When Malena Pichot (Buenos Aires, 1982) talks about her beginnings in the stand up remember an episode more than eloquent. In a small room in Buenos Aires, in front of an almost familiar audience, "I suddenly saw the face of a boy laughing very nervous. I remember that moment many times. As if the boy thought: I can not believe what he is saying. I said to myself: ah, this has no comparison, I want that face forever in front of me. "
The cocktail that provoked the nervous laughter of that boy had a quarter of surprise, another of scandal and two of feminism, the first sounds of a war drum that had come to stay. Ten years after that monologue, Malena Pichot is not only one of the most celebrated comedians in all of Argentina, but also one of the most inescapable action figures of the feminist avant-garde outside and inside her country. Return now to Spain (Teatro Maravillas, February 24) with Person, a Show of stand up to eight hands with Charo López, Ana Carolina and Vanesa Strauch, with the intention policy to "laugh at those who laugh". I meet her at a bar in La Chacarita, her neighborhood in Buenos Aires, a few hours after I fly to Madrid and before the coffee arrives we have already entered into blood and fire on the subject.
"Ten years ago, when I started using feminism," explains Pichot, "it was not so much a matter of militancy, as it was of surprise. I thought: this is a great goal, there is a subject full of edges and possibilities that nobody is using, I can not believe it. " Today some of those first ones are almost of cult sketchs of the series Cualca (2012) or from the videos of The crazy shit (with which was hung, apart, the medal of being in 2008 one of the first youtubers argentinas), in which he reviewed with sarcasm topics such as street compliments, menstruation or break with a boyfriend not very memorable. "Traditionally women have had to degrade to please the public. In Person We made the decision that we did not want to do that. You do not have to go on stage to say I'm ugly, I'm fat, nobody wants to fuck me. "
But the dialectics through which feminist humor transits are today, as it could not happen otherwise, diverse, tentative and sometimes conflicting. Only a few months ago the Australian Hannah Gadsby burst all Netflix figures with the monologue Nanette in which she spoke of the dangers of "self-deprecating humor" (the humor of self-humiliation), an emotional journey in which she declared herself willing to stop making herself a "laughable subject" and left in a way an so ambiguous to the conscience of the public solve the question of the morality of a discourse that insists on those terms. "Laughter is not our medicine," he said, "laughter is only honey that sweetens a bitter reality. The cure is in the stories. " Malena Pichot reacts with some rejection in front of that attitude. "I saw Gadsby's monologue," he explains, "and it seemed like a TED talk, touching and full of interesting ideas, many of which I share, but I did not find comedy. I admit that I was a bit upset at the end, when he says he is not going to do more comedy. Maybe it's a bit of a third-world thing, but I can not afford to stop laughing. I'm going to keep laughing at this because if I do not die. "
And in the same way that he rebels against those who leave the ship, Pichot also rebels against those who try to climb it to take advantage of it. a wind that promises favorable: "It's fun for me to see many comedians here in Argentina who never had the slightest feminist concern and now they're the best. They want to go up and they do not get it because they stay in the solemnity of politics and they get a sermon. They say: patriarchy is bad. Yes, well, that's fine, but give it a spin. If people do not laugh, this does not work. " In this sense Pichot claims a kind of "situationist theory" of humor rather than applicable to the contents (what can be said and what is not), applicable to who is qualified to deal with them. In the same way that only a Jewish comedian is morally qualified to make a joke about the Holocaust, a homosexual to make a homophobic joke and a Negro for a racist joke, from Pichot's perspective only one woman is able to deal from a comic perspective certain gender issues. "I say more barbarities than any man, I make jokes about rapes without stopping, but those same jokes in the mouth of a man are not tolerable. And that is what hurts them. Are you a white heterosexual man, first world? Well, then you can not make a joke about that, I'm sorry, but you can not. "
Malena Pichot is an existentialist of the performance: if Sartre said that the thought is made "in the mouth" to explain that only "what can be said" is known, she defends that comedy only occurs in interaction with the audience: "What one finds funny in the loneliness of his room is not always so. It's the people who tell you what works, the one that lets you know that that is the word you have to use and not another. " Person is, in that sense, a Show put to the test in years of shooting by several countries in Latin America. Politician, yes. Militant, yes. Feminist, yes. But not for any of those less hilarious issues. If something has come out clearly this fantastic troupe of Argentine comics after so many kilometers of road is that good jokes kill more males than bullets.