No less than 1045 anonymous people have actively participated in an artistic experiment called 'Essay and error' from which the theatrical production entitled Ana (also forgetting will take us). The work, written by Irma Correa and directed by Mario Vega, was cooked over a low flame and in clay pot for a long time before its premiere last night at the Teatro Pérez Galdós in Las Palmas de Gran Canaria. This is the first fruit that gathers the Galdós Laboratory, a project promoted by the cabildo of the island and that is inscribed within what has been called Galdosian Biennium, period in which the cultural institutions try to enhance the work of the illustrious writer and that goes from 2018, date in which they have fulfilled 175 years of his birth, until 2020, year that will mark the first centenary of his death.
One of the curiosities of this Galdós Laboratory, in addition to highlighting the legacy of one of the most important and universal Spanish writers of all time, is undoubtedly its vocation to involve the public in the creative phase. Up to 18 trials of Ana (also forgetting will take us) they have been carried out in an open manner with an audience that, after registering in the program, was able to express their opinion and decide on such important matters as the staging of the text or the configuration of the characters and the interpretative solutions. Perhaps the special attention in these essays to the opinion of the youngest students – Baccalaureate and 4th of ESO – has led to the result of Ana is a function characterized, in its argumentative and expository line, by simplicity, clarity and freshness, which makes it very suitable for this audience that is entering adult life and that begins to be interested in matters as important as the individual and sexual freedom.
Inspired in a very free way in the well-known Galdosian novel Tristana, which gave nineteenth-century literature one of its most interesting and advanced female characters, the playwright Irma Correa has led her 'retouched' protagonist until the 60s of the last century, with the shadow of the Law of vagrants and thugs threatening any behavior homosexual. In this social context, Ana, a housewife without many aspirations and married to an official with a promising future, will discover a new world for her when she meets Vivian, a French photographer who she is soon attracted to and who incites her to live a different life outside of Spain.
Marta Viera, Rubén Darío, María de Vigo and Ruth Sánchez make up the cast of a show in which the director Mario Vega develops an ingenious arrangement of the space, very much supported by the language of audiovisual projection, which intensifies the clarity of the dramaturgic discourse, and that it favors that any type of spectator can understand the characters without problems and can easily approach the seriousness of the conflict.
While this first assembly of the Galdós Laboratory begins its journey, a new one begins to take shape under the same parameters of creation. Will be The crime of Fuencarral, from the journalistic chronicles of the Canarian writer about that unfortunate real episode, which are for some the germ of the black genre eminently Spanish. Since the joint project is not limited to the island's coordinates or to certain styles or currents, but, on the contrary, it wants to establish an artistic link between generations and countries with the figure of Benito Pérez Galdós as a nexus, and with the theater that bears his name as an operations center, the dramaturgy of this next work will fall on the Colombian author, actor and director Fabio Rubiano.
A third assembly, whose title has not yet been decided, a photographic exhibition and the publication of a book with three theatrical texts that have shaped the cycle will close in 2020 the frenetic activity of the laboratory for this Galdosian Biennium.