Inma Chacón (Zafra, Badajoz, 1954) is the twin sister of the writer Sweet Chacón. The writer also met on Tuesday with the public prior to the representation of The sleeping voice, novel of his sister, whose theatrical adaptation arrives today Wednesday, at 20.30 in the Guiniguada theater. In this interview, he talks about the convenience of approaching this montage because, in his opinion, "the Civil War has not ended for the losers".
The theatrical adaptation of La voz dormida, a novel by her sister Dulce Chacón, from 2002, is performed this Wednesday, February 13, at the Teatro Guiniguada, after passing through Tenerife over the weekend. Is it necessary and convenient to repair these days in the message that the work contains?
It is very important because it is still necessary to put your finger on the wound that has not finished closing, which is what you are doing The sleeping voice. There is not enough talk about it, there has been a lot of talk about the Nazi holocaust, the conquest of the West, everything has been done literature, theater and cinema, but in the post-war Spanish, how many novels and plays have been made? It is not yet a genre, and yet the others are. Why? Well, because in the two cases in which I speak there has been a reflection, a reparation for the vanquished. This has not happened in Spain with respect to the losers. It is always to justify that it was done on both sides, that there were dead in the ditch and on the other side, but the Civil War for the victors was finished in 1939, for the losers it has not been finished yet; There are still dead in the ditches, with which I think this work is very necessary, what it does is remind us that there are still winners and losers. Spain should be one, have passed page, closed wounds.
From some social and political fronts the historical memory is questioned, last Sunday, and the right that represents the PP, Ciudadanos y Vox mobilized its people and went out into the street. What opinion do you deserve?
The truth is that I was very happy about the call outside a fiasco. Fortunately, our country is not in that dynamic of continuous confrontation, of the quarrel, and it has shown on Sunday. Hopefully we are ready and that this outbreak of resurgence of the extreme right is only in that, that it is a mirage.
The theatrical adaptation is structured as a monologue, when the novel and the reading that Benito Zambrano made in the cinema, in 2011, were based on a choral story of many voices.
When I found out that it was going to be a monologue, I was very surprised. It was very difficult because it is a choral novel in which Dulce, what she did, was to synthesize the voice of many women with whom she spoke, and she portrayed them in a few characters that are in the sleeping voice. Cayetana Cabezas [responsable de la adaptación teatral] What she has done is to group all the characters that Dulce had already synthesized, in one voice that is Pepita Patiño, which in reality is inspired by a person who was called that and lived in Córdoba, and in which Dulce He was inspired. It has been a very pleasant surprise, because the spirit of the novel remains in the theater.
The theatrical reading of the work is not positioned in ideological terms, that if it happened with the characters of the book and the film.
Dulce goes up to the stage every afternoon with Laura Toledo. The voice of Dulce, more thoughtful and intuitive, very combative, and the voice of Laura Toledo, and in the voice of Cayetana Cabezas, who are two young women, have found in The Sleeping Voice a way to challenge all wars and all forms of injustice. The wars that continue to be waged, the physical and personal wars, the interior wars, the women's own war to free themselves from the yokes that still exist. I think that the work leaves that ideological position in the hands of the spectator. In the work of Dulce is very clear the side by which it is decanted, but leaves spaces for all sides. As in the theater, where there are no boundaries and anyone can enter. In the film the position is closed, as decided Benito Zambrano, and I think it is very lawful, and it is the novel, with another look.
Dulce Chacón had a strong left-wing conviction and was involved in the struggle for women's civil rights. You were at her side and she was an exceptional witness of her work as a writer, and specifically of the four years it took her to build La voz dormida, her latest book. How was this process?
With my sister Dulce I have shared everything because, as we said, we are practicing twins. I have participated in everything that Dulce has written since the beginning and was her first reader, corrector, and she paid me a lot of attention. I have lived through the entire gestation process The sleeping voice. I remember my sister crying when she transcribed the tapes into her typewriter. There was a lot that I could not tell because there are things that if the fictions do not seem credible, many times the truth can not be fiction.
The assembly won four nominations for the Max; Laura Toledo is nominated for the awards of the Union of Actors; and the Zambrano film achieved three Goya and one Silver Shell. Has all this activated the interest in the novel?
Dulce's book has been very alive, it is still alive, it is a book that is prescribed in many institutes, it is in all the bookstores, but if it is true that there are people who come to the play and have not read the novel, and they leave the theater wanting to read it. I think he feeds on each other. The novel is something else, it is a very broad territory in which many stories can be found that leave the stage of any theater.
What scenic route is left to the work ahead?
A lot, because now he returns to Madrid, to the Fine Arts, then he will go to Seville, I think the work has a long journey. Laura Toledo is wonderful, and is capable of transmitting all those emotional states, joy, passion, love, doubts, resentment, it is spectacular. And the adaptation is intelligent. Every time I see the work is different, because that's the beauty of the theater, and I look at different things. The first functions were only emotion and crying. For me it's like listening to Dulce talking from up there, her character Pepita. Notice that Pepita is addressing her sister, and when she says "sister …" The same thing happened to me with the novel.
ORYou are a writer. How much has the office conditioned to be the sister of Dulce?
Nothing, my whole life will be my sister and it has never been a conflict to be compared with my sister. I live in permanent comparison, it has always been, between the two, a very generous and shared relationship, because we have shared everything. And to these theater encounters I come as the sister of Dulce Chacón.