the performer manages to articulate from the theater’s proceedings, as if each event was part of an instance of confession.
Joyful drama from young people from the world’s most violent country This is a work about resistance in relation to life, as a construction of a possible novel. It is also a way of viewing the scene as a social realm where fate (often determined by governments, political institutions, and the economy) can be scrutinized and dismembered, as Guillermo is able to travel and rebuild his Salvadoran community through: Patrolling a scene, it was empty.
In this way, the unfathomable reality becomes something that can be changed, and then the role of author and character disappears. Interestingly, Ivor’s performance attempts to be invisible, allowing Guillermo to play the protagonist, whereas what we see is the director’s listening work, a way of observing and guiding the situation, allowing Guillermo to be the true author of the story .