Moliere 2.1: "The Precious Ridículas"

Moliere 2.1: "The Precious Ridículas"

"- Have you learned music?

– Not at all

– And how do you do?

– Quality people know everything without ever having learned anything.

– That is a great truth that will undoubtedly go beyond the limits of time "

It could be the conversation between two musical fans at the entrance of a macro festival on either side of the Atlantic. No. It's Moliere, with Nostradamus's tunic, in "Las Preciosas Ridículas", a scathing critique of bourgeois life as current as appropriate that Gina Piccirilli puts on the metaphorical tables of the Teatro El Damero in Buenos Aires.

The French dramatist has no mercy with his satire, which Piccirilli adapts and transforms into chaos under absolute control with the title of "Precious Ridiculez". Nothing escapes in this piece of "theater off" that dismembers, unmercifully, a good part of the independent theater culture: neither egotism nor mediocrity overcome the inclement filter.

For this, Piccirilli uses the fictional "Independent Classics Company" that, with a work within the work, interprets Moliere's classic and becomes a mirror of a good part of contemporary theater. He does it with a fourth wall that is just a vaporous curtain that constantly crosses a cast made up of Dante Lemma, Adrián Molteni, Rafa Ocampo, Patricia Cugat, Solange Verina, Facu Martín and Sebastián Urban.

Lemma stands out, who becomes the egomaniac Pancho Medina Cueces, a "modest" theater man who aspires to sign the costumes, sets, design, musical selection and choreographies of the fictional company. And of course it is the star protagonist who plugs his lover and his ex on stage. Any resemblance to reality is pure coincidence.

Nor does the shallow mise en scène in which the brief space and lighting become almost two characters of the play with which the cast plays. The story of the two provincial cousins ​​Cathos and Madelon whose father and uncle Gorgibus wants to marry an aristocrat at all costs can not fail then.

And without mercy, they are seduced by two servants who pretend to be aristocrats turned into a parody of the bourgeoisie and its customs. Moliere does not overlook anything, nor the appearances that are the basis of a good part of society, nor the pre-eminence of the material in another good mirror that reflects the society of his time. And of ours.

"- Nothing better than having good contacts in these art professions, and I am an important part of the contact lists.

– What great truth is the contacts.

– Besides I am very compliant when it comes to a colleague or friend no matter what I do; Even before the curtain rises, I stand up and shout: 'This is what art needs, bravo!' "

Thus, in 1659 as in 2018.


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