«In theater the word cannot remain static»

Madrid

Updated:30/01/2021 11:48h

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One of the greatest current actors in the Spanish language, the Argentine Miguel Angel Solá, returns to the Spanish stages -to the Luchana Theaters, in Madrid – after several years of absence. He does it with the Spanish actress Paula Cancio and with the function they have been performing together in Argentina: «Double or nothing“, from Sabina Berman, with address of the recently deceased Quique Quintanilla. This is a review of “Testosterone”, which both presented in 2014 at the Galileo Theater. “In reality, the only thing that remains is the central anecdote,” says Solá, “but the way of telling the story is completely different. And we want it to be totally different every day.

“Double or nothing” he tellsa story of the director of a major media outlet who must leave his post in the hands of one of its two deputy directors, one of them a woman. The play features an interview between her and the director. What will influence that decision ?: ability, sex, experience, audacity, deception, cheating? … This is what the function speaks about, with which the author confessed to having three intentions: «to show what two people can achieve in each other, make transparent what the relationship between men and women is in the 21st century and, finally, return to the essence of theater and its simplest and most honest elements: light showing words».

Miguel Ángel Solá defends that the objective of these elements -especially the acting and the words- is get to the truth. This is what they pursue in “Double or nothing”, where “the characters take over the places, the stage; this is not a painting from whose framework the interpreters cannot escape. If it were so, the theater would die. For this, the actors must have a special complicity, travel the same path. «You have to believe in it and create with these bases. If one goes and the other comes, there is no progress, the attention is not permanently maintained. One cannot stick to the known letter; the theater is something else. In theater the word cannot remain static ».

The evolution of the work and its transformation from “Testosterone” to “Double or nothing” – in which the author herself has participated – responds to an intention: “bring her to the here and now». «You have to bear in mind that when Sabina Berman wrote it, there were no movements like #MeToo, and the man-woman relationship in the workplace was very different. The work has lost that almost romantic halo that it had to acquire a strength and vigor that has nothing to do with it. All the changes have been worked by the author and I think she has won; this work does not make much sense if it does not present that potential of show reality. And we put the accent on manipulation, on how a human being can be transformed into a docile being so that the system can engulf him.

Miguel Ángel Solá defends his career: «many thousands of people have witnessed the honesty and dedication of my works “, and adds that in”Double or nothing »has as a companion« a Authentic and powerful actress who has been waiting a year and a half (since they returned from Argentina) for the opportunity to work; And for that, she needs people who can offer her work to come and see her.

Of «Double or nothing», he concludes: «It is a very good work, very genuine and very enlightening for women and to remind the man (not the male), that much of “what there is” is wrong and that it is time to change methodologies and manipulations before everything becomes irreconcilable “.

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