The speech of the por | Present
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Aquest any, in which l’Àfrica played an important role in El Grec, l’obra Combat de negre i de gossos hi had to have a space. Inopportune contagis of covid will bring the premiere to that month of October, at Tantarantana, on will be until the 31st. country of l’Àfrica. The death of a treballador (local) and the disappearance of the corpse will capture the situation of violence, injustice, frustration, oppression, by, racism, misunderstanding, abuse, exploitation … that floods the relationships of two mons condemnats to understand’s through d’un system evidently injustice that unbalances the balance d’aquest enteniment. Quan a company del mort claims the corpse, all these sentiments s’escampen per l’atmosfera d’aquest lloc tancat per murs de filferro.
The cap de l’obra, in Horn (Manel Dueso), the seu fidel treballador Cal (Pep Ambròs) and the innocent Leo (Meritxell Calvo) live in a protected space, a supposat oasi al bell mig de la misèria. The irruption of l’Alboury (Ricard Boyle), the black, l’element estrany (a la seva proper terra!), Traurà del calaix totes les misèries dels altres. I aquests, but, they will not even swim.
“This is an absolutely necessary theater today, facing the fact that it will be written in 1979”, said the director of the play, Roberto Romei. “Really, dins of the poetic seva, that speech of Koltès is of full actuality. Aquest sir has not lost cap vigència ”. Romei, what are you going to direct La nit just abans dels boscos, by the French author, in an original muntatge al Romea i al Maldà, considers that the for i was frustrated that mouen els fils de l’obra play in favor of the ultradreta: “Explain the mechanism of the ultradreta”, he argues: “In the end it is a speech by by. Because those people gave me the feina, the few privileges I have ”.
Els people have, moreover, a miscommunication problem. “Don’t just change the seu lloc. They are descol·locats, as in general tots els personatges de Koltès ”, explains Romei. They are egotistical: “Horn li explains to l’Alboury, when he is going to collect the corpse of the seu germà, that he has molts problems! That he cannot be here because he has to be hanging on the donut that will come to live with him! ” I li ofereix diners. Il·lús, innocent, will discover that wherever you are in the seu món, you will not serve as a res davant from the pure d’aquest home phantasmagòric: “It is not possible to negotiate with you!”, It is queixarà el capatàs. I Romei he justifies: “No, he did not fly neither diners nor a sentence from a court. In tea you must reconnect what they have fetched, it is to say, that they reconnect that they are a violent and oppressive system ”.
I, per on top of moltes altres coses, els personatges fan grief: she said in a moment that she was looking for someone to be faithful to. “He is the one who needs to have a sentit for life,” explains the director. Horn reconnected that the true family is the true company. “This is a home that fora de la seva feina no te res”, Romei teaches to observe. I do not know how to be sense la seva feina because it is the seva parcel·la of power. While in Cal diu bestieses com that “els microbis dels negres are els pitjors de tots”, in Horn it is not racist: “A mi se me’n refot, de la teva puta pell”, li crida to l’Alboury. “He does not support els obrers, li is the same as following black or white”, specifies the director.
L’Alboury, in canvi, is the veu of consciousness. “He is the one who looks at me and hauríem to say that here I am not anem bé”, diu Romei. “Però no ens enganyem”, adverteix, amb severitat. “Hi there is a good part of us, in the upper three people. If they have a euro per career, the one finished with the Horn ”.
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