«In 'Tamora' the hilarious freshness coexists with the terror of the Shakespearean text»

The Gran Canaria stage director Mario Vega, who premieres 'Tamora' at the Pérez Galdós Theatre. / C7

The director premieres at the Pérez Galdós Theater on June 8, 9 and 10, a version of 'Tito Andrónico', written by Gabriel Calderón

Stage director Mario Vega it is the first time that he faces a Shakespeare. And he has not exactly opted for just any title from the copious theatrical production that the English playwright bequeathed us.
The 'Titus Andronicus' which premieres on June 8, 9 and 10 at the Pérez Galdós Theater, inspired by a free version written by the Uruguayan
Gabriel Calderon titled 'Tamora'offers the public an immersive experience of volcanic interpretive temperature by four actresses who devour each other while chaos and cruelty revolve around them.

«For many years I wanted to approach 'Tito Andrónico.'
It is a text that within the 'naif' which can result in the context of Shakespeare's literature, has all the ingredients of his dramaturgy: revenge, death, blood... in a certain way his theater continues to be a reflection of contemporary society. Of this Shakespeare play
I was always moved by the innocent and the degree of violence that is always exerted on them. It is a bloody work that shows naked (and almost in a farcical tone) human cruelty, the degree of madness that triggers violence. Today we do not cut off hands or decapitate, but we do betray, defame, invent hoaxes interested, build lies, shed blood in another way out of ambition.
Forms change, but relationships maintain that degree of violence and it is still the weak who carry the weight of cruelty", says Vega, who repeats with the playwright Gabriel Calderón after the delicate production faced last year,
'Clara and the abyss', nominated for the Max Awards for Performing Arts.

from the contemporary

"The only premise that we put on Calderón was that he propose a review from the contemporary," adds the director who directs this show to
Andrea Zoghbi, Yanara Moreno, María Filomena Martignetti and Rosa Escrig.

«I am seduced by the proposals of Calderón, a reference author for Unahoramenos. He has a perspective and an always original look on the narrative fact that allows
reflections and accurate scenic approaches, perhaps propitiated by his double condition as theater director and playwright”, he points out.

From the initial supposition around the legend of the relative and questionable success that this work of Shakespeare had when it was premiered, this show starts that places the public before the resounding failure of the coming-out of
a theater company that has just premiered precisely its 'Tito Andrónico' at the Pérez Galdós Theatre.

«In the montage, the hilarious freshness coexists with the terror that the original text exudes. Out of respect for Shakespeare and Calderón himself, we build the scenes that adapt to a unique stage space. One of the successes of Calderón's text is that it exposes
the feminine gaze facing the drama from different perspectives», maintains Mario Vega.

circular module

On this occasion, the director uses a rotating circular module in which all the action that no more than 180 spectators watch seated in a ring takes place. On the kitchen island where an eventful dinner takes place
-like a ring- the protagonists argue, challenge and betray each other. «As viewers, this montage encourages us to take a different journey and feel imbued in the performance, because the
actresses use the same space in which the public he sits down to contemplate them generating a certain conflict”, he warns.

«Calderón's version allows us to play with
different planes and layers of interpretation. Its plot plays in parallel with Shakespeare's text and Calderón's contemporary. The selected passages of 'Titus Andronicus' are intelligently inserted into the development of the two layers of the montage in which, in short, power relations can be glimpsed », he points out.

free resource

Mario Vega confesses that in the very process of building this new installment co-produced by the Fundación Auditorio y Teatro de Las Palmas de Gran Canaria, «we realized that the free resource of blood and the truculence of violence did not contribute anything to the discourse of the montage.
Without seeing the blood, what is perceived is the violence and the intrinsic tension that takes over the characters until the work is finished.», adds the director, who admits that he always considered «facing this Shakespeare without resorting to common spaces, fleeing from classical theatre. Our bets are contemporary and have to do with the languages ​​with which we at Unahoramenos wish to relate to the public.
The Shakespearean conflict is a reference and how it places the characters in a limit situation have been resources used in the rehearsals».

The gender perspective is also present. “We are talking about pyramidal power structures. As we agreed with Calderón, the situation of women revealing itself at the world level in a
oppression and violence that already accumulates centuries, became in this montage an unavoidable source of work. As the playwright points out when reading 'Tito Andrónico', a gender perspective emerges where the patriarchal fan is expressed in what was done to the body and soul of Lavinia, outraged by the order of another woman named Tamora».

Source link