After the drama exhibited by the protagonist of Clara y el abismo, during the representation of the play by the Uruguayan playwright Gabriel Calderón on the stage of the Pérez Galdós theater last Tuesday, September 7, the opinions of the few spectators who were able to exchange opinions were striking. at the end of the performance with its director, Mario Vega, on the occasion of the Laboratorio Galdós experience and the Ensayo y Error initiative. These assistants talked about what things they had disliked so that the director could then change them at their discretion in the next functions, and they focused, for the most part, on objecting how some audiovisual effects had prevented them from concentrating well.
However, perhaps it is those audiovisual moments that make this work a unique and recommendable experience for even viewers who have never attended a theatrical show. Clara is ill with terminal cancer and the plot takes place with her interacting with the family in the hospital, at home or even at the funeral. It is a hard text because there is a background of resentments and vested interests in many of those close to him. On this occasion, he highlighted the brilliant and successful music of Coque Malla and the complex work of the actress Marta Viera who has to sing, dance and declaim in a particularly dense and complex text that subjects her to a real roller coaster of emotions. All accompanied by an also outstanding work by Ruth Sánchez transformed into various characters and playing a musician.
Marta Viera performs a complex interpretation that goes through a roller coaster of emotions
But it should be noted above all the courage with which Vega’s company, Una Hora menos, has chosen an author with the characteristics of Calderón who, although he himself denies it, takes the theater out of the secrecy in which it is trapped. Precisely, it was the incorporation of images in the background of the stage that made it a theatrical experience in accordance with the 21st century. The audiovisual world is taking over everything, whether we like it or not, and one way to attract new audiences to the theater is with projects of this type where images release the tension that, as a result of the absolute concentration that the assistant has to have to follow the dialogues of the actors and never lose the thread of the argument, it usually occurs.
Calderón, thanks to these images, also divides the work into small passages that lighten this rigidity and cause greater enjoyment in the public, with scenes captured with special intelligence and that, in many cases, are real scenes, but in other metaphors of what happens in history itself, like that huge red canvas that appears just when Clara tells anguished how she was diagnosed with the disease, in this exhibition of three arts in one, in short.
Gabriel Calderón once again takes the theater out of the illogical secrecy in which it is embedded
The theater, the cinema and the musical perfectly assembled, without one standing out above the other. And at this point some purists may object that the essence of their codes is thus distorted, but the reality is that this fusion with the audiovisual is infecting the other arts. There are still three other Essay and Error experiences pending this September. Interested persons can register through the web form laboratorygaldos.es.