May 27, 2020

Chronicles of a crime in the empty space – La Provincia

'The crime of Fuencarral Street', the second production of the 'Galds Laboratory', last night saw its absolute premiere at the Prez Galds Theater, where it repeats today and tomorrow. Directed by Mario Vega and with text by Fabio Rubiano, Marta Viera, Ruth Snchez, Efran Martn and Abraham Santacruz star in the piece.

After a trip of rewrites and successive reinventions in the participatory essays of the Galdós Laboratory, the montage The crime of Fuencarral street He opened his flight last night at the Pérez Galdós Theater instituted as the second artistic production within the framework of this scenic experimentation project.

The shadow of the bloody murder perpetrated on the Madrid route in 1888, which marked the birth of the sensationalist press in Spanish nineteenth-century society and caused an unusual division between social classes, forms the plot line on which this high-voltage diversion travels in the The skin of four fictional workers in a newspaper, which are divided into up to 33 characters to illustrate that maxim that "the history of a country is also the history of its crimes, of those crimes that left their mark."

And this imprint also crystallized in the black chronicles of Benito Pérez Galdós, who reflected the riots, ambiguities, pressures and resignations that this social uproar caused as a correspondent for the Buenos Aires newspaper The press from Madrid, and that the renowned Colombian playwright Fabio Rubiano reformulates the revelations of this episode about our human nature through humor and a contemporary perspective.


Under the direction of Mario Vega, the team of Unahoramenos Producciones, co-producer of Galdós Laboratory together with the Auditorium and Theater Foundation of Las Palmas de Gran Canaria, it subverts its usual scenic codes and ignores its powerful and acclaimed stage and audiovisual displays in favor of the "empty space" that will be coined by the director British Peter Brook, so that the recreation of each prism of the event in Fuencarral, from the homicide in the victim's property and his main suspects to the police investigations, the social alarm and the parallel trials, falls on the gestures and words of the cast, composed of Marta Viera, Efraín Martín, Ruth Sánchez and Abraham Santacruz.

In this line, the staging, which Iván Negrín, in the lighting, and Juan Carlos Cruz, in the design of audiovisual effects, both regulars of the montages of Unahoramenos, reduce their scenographic and props proposal to the minimum expression, what reverses in a tour de force interpretive for the four artists on stage. "Peter Brook told a story in which, during the rehearsal of a version of Hamlet, he actor who embodied the archer had to take bow lessons for three months to fine tune the precision in the show, in which he threw an arrow. But on the same day of the premiere, Brook said: good work, but today you are going to do the scene without a bow, "Mario Vega says." The key to this story is that, as an audience, you see the arrow even if it is not there, because its precision is that of an archer, not that of an actor who imitates it. "

This tribute to the essence of the theater, stripped of ornaments and artifice, constitutes the manifest twist within the company's seal, recognized nationally and internationally with titles such as My name is Suleiman (2015) or The damned (2017) – nominated for three Max Awards for the Performing Arts – and whose first production is protected by Galdós Laboratory, Ana (we will also be forgotten), It also translated into a nomination for the Max in the category of Best Stage Design for Mario Vega.

However, the total nudity that is, the paradox, The crime of Fuencarral street it is interwoven with the fundamental substrate of Galdós Laboratory, which opened its essays to the democratic participation of citizens – in this case, two months before its premiere – and submitted its questions and observations to debate until yesterday's eve. Therefore, a part of the audience watched a show last night that diverges from the one they watched two months ago or even a week ago, since The crime of Fuencarral street last night he took the stage as the artistic result of multiple mutations, pruning, crisis and collective musing, so that, as Vega himself said in the countdown to its premiere, "this proposal you will like more or less, but how much happens in scene is very discussed and reflected. " And the best thing about this trip is that, long before the curtain was raised, a part of the public already felt this piece as theirs.

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