The year that the coronavirus came to remember the momentous things in our lives, the pre and post pandemic theater brought them back to our eyes.
Despite almost six months of closure, a return with uncertainties due to security measures and the reduction of capacity, these are some of the great productions that 2020 has allowed to premiere.
Choose others if you want, but come back because your seats are still there.
An undiscovered country from whose confines no traveler returns (Teatro de la Abadía)
In a few months hopelessly marked by death, Àlex Rigola exposes us face to face in front of her.
From the conversation between the Catalan director, the professor of History of the Economy Josep Pujol and his daughter, Alba Pujol, protagonist of the show with Pep Cruz,
a journey through the last days of a life is born
, the individualism settled in the system current capitalist and liberal and the ins and outs of a relationship between a father and a daughter.
What is important when you know the date of your death?
The outfit we will wear in the coffin? Our legacy?
or just live?
An undiscovered country from whose confines no traveler returns
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Theater of the Abbey
Direction: Àlex Rigola / Interpreters: Alba Pujol and Pep Cruz
Prostitution (Spanish Theater)
"No woman is born to be a whore."
With that premise began one of the great successes of the beginning of 2020, halfway between the documentary and the theater, putting on the Spanish stage that our country is the European capital of prostitution.
Mixing testimonies of real women with texts by Virginie Despentes, Juan Cavestany or Amelia Tiganus, Andrés Lima
dissects the violence, coercion, desire, need and submission
that this group faces in their daily lives on the streets, Spanish clubs and homes.
Prostitution
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Spanish theater
Dramaturgy: Andrés Lima and Albert Boronat.
/ Direction: Andrés Lima / Interpreters: Carmen Machi, Carolina Yuste and Nathalie Poza
Las Maids (Spanish Ships)
The lust for power, human limits and rage in the face of oppression sustain this text by Jean Genet directed by Luis Luque and adapted by Paco Bezerra in Las Naves de Matadero.
Alicia Borrachero and Ana Torrent embody "the monsters" -in the words of the French author- who are becoming some maids, whose impulses are directed towards their mistress (Jorge Calvo).
A
confrontation between the rational part of the human being and his unconscious impulses
towards resentment and evil.
The Maids
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Ships from Spanish
Dramaturgy: Jean Genet / Direction: Luis Luque / Adaptation: Paco Bezerra / Interpreters: Alicia Borrachero, Ana Torrent and Jorge Calvo
Dear Caprice (María Guerrero Theater)
Some earrings mark the boundary between fiction and reality with Tomás Pozzi halfway between himself and an older woman locked in her room for the end of love.
The end of love or an obsession with youth?
Amanda, accompanied only by her dog and a tape recorder, recounts the eight encounters she had with a man 20 years younger than her to her friends.
The WhatsApp emergency group of a generation that did not know the
smartphone
.
"What is that woman doing with that young boy?"
as a permanent reminder of this confined monologue by Tomás Cabané.
Dear whim
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Maria Guerrero Theater
Dramaturgy: Tomás Cabané with collaboration of Tomás Pozzi / Direction: Tomás Cabané / Interpreter: Tomás Pozzi
A lumpen novel (Kamikaze Theater)
With no future prospects, with the imprint of paternal loss and the beginnings of sexuality,
Una novelita lumpen
enters fully into the dreamlike universe of Roberto Bolaño through two brothers and two strange characters.
The adaptation of Rakel Camacho enters the low human instincts and is ascending by
the momentum of the youthful stage, the discovery of passions and the passage of time
until reaching a new life.
A lumpen novel
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Kamikaze Theater
Dramaturgy: Roberto Bolaño / Direction and adaptation: Rakel Camacho / Interpreters: Diego Garrido, Jorge Kent, Rebeca Matellán and Trigo Gómez
Towards regolit (Nave 73)
Away from the great halls of Madrid, Eva Mir proposes after leaving the confinement to turn our homes into a lampshade and reflect on our habitat during the months of confinement.
How much do we have of the ability to get bored?
To what extent can we get into ourselves?
What capacity do we have to face individual or generational challenges?
This is the first step of this 24-year-old Valencian playwright, winner of the 2019 Calderón de la Barca National Theater Award, who in February will disembark at the National Dramatic Center with
Heroes in December
To regolit
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Ship 73
Dramaturgy: Eva Mir / Direction: Sergi Gibert / Interpreters: Elena Aranda, Corina Bustamante, Candela Caballero, Belén de la Fuente and Eneko Larrazabal
Sonoma (Conde Duque Center)
Take the body to the limit of its survival and its relationship with the world we live in.
That is the premise from which Marcos Morau starts in this contemporary piece that borders on surrealism, following the line of
previous dance
performances
developed by La Veronal as
Le Surréalisme au service de la Révolution
.
The human being's struggle for full freedom that exists in his imagination
but does not reach his daily world, according to Morau himself.
Sonoma
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Conde Duque Center
Artistic direction and choreography: Marcos Morau / Interpreters Lorena Nogal, Marina Rodríguez, Sau-Ching Wong, Ariadna Montfort, Nuria Navarra, Àngela Boix, Laia Duran and Anna Hierro / Text: El Conde de Torrefiel and La Tristura / Dramaturgical advice: Roberto Fratini
With how good we were: Hardware stores Esteban (Spanish Theater)
The theatrical return after the pandemic was marked by comedy.
Or maybe it wasn't so much comedy.
Where is happiness in a married couple whose day to day is spending their working day in a hardware store?
"We already have everything we want, let's leave the big questions to the poets."
This is how Esteban and Marigel's life is defined until the theater reaches their town and the music sneaks into the husband's interior to destroy their lifestyle.
A transition between the humor of the absurd and the drama of unhappiness
.
With how good we were: Esteban hardware stores
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Spanish theater
Dramaturgy and direction: José Troncoso / Cast: Carmen Barrantes and Jorge Usón / Piano: Néstor Ballesteros
Happy Days (Valle Inclán Theater)
"This is a happy day, this would have been another happy day."
Half-body buried in a mountain of rubble and with Samuel Beckett's poignant humor, Winnie (Fernanda Orazi) rummages through her most insignificant memories to prop up a supposed happiness that has guided her life from her strange marriage to being able to see her face every morning. .
"
I can't complain, I shouldn't complain, I haven't been through any pain,
almost no pain," Winnie concludes between disjointed literary quotes and an idealized memory of life.
Happy days
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Valle-Inclán Theater
Text: Samuel Beckett / Version and direction: Pablo Messiez / Cast: Francesco Carril and Fernanda Orazi
The boy in the last row (María Guerrero Theater)
Can a teenager destroy a family immersed in crisis?
Can literary obsession unravel the world we live in?
Can the educational system turn towards the personal story?
These are the questions that Juan Mayorga raises in a tour of great literary pieces such as
The Magic Mountain
, by Thomas Mann, or
The Catcher in the Rye
, by JD Salinger, through the newsrooms he hands over to his literature teacher so that correct them.
A kind of chapter novel that blurs the boundaries between reality and fiction through precariousness, pain and writing.
The boy in the last row
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Maria Guerrero Theater
Dramaturgy: Juan Mayorga / Direction: Andrés Lima / Cast: Guillem Barbosa, Pilar Castro, Arnau Comas, Natalie Pinot, Alberto San Juan and Willy Toledo.
Betrayal (Kamikaze Theater)
With time jumps and a love triangle between best friends, Harold Pinter exposes the love and sexual passions of the human being and the limits set for friendship.
Three characters from an intellectual elite who
crawl through a tense atmosphere and succumb to the power of perversion
.
A premiere slowed by the pandemic a few days after its start that finally reached the stage of the Pavón Teatro Kamikaze as a restart of cultural life after the summer.
Treason
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Kamikaze Theater
Dramaturgy: Harold Pinter / Version and adaptation: Pablo Remón / Direction: Israel Elejalde / Interpreters: Irene Arcos, Miki Esparbé and Raúl Arévalo / Piano: Lucía Rey
And, despite the closure derived from the health crisis, this list could still increase with the memory of Alfredo Sanzol to the late Gerardo Vera with his version of
MacBeth
;
the very free version of
La Gaviota
by Chejov, led by Àlex Rigola;
the first text as a playwright by José C. Guijosa, director of
Iphigenia in Vallecas
, with
Only one meter of distance
, released in January and recovered in December, or the return of the National Prize for Dramatic Literature,
Siglo Mío, Bestia Mía
, by Lola Blasco.
The show continues, come back
.
According to the criteria of The Trust Project
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