March 7, 2021

The girls of the Citroën | Babelia

The girls of the Citroën | Babelia



Women who swell the assembly lines, which complete the work of the robotic arms, which handle the radial … Garage, the work of the burgeoning Compostela company Voadora, is part of a growing trend characterized by intermingling on stage with professional interpreters and ordinary people, whose presence is intended to give testimony of the circumstances and desires of people similar to the viewer.

The influence of Pina Bausch, whose dancers stop to tell their own events and intimacies, is central to this theatrical line, but the breaking of the dividing line between character and performer already appears in parodies, sketches and works of the genre boy and in our theater baroque. Another antecedent: the fair huts where people who had a phenomenal singularity were shown to those who contemplated it an effect similar to that of being reflected in a concave or convex mirror.

GARAGE

Author: Fernando Epelde. Interpreters Chelo Campos, Ana Casal, José Diaz, F. Epelde, Susana Falque, Clara Ferran, Mar Fiuza, Bibiana Lias, Aida Portela, Liza G. Suárez, Hugo Torres, Carmen Triñanes, Belén Yáñez. Light: Nuno Meira. Set design and costumes: Marta Pazos. Company: Voadora. Madrid. Teatro Valle-Inclán, until October 14.

Premiered a year ago at the MA Scène Nationale de Montbèliard, commune of the industrial heart of France (where, starring workers of the PSA Peugeot, it must have made full sense), this show brings to scene in its Spanish version a handful of employees of the PSA Citroën de Vigo and some auxiliary industry, which at the beginning tell us one by one who they are, what they do and what they did before that.

Such prolegómenos and the slow trickle in the exit of the interpreters to scene they expand beyond the reasonable thing, especially for a public that is not the one of the city where the automobile factory feeds to relatives, friends or acquaintances his. The image and the scenic composition, highly cared for, that respond to the proven expertise of the director and set designer Marta Pazos, and the suggestive choreography of Guillermo Weickert, interpreted with steely brilliance and touching carnality by Clara Ferrao, contrast with the self-confessional tone of the texts and the intonation that is given to them, similar to the one that usually is used in the theater when serious and transcendental subjects are spoken.

In Garage sketches without development and dialogues that are soliloquies to two voices (with considerable amplification) under a careful lighting cold, all of which marks a distance calculated with the viewer. It's not enough to talk about rhythm, but about a slow adage, orchestrated on aesthetic parameters and on an idea ready-to-wear (ready to go) of the commitment between theater and society: it would not have been more, in this topic, to hear and see something about the interruption of the biological clock in shift work, the stress of intensifying work rhythms or the model of tight production.

In the jump to this side of the Pyrenees, the piece has been colored with a feminist reflection of short flight and gender concerns: the monologue of the woman man through time is inspired by the Orlando, of Viginia Woolf. Some of the feminine behaviors that Pazos and Fernando Epelde, author of the dramaturgy, present as if they were common places in extinction, continue to reproduce virally among girls and adolescents: much has to change the education for people to change. By the magnetic candor of both, the dialogue of the children Aroa Ortigosa and Alejandro Serrano put the end on high on the night of the premiere in Madrid.

When they come down to dance in the stalls, as a culmination, the supervening performers of Garage They transmit a very healthy energy and a good roll. Among them, stands out for its elocution achieved Mar Fiuza, who was an actress before putting herself at the head of a multi-brand dealer network.

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