The multi-represented playwright Juan Mayorga points out in one of his texts included in the book Ellipses (La Uña Rota, 2016) that "theater is the art of meeting and imagination, the only thing that is essential is the pact that the actor he has to establish with his spectator. "And he quotes that Jorge Luis Borges himself made reference to that" naive agreement "in which the actor pretends that he is another before an audience that pretends to believe him, and that it is in the complicity of that double pretense that , according to Mayorga, "lies the essence of the theatrical fact, its possibility and its strength."
This claim of the primal theatrical substrate constitutes the great strength of The crime of Fuencarral street, second artistic production of that fascinating scenic experimentation project that is the Galdós Laboratory, in which Mario Vega, director of the company Unahoramenos, subverts the referential scenic codes of its creative universe in favor of the purity, or purification, of the theatrical act.
But this mortal somersault of Vega, which transgresses the usual scheme of his previous assemblies, in which he pierces the deepest social wounds through the fable, the dreamlike and a spectacular design of scenery and visual games, only confirms his great artistic look and, Above all, his ability to play as creator. In addition, on this trip, the director has several successes, such as the remarkable dramaturgy of the Colombian Fabio Rubiano, who rewrites in the key of contemporary burlesque farce the Galdosian chronicles about the tragic murder that marked the beginning of the tabloid press in nineteenth-century Spain.
The stumbling blocks, ambiguities, manipulations and shame derived from that event that divided the Spanish society into two sides translate into 65 minutes of high voltage, which transits from the continuous laugh to the mirror, as that final dialogue reflects on an invisible window in the that we look at each other inevitably: "Of all the works, I would never be an executioner."
But it deserves special attention tour de force interpretive of a cast in a state of grace, where Marta Viera-immense-, Efraín Martín, Abraham Santacruz and Ruth Sánchez flow smoothly from one character to another, unfolding into lawyers, prosecutors, jailers, lovers, journalists or dogs -with the exception of Sánchez, who plays the main defendant, Higinia Balaguer- without relying on a single accessory or props, drawing a scenic choreography that materializes with note that maxim of the pure theater in which the spectator surrenders from the beginning to this game as naive as it is honest, and feels that it has won when the curtain falls.
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