‘El Publico’ is Lorca’s response to a moment of personal and creative crisis, a cry for loving and artistic freedom
For a irrepresentable work, audiences will come out lately Lorca many crackpots ready for anything. Willing to to stage a huge unfinished and eventful history that lies between us miraculously scenic poem. A poetic puzzle intimately connected to the world and the time of Poet in New York and pregnant with meanings about the theater and about desire. A cry for loving and artistic freedom. A journey into the Lorca himself. Your brain. At its deepest tensions. A work that claimed, the content and form dark, avantgarde theater against another aimed at pleasing the public. And in the early thirties clearly it defends, sometimes so fierce against the dominant hypocrisy homoerotic desire. If at the beginning of 2015 the Teatro Real in Madrid became the public opera hand writer Andres Ibanez and composer Mauricio Sotelo, is now one of the reference figures of Catalan theater, Alex Rigola, former director of Teatre Lliure, who dare with this piece that almost seems to go hand in hand with this position: it was released worldwide in 1986 in Milan by one of the founders of Rigola Lliure and successor as head of the institution, Lluís Pasqual. A version still revered.
Of course, this great scenic poem, this Drama in twenty paintings and murder, as stated on the edge of the first page of the manuscript preserved although the work would end six acts and deaths there a few others, it will not It is represented in the Lliure but at the National Theatre of Catalonia, which comes from the Teatro de la Abadia Madrid, which is one of its Rigola usual suspects. Public premiered there on 28 October in the Sala Juan de la Cruz. It was a peculiar room the old church of the Holy Family with the help of set designer Max Glaenzel has become a whole cosmos. With the walls covered with hundreds of strips of metallic gray plastic. And with a cork floor that mimics the earth and creates mounds not only on stage but it moves toward the seats to integrate them into a universe on top even has its own celestial sphere, dark, starless. Under which the characters -the director, horses, Elena, Juliet, the fool Pastor, harlequin suit, red prestidigitador- Naked or delivered to the passions of the poem often with little or no clothes except the Director , played by Pep Tosar. A powerful universe Glaenzel Rigola and are challenged to recreate the always difficult TNC Great Room, where, live things, happen to show a decidedly popular, successful musical Molt soroll per no res.
Instead, the public not only the difficulty of the explosion of meanings of poetry with which it is written, but the manuscript that has survived is not the definitive, but has been saved. A manuscript dated August 22, 1930 and whose front pages are written on a letterhead of La Union in Havana, a city where have occurred the first reading of the work to Loynaz brothers. In July 1936 Lorca convene a group of friends at the Buenavista restaurant to read the final version, typewritten and with many corrections. And lost. Which has gone down in history is, according to his savior, Rafael Martínez Nadal, to Lorca, on his last day in Madrid on July 16, 1936, she gave him a packet of papers to be the keep: he must destroy especially if anything happened. Among them was The public, Martinez Nadal published much later, in 1976.
Rigola a work that fascinates him since he discovered at the Institut del Teatre and it fits perfectly with his theatrical career in recent times. The Catalan director, who spent eight years at the Lliure left by choice not to perpetuate himself in charge- and is responsible for six years of the Venice Biennale Teatro, it has become an impressive theatrical campus where teach the great directors of the time, he has opted to turn in great poems and performing facilities from Macbeth and Coriolanus to The Birth of Tragedy Nietzsche (with music by David Bowie).
And now he has made up his mind to Lorca. In their selves, their passions, battles Freudian creator lives in a time of deep personal and artistic crisis where the two men who have been in love, Dali and Emilio Aladrén, women have been both named as … that of the public, Elena. A crisis in which triumphs with works such as Mariana Pineda but feels it is not the theater to do, which is to bourgeois, who is not going to the depths. A moment in which Lorca is also, says Rigola, who hides his homosexuality as if there was a problem. It is the time when you go to New York and Havana and discover new worlds and theaters. Voltages in which immerses the viewer in the audience, the first dimension is “Fourth Director. The Director granted. Dressed in tuxedo. Decorated blue. A large handprint on the wall. The windows are X-rays. ”
A hand radiographs, signaling the willingness to go penetrating inside and give way to a journey that merge reality and dream, in which the Director will come to see the audience in the theater is discussed It is done and who should do: “I will have to give me a shot to open the true theater, theater under the sand” and which calls his theater desired- says a character, to which the Director opposes ” And the moral? And the stomach of the audience? “. That written in a work in which sexual images, particularly homoerotic, are as poetic as scurrilous. A work in which the necessary theatrical revolution and deception of men who hide their sexuality and, either way, speaking of truth and lies are mixed. For the solution it is to “destroy the theater or live on stage!”. And love.
Federico Garcia Lorca
Teatre Nacional de Catalunya. DECEMBER 17th TO JANUARY 3th
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