“As Montescos and Capuletos, the protagonists are caught by their last names and the only way to leave is like in Romeo and Juliet, through death,” says Luis Rivera López, who adapted and directs his version of “Blood weddings” of Federico García Lorca entitled “The fault belongs to the earth”, starring Monica Felippa of the Libertabllas Group. It is presented on Saturdays at 20 at the Cultural Center of Cooperation, Corrientes 1543. We talked with Rivera López.
Journalist: How does the validity of this Lorca classic reside? Is it one of the best?
Luis Rivera López: It is the basic human problem, the possibility that the human being has to succeed in front of his instincts, to love, hate, desires of revenge, the passion that cannot be controlled through the will and goes further. It is a clash of wills, impossibility and that ends in fatality. It is important to valorize that passion, the recognition that such a passion goes beyond social conventions, of what our ancestors taught us that it is right and that it is wrong, it is something that cannot be stopped, it needs to be recognized and not it is transformed from passionate energy and death energy. Death watches all movements in this work, the personification of death and the moon is one of the highest points of this text. For me he is one of Lorca’s most beautiful although he is a prolific author despite his short life, since he was shot in the middle of the civil war in a cowardly and unfair way. It has a series of works that dig in the feminine soul and all people. It also addresses the need to have children, procreate, transcend and love.
Q.: What other topics addresses the work in your opinion?
LRL: Topics that touch us every day even if they have been written a long time ago, lovers who cannot get together because conventions say that the couple should form in another way, the death that stalks, that tremendous thing that happens to parents, antinaturally lose their children. The central theme of this surreal work is the poetry with which it can be metaphorized, allows us to survive and find beauty in these terrible issues.
Q.: How is the game of this past that stalks and afflicts, those ancestors who sneak and define us?
LRL: The ancestors tell us what we have to do and what is not, there are the prejudices. Instincts are responsible for transgressing those conventions that tradition dictates. Our morals and ethics. The past appears as the last name, there is much talk about families, names, how they are pigeonholed in that destination that brings the past marked.
Q.: How is your version with this puppeteer doing all roles and what other adaptations added to your setting?
LRL: I am a lover of reading and the classics, I took care of being respectful of the original that does not imply respecting forms but contained. I tried clearly this story from this great actress and puppeteer but without an accent in the juggling game but telling all these characters focused on the question of the climate of the story itself. I focused on metaphorization, which is what Lorca does. The setting tries to take poetic flight, find beauty in the natural and there is nothing more natural than death.
Q.: How do you see theater and culture today?
LRL: Buenos Aires is a mecca of universal theater that is not accidental, it is the product of a tradition of Argentine theater and especially Buenos Aires, with a very strong independent theater and also the commercial theater. 20 years ago this resulted in the Theater Law, fought by the theatrical community created by the National Theater Institute that did its work multiplying the activity throughout the country and taking it to the most unknown corners. Thanks to his aid since he improved his actions he became a fairly effective institution in promoting the activity. The theater is not a luxury for those who can pay or one more activity, it is basic of the human being, so that it can be reflected. It is a luxury that the human being can give and you have to defend it and grow in society, the good and happy part. Currently the law is being denatured, it is a difficult time because theater and culture are attacked from official levels but as it will always resist as in the military dictatorship with open theater. We have to get strong and make ourselves listen.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
