22nov.2019 02:01

The pace of work that Pepe Viyuela maintains on stage (Logroño, 1963) is frantic. This 2019 began with Elvis's silence, continued participating in The Journey (second part of The Chronicles of Peter Sanchidrián ), attended faithfully to his appointment with the Merida Festival to perform in an all-star assembly such as Metamorphosis and culminates the year leading another premier cast in Waiting for Godot where he takes up, in part, his clown facet.

Since it was released, 'Waiting for Godot' is a work that has given rise to all kinds of interpretations. What is yours? From time to time, I come back to it. I created it in 2005, I have danced it a lot, but the climate I breathe is like that of a floor where every year I change the furniture a little. It is the same, but modified in appearance.What is it that keeps it from being released 11 years ago? It is an unbeatable text, the deeper you go into it the more things you find, whether from a political, philosophical or moral point of view, and like all the great works, what happens with Waiting for Godot is that it generates different visions depending on the moment in which you face it. The only certainty that it generates for me is that, no matter how much it is the greatest exponent of what has been called "theater of the absurd", it is a text that of absurdity has nothing but is a fairly accurate portrait of the human condition , of that situation of permanent uncertainty in which we have always lived. Why do you think then that denomination has been perpetuated? Because we are comfortable in the stereotype. But what we call absurd is nothing other than the lack of definition and unease generated by living waiting for something, what is not well known, and that is what this function is about. From that point of view, Waiting for Godot is loaded with logic, what is bizarre and lacking in coherence is the world we live in. Where does that absurdity locate in today's world? The rise of the extreme right is an example of absurd thing. You can make all the sociological interpretations you want, but that someone chooses to support such simple and extreme speeches escapes my understanding. When we go crazy looking for a meaning in our lives, we immediately give ourselves to the most stupid things, such as religion or ideologies of all kinds. Returning to the work, is it a text that has been represented in multiple versions and formats? From what perspective have you approached this adaptation? We have tried to take tragic weight off the text and pay more attention to its humorous aspects with the idea not so much of lightening the function as of contextualizing it and laughing at our own vulnerability as human beings. Instead of self-flattering thinking "what horror, there is no meaning in existence!" We want to convey to the public the idea of ​​"how funny it is to be lying down without knowing where we are going!" Laughing is one of the best ways to fill the time we have, it is almost a necessity, a lifesaver.The assembly has a lot of clowns input, an art that is not alien to you, right? There are specific moments of the function where clearly clown games are posed, imbued with that humor based on the denial of evidence. The clown is a universal archetype that has been present in all societies and in all cultures as a figure of transgression, as evidence of our failures. It is curious that the texts of the theater of the absurd that, for years were considered a risk bet, they are starting to see each other now in the commercial scene, right? There has always been a somewhat artificial border between the popular and the intellectual as if they were spaces that have to remain forcefully separated and that seems to me to be a mistake. To reach people you don't have to be frivolous or give up the possibility of digging, of making people think. There are a thousand ways to connect with the public and this function demonstrates how a text that addresses transcendental issues can also be fun. Don't you think that the inaction that defines the characters in this work is a fairly widespread attitude in today's society? The inaction in the case of Estragon is relative, he really wants to move and in fact at one point in the work he leaves, but he returns because he understands that he can't just go anywhere and because, probably, if he could do it, they wouldn't change much either things. In that sense it is a text that confronts us with our own inability to reverse certain undesirable scenarios. Do you think we are living in times of intellectual laziness? We are increasingly indifferent to the absurd, that's for sure. The way in which Vladimir and Estragon support that discourse of Laki full of inconsistencies does not differ much from the way we face an electoral debate or how we interact through social networks. The arguments bother us and we prefer slogans or memes


What? Waiting for Godot Where? Teatro Bellas Artes (Marqués de Casa Riera, 2) When? From November 21 to January 5

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