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Barrage of news on the Madrid theater billboard

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With the tree already stored in the closet and the figurines of the nativity scene in their boxes, the Spanish scene regains its pulse; this week the premieres are accumulating on the Madrid theater billboard. Here are the highlights:

Manolete’s sisters

Alicia Montesquiu is the author of this text, “a fictional story based on the real characters that surrounded the death of the bullfighter Manolete in 1947.” Directed by Gabriel Olivares and performed by the author herself as well as Alicia Cabrera and Ana Turpin, the work is “a portrait of Franco’s society of those years, in which women were mere objects that should not stand out without permission; a black story of ineptitude and darkness that leads to the tragedy of several beings: a man considered a god, a bull and an actress in love.

We approach this little story of love, blood and bull’s tails in a black humor key, how could it be otherwise ».

It is a production by TeatroLAB and El Reló Producciones, and its managers explain: «Throughout history there is little information about the women who have been surrounding illustrious characters from past times and the more focus is placed on them, what They have remained in the social background, the more we are surprised by what we find. Brave, creative, terrible women, women with many things to contribute, good and bad, to the society that buried them in their homes. In the case of the bullfighter Manolete, the history of the women around him is surprising. They moved by making and undoing a spider web around them, in the small space that society provided for all things feminine.

Fernán Gómez Theater, until January 30

Dismounting Seneca

For his third experience as an actor, Jorge Javier Vázquez has once again put himself in the hands of Juan Carlos Rubio, who has written and directs ‘Desmontando a Seneca’. The starting point of the work is one of the texts by the Cordovan philosopher Lucio Anneo Seneca, ‘De la bredad de la vida’. Jorge Javier Vázquez is both actor and character, who is about to give a speech on this book “tired of everyone considering his work on television frivolous, and after suffering a stroke”, because “he thinks the time has come to get serious and share with the public some of the fundamental questions that concern us all: What is life ?; What do we do to take advantage of it ?; Are we wasting our most precious asset, time?

“Before any self-help manual,” says Juan Carlos Rubio, “before Paulo Coelho and his novels, before therapies, personal growth, relaxation or meditation, Seneca already had a series of simple and wise advice for a better life. In this moment of mine, already crossed the barrier of fifty and wishing not to waste the little or long time that I remain, I have decided to take the step and stage this magnificent work, turning it into a fun comedy, with large doses of entanglement , humor, tenderness, pain and hope ».

Reina Victoria Theater, until March 23

Beginners

Pablo Lorente
Pablo Lorente

Juan Cavestany’s theatrical adaptation of Raymond Carver’s story ‘What we talk about when we talk about love’, under the title ‘Beginners’, arrives at the Teatros del Canal after a year on tour. The show, directed by Andrés Lima, has a cast made up of Javier Gutiérrez, Vicky Luengo, Mónica Regueiro and Daniel Pérez-Prada.

Cavestany says: «Throughout an afternoon, in an atmosphere marked by the changing light, the four protagonists – a ‘veteran’ couple and a younger couple of friends whose relationship is more recent – share their experiences and ideas, great and small, about what love and the need of the other means. Romantic and heartbreaking, realistic and poetic at the same time, the piece is not only a reference to an era, but it captures us today with the force of an essential piece of music ».

Teatros del Canal, until February 5

Molly Bloom

Forty-two years later, the actress and director Magüi Mira has returned to what is undoubtedly the most emblematic character of her career: Molly Bloom. In 1980 he met the character of ‘Ulysses’ by James Joyce for the first time – the novel will be one hundred years after its publication in a few days – and since then he has been present on several occasions. Magüi Mira shares on this occasion with Marta Torres the authorship of the version and the direction of the show.

“Today Molly Bloom’s words remain intact, but the world moves and transforms,” ​​says Magüi Mira. Now I can understand her resignation as a generous acceptance of the unfulfilled desire to be loved. Molly accepts the life of a woman who sustains the world, the unstoppable force of Mother Nature, of Mother Earth. Molly is a free and pure spirit, who does not submit to male control and abuse. Molly is a direct and clean voice that speaks of another possible life in which she wants her space. Molly has the tired eyes of women who have passed through years of her life, the lives of female women that we love, give birth to, and breastfeed children, parents, lovers … Molly says yes to life. With a more cheeky and wise humor. And for that reason, today, his provocative capacity is more impressive. Hence its overwhelming beauty is born.

Quique San Francisco Theater, until February 6

Pythagoras’ notebook

Luz Soria
Luz Soria

Written and directed by Carolina Africa, ‘The Pythagorean Notebook’ is a work created in the VII Laboratory of Theater Writing of the SGAE Foundation 2018-2019. In it, a group of inmates participates in the development of a theatrical work that will culminate in the final display of the show – entirely created by them – before their families. “Paqui and Furia – says the author – will be the protagonists of this choral story where we will question the concept of social reintegration by analyzing the difficulties, prejudices and stigmas faced by anyone who has served or is serving a sentence.”

Carolina Africa says about ‘The Pythagorean Notebook’: «Telling the experience of a woman in a mixed prison with her particular characteristics and her specific universe, talking about prison pregnancies, mothers’ modules, reception flats and sentencing social added that women suffer has been one of the fundamental pillars on which this story is also based.

Valle-Inclán Theater from January 18 to February 20

The great Monastery

Sergio Parra
Sergio Parra

The National Classical Theater Company begins the year with the staging of ‘La gran Cenobia’, a play written by Pedro Calderón de la Barca between 1624 and 162, and which has “profound resonances – say those responsible – with the other works Roman themes that have been or will be on the stages of the CNTC this season: ‘Antonio y Cleopatra’, ‘Numancia’ and ‘Lo fingido verda’.

The direction of the show corresponds to David Boceta (member of the first class of the Young National Classical Theater Company), and the interpreters are Cristina Arias, Mikel Arostegui, Mariano Estudillo, Marta Guerras, Alejandro Pau, Isabel Rodes, José Juan Rodríguez, Víctor Sáinz, Irene Serrano and José Luis Verguizas.

“Calderón de la Barca was a profound connoisseur of the literary sources that the culture of the Roman Empire bequeathed to posterity,” say those responsible. “The great Cenobia brings us back to the ups and downs of fortune, transience and the rigors of power and how love, the least apprehensive of human passions, often places us in front of our own great questions.”

Comedy Theater, until March 6

Turn heart! Dancing with Lorca in the Silver Age

The Barcelona dancer Carmen Cortés is one of the most serious figures of our flamenco dance. Over the years he has shown his concern for giving this art intellectual depth, with shows that have traveled from Cervantes and José Bergamín to Sor Juana Inés de la Cruz. Federico García Lorca has been a constant in his work, and before this’ ¡Gira corazón! Dancing with Lorca in the Silver Age ‘has presented’ Yerma ‘and’ Mujeres de Lorca ‘.

With music by his inseparable Gerardo Núñez and dramaturgy by José Ramón Fernández, ‘¡Gira corazón! Dancing with Lorca in the Silver Age ‘approaches “all those men so different that Federico García Lorca left in his words. The avant-garde poet and playwright; the one who sang martinetes with a hoarse and dark voice; the friend of La Argentinita, of Alberti, of Sánchez Mejías, of Neville, of Morla; the surrendered admirer of Manuel Torres, El Niño de Jerez; The one who perhaps one day crossed the Plaza de Santa Ana to see a 14-year-old gypsy woman at Villa Rosa, named Carmen Amaya; the tormented author of ‘The public’, of ‘Poet in New York’, of the sonnets and the gazelles ».

Teatros del Canal, until January 16

The forgiveness

Colombian actress Juana Acosta was 16 years old when her father was assassinated; She was leaving a ballet class when she heard the news, and the dance became a trauma for her. Three decades have passed and now he returns to this art seeking healing in a show entitled ‘El perdón’. He is accompanied by the choreographer Chevi Muraday, who has created a work based on texts by Juan Carlos Rubio.

«How far can forgiveness go? -said Rubio- Is it an irrevocable decision or does it require a continuous examination of conscience? Do we forgive with our mind or with our heart? Is justice the opposite of forgiveness, since, as Seneca claimed, forgiveness is the remission of the punishment due and therefore we should not speak of it but of clemency? Our work with this exciting show may not be to answer these questions, but without a doubt the challenge is to find a way to formulate them with the body and the word, the light and the shadow, the music and the silence, the emotion and reason and pierce the conscience of the spectators.

Fine Arts Theater, until January 23

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