Mérida, Jul 1 (EFE) .- Rafael Álvarez “El Brujo” has used the comedy this Wednesday as if it were a therapist, with the intention of reminding the spectators of the Roman Theater of Mérida, that they have attended the premiere of his play “The gods and the god”, that life goes on and that they are the true gods of this “post-pandemic tragicomedy.”
With comedy as the main axis of his therapy, El Brujo has filled a scene with irony and laughter tonight, in his opinion, “quite humble”, of which without a doubt “the very German Chancellor, Angela Merkel, would be proud.”
The absolute premiere of the Cordovan playwright has had as a backdrop the myth of Anhost, which has been narrated in a characteristic way with continuous winks and references to current characters from the world of politics and television.
By mixing old comedy with current dramas, he explained that “the television of the heart and a hotel night because of his divorce”, led him to find this play by Plautus.
“People with the mask do not get oxygen to the brain well and do not know what they see in the theater,” he has ironized.
In this sense, he explained that this Greek author copied the jokes of the traveling comedians and added tragedy, something that, in his opinion, great authors such as William Shakespeare and Miguel de Cervantes have also done.
“Host is a modern story full of unhappiness and divine horns, which is based on an ancient tragedy”, after saying this, he has narrated how Jupiter devised a plan with his son, Mercury, to deceive the slave Sosias and be able to lie down during a night that lasted three days, with Anhost’s wife, Alcmena, when he was at war.
For the actor, Mercurio was the god of digital technology because when he took the form of Sosias, he made the slave doubt his own existence, “just as it currently happens with social networks,” he says.
“Poor Sosias was a bit stupid, he was affiliated with the slave union even though it didn’t work because everyone wanted to be freed.”
In his work, the gods come to life in a comical way through the dichotomies of human beings and their tragedies.
“I know it seems difficult to understand, but what about Rociito you know well,” he added.
“Where is God?” He asked the audience while the musician, Javier Alejano, beat his drum, “who can communicate with him, send him a whatssap please.”
For El Brujo when a new lifestyle based on digital technology emerged from the depths, the meaning of the existence of God and the gods lost its meaning, because now society has a new god called “internet”.
In his continuous references to the present, the comedian has also invited to imagine Belén Esteban, Isabel Díaz Ayuso, El Gran Wyoming and Santiago Abascal doing pirouettes in a bullring.
Likewise, the pandemic has taken on a chronological role in the work by comparing mythological beings from before it with “post-pandemic” beings such as the epidemiologist, Fernando Simón.
Álvarez explained how the root cause of the pandemic has developed “acute Simonitis”, since he continuously dreamed of Simon and his “mythological tales”.
“Mythology is the way to give an answer to the questions that do not have it”, according to him, we are the question and at the same time the answer.
At all times and without leaving the comedy that characterizes him, El Brujo has wanted his magic and energy to reach all the attendees who laughed under their masks in an expansive way.
And it is precisely in this context where he has assured that it is not possible to understand Greek tragedy without the meaning of the light that the gods represent.
That light, so necessary for him, is embodied by the divine figures of mythology that illuminate “even the darkest corner of the universe.”
“Despite this, humans are more powerful than limitations thanks to the creativity that characterizes us, we are really the gods of our own mythology,” he recalled.
As a final act, he stood the audience up as if it were a god to make them forget the tragedy they had experienced, to later abandon, while dancing to the rhythm of the music, the light from the spotlights of the Roman Theater of Mérida amid laughter and applause from those whom he calls gods.