'The faked true' arrives at Cuyás

Arturo Querejeta, this Thursday, at the press conference. / Alejandro Quevedo Cuyás

The staging of the play by Lope de Vega, by the National Classical Theater Company, is being performed this Friday and Saturday at 7:30 p.m.

EFE The Gran Canarian palms

The Cuyás Theater hosts this Friday and Saturday,
always at 7:30 p.m.the work of
Lope de Vega 'The feigned true', by the National Classical Theater Company, with Arturo Querejeta and María Besant as protagonists in a proposal that will be a
"trip" for the viewer with a representation
"stripped of frills"according to the work's assistant director, Beatriz Argüello.

In a press conference,
Argüello highlighted the "brave and risky" way to address this text, which had never been performed before by another theater company and which arrives in Las Palmas de Gran Canaria after passing through the main Spanish cities under the direction of the actor and
Director Lluis Homar.

"It's brave from the point of view of direction and also because of the choice of actors, with an equal cast where women play male characters," explained Argüello, who perceives 'Lo fingido verdad' as a
"great tribute" to the actors and the theater from the adventure, the simplicity and the meticulous work of the text.

metatheatre

Beside
'Hamlet', by Shakespeare, and 'The impromptu of Versailles', by Molière'Lo fingido true' constitutes an "authentic trilogy on the theater within the theater in the 17th century" by addressing a reflection on destiny, its arbitrariness and "the
pretense that forces theatrical art to become a journey towards the truth».

In Lope de Vega's extensive oeuvre, 'Lo fingido verdad' is written simultaneously with 'Arte nuevo de do comedias', which is why, in the opinion of the actors and the direction of the work,
«Lope gives away one of the most fascinating reflections on the truth that theater has produced in the vida and on stages throughout all time.

So the actor
Arturo Querejeta, who plays Diocletianwho during the play becomes emperor of Rome, insists on the "transforming power of theater" and how the scenic truth "can become more transformative than the vital."

«We see a warlike, military, bloody, Shakespearean universe, like 'Richard III', where everyone dies, with
a humble roman soldier who ends up becoming Caesar because he has the support of his peers. In the play, none of the characters knows if they are real because the actors behave like people and not like characters in the comedy », he recounts, that he has been surprised that this
could be devised 400 years ago.

«Doing that 400 years ago, no matter how many comedies Lope would have made, is incredible. We have read many authors such as
Stanislavski or Pirandellowho performed theater within the theater that has been discussed many centuries later, but when you read the passages from Lope's work you are amazed because he already understood it and
he laid the foundations»has claimed the actor, who has recognized that it is a complicated work "to which no one had dared to put their teeth".

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