"Even in the winning parties, women are separated from history, so our intention is to make visible that part that is not counted, that of 52% of the population. The story is told from the perspective of the winners, not the winners, and less of the defeated ones, all of them invisible by the simple fact of being women ", explains Jessica Belda, actress and co-author with Ruth Sánchez González of "La Sección", who arrives at the Teatro Español directed by Carla Chillida. The cast is completed by Manuela Rodríguez and Roser Pujol to give life to three personalities of the Franco regime, Pilar Primo de Rivera, Mercedes Sanz-Bachiller and Carmen Polo.
The work focuses on them and on the evolution of the Feminine Section, from the foundational moment of the Falange to almost the Transition. "We want to present aspects that had a major importance in the future of so many women whose lives were marked by the educational, political, religious and gender impositions that had a deep impact on Spanish society," says Belda. It was about taking that moment of the dictatorship and seeing how they lived it, how they were indoctrinated and used as a political tool. " In this aspect, "The work of the Feminine Section was very important, especially in the construction of what a woman should be, in the role she should play within the regime, whose doctrine was home, homeland and empire," says the actress.
The Feminine Section taught them to be good women, wives and mothers. "His notion of motherhood is epic, he had a very important mission for the country, to give great soldiers who could fight to defend it." For Jessica Belda, "the model of a woman and a wife was to be at the service of man, to take care of the house, to have children and to educate them. The head of the family was the boss on whom he depended and whom he was to make happy, as indicated by "The Good Wife's Handbook." And it continues: "Until 1981 women do not acquire the same rights as men. The dictatorship was a very big parenthesis in the biological clock of feminism, some rights won were already in the Constitution of 31, but they will not recover until 1981, when they are equal to those of men ».
In the staging, Carla Chillida "has tried to play with interdisciplinarity, using dance, projections, puppets, speeches, songs ... This is political theater between the real document and fiction. A piece written, directed and performed by women in a world with few dramatists because, as in other professions, we have also been invisible. " And he concludes: "Now there is a greater awareness to reclaim that land that has always been denied us and It is a pity to see that when this is progressing, virulent political reactions arise that try to stop this struggle that I believe is unstoppable»