Journalist: How did the work come about?
Mariano Stolkiner: We wanted to work together with Raquel Ameri on the subject and we called on Natalia Villamil for the writing, since she dedicated many years to assisting violent women. Then the image of the mother of a femicide and the contradictions of raising the monster appeared. The author brought the text and gave it a new twist. She also considers how society relativizes that pain, as if that mother had no right to suffer the loss of a violent and murderous son. She is stigmatized as if she is responsible for her child.
Q.: Doesn’t the public run away from such hard topics?
MS: The works cannot be measured just for being light or hard, it depends on how they are made. I know that this work is hard and that many will say ´I don´t want to see a downturn´ but there is much more. The theater cannot be thought only as a dialectic of what is said, it is built by what is said and what is not said.
Q.: Does the work have a greater effect on women?
MS: No, because the maternal role is very present in men’s lives and from that place there is something that hits them hard. When the mother appears suffering this macho mistreatment there is something of the masculinity that begins to stress the work.
Q.: As in your previous work, there is a lot of stridency and rock. What did he look for?
MS: The world of rock was present from the first talks to place that son in a framework, and the national rock was chosen. In all my works, music and sound are fundamental. I seek to generate a scenic dramaturgy where all the elements are related and maintain the zero degree of public attention. Almost like a régisseur, I think what is the mathematics that makes that music enter at a certain moment.
Q.: What did it mean to receive the CTBA prize of 500 thousand pesos?
MS: It was fundamental, even though the work had been done anyway. For the independent, we have to go out and find scarce resources, this money makes the work have everything it deserves. Starting the work knowing that you have a certain budget helps to expand the ideas, without worrying about where the money comes from.
Q.: You met with Diego Berardo from the San Martín Cultural Center, what are you planning?
MS: That the works that premiere at the Cultural San Martín, with limited seasons, can be continued in The Foreigner, and vice versa. This allows the company a greater tour and at the same time generate a work under a favorable circumstance of more weeks on the bill.
Q.: What can you say about commercial theater?
MS: The guidelines for the commercial are different, beginning because the 500 thousand budget that I had for my work is what a function of the commercial has to raise for it to be profitable. So those who produce put other capitals into play and have to resort to formulas. It doesn’t seem bad to me, I would do it with a theater on Corrientes street. I celebrate the independent theater at the Met. Or El Picadero with risky bets.
Source: Ambito
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