The Argentine director premieres his latest montage, an inquiry between songs, pains and texts by Anton Chekhov that opens the Kamikaze theater season
In his Instagram account, Pablo Messiez (Buenos Aires, 1974) is hanging flashes and underlined phrases like a trail of hooks that delineates his creative process. Fishing in books by Chillida or Bruce Chatwin, in films like I could continue singing , in theater workshops, wherever and for as long as the project requires. It is the case of The songs , its last assembly that detonates the new scenic season of the Kamikaze Theater. And he has developed it "little by little, for about two years," while directing other commissions, such as the version, with and for young people, of La verbena de la Paloma , which premiered in February.
The Argentine director has a love for music and for the Russian Antón Chéjov ; It was already captured in The Other Woman , inspired by the colossal Nina Simone and La Nina de La Gaviota , and now it is repeated with the drama The Three Sisters and with Violeta Parra or Chanson Française classics such as Jacques Brel, Dalida or Barbara, between others. He reread all Chekhov and stabbed with the structure of The Three Sisters . "It is a work that I love very much, it was the one that brought me to Spain as an actor -with the company of Daniel Veronese-, although here Ivanov and Uncle Vania are also here."
Because in The songs not only words and words resonate, but also silence, just in times when few listen. "That's why I was interested in doing a play about the action of listening, because the theater gives us the rare possibility of stopping for a while," says Messiez, who has dug into the verb with all possible conjugations. "I include a text that says Dancing is listening with the whole body ", and thus also questions the characters and the public, so that they "make it their own, because a work happens in the head of the person who is looking at it and in the body of who listens ».
Universality
With Messiez, poetic elaboration is served. From his Instagram to the dramaturgy . He explains: "Theater is more than words, I am interested in having a work on space, time, presence, absence ... Sometimes I see works that would be better series or that are speeches, which can move you because you are agreement, but the theater does not need works that are like opinion columns. " He, who won the Max in 2016 for the direction of The Dark Stone , a pulse to the memory of García Lorca's last lover, defends the theatricality of the "ephemeral act, that of trying to leave memories in the public."
In this effect the playwright also investigates with music, because "if it moves you, it alters your heart rate or mood." And throws the hook: " Maybe listening to music it seems that we can come to understand something, why we suffer, why we live "; the phrase with which the character of Olga, played by Rebeca Hernando, closes the assembly. But, peace of mind, there is no spoiler here, because Messiez gives the right caliber: "I do not want to condition the reading of the work." Although he clarifies that "in the last monologue of Olga, so precious, is the root of the songs ."
She is the one who opens the story, that of some brothers who have just lost their father, a very famous singer, who, in his facet Mister Hyde , did something monstrous that broke the family. And they will be, especially the sisters, who are in the music, in holding on to listening, a way to mitigate the pain in the face of disaster. The antidote that Messiez himself applies - "it helps me to know that there is music in the world" - and that it is revulsive shared : "In the version of the zarzuela de la Paloma, I interviewed high school boys and it was impressive to hear how the Music was for everyone a friend. " And, three questions before, he insists: "You could write each person's biography with song lists." Who has never hummed it?
Data of interest
What? The Songs Where? Kamikaze Theater (Ambassadors, 9) When? From August 29
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