“The work resonates today because it reviews an imported and failed project, something that we see cyclically in our 200 years of history. We are caught in a constant frustrations loop,” says Horacio Nin Uría, Author and director of “Lightening, bastard sleep”, which opens next Thursday in the Orestes Caviglia room of the Cervantes National Theater.
With actions of Mariano Botandari, José Ciavaglia, Lautaro Delgado Tymruk, Paula Ransenberg, Alejandro Segovia and Paula Staffolani, The work is located in the Buenos Aires of the 18th century, when an eccentric viceroy, whose name few remember, try to carry out their dream of sowing progress in these remote coasts.
Among other things, create a house to house children as a result of extramarital relationships. But the results will not be the alleged ones. Paradoxically, that capricious project, that failed plan, will mark a foundational milestone in the mythology of these lands.
The costume design is by Magda Banach; The scene of Marcelo Valiente, the lighting of Claudio del Bianco and the original music of Julián Rodríguez Rona. We talked with Nin Uría.
Journalist: How did the universe located in the Buenos Aires of the eighteenth century and this character of the eccentric viceroy?
Horacio Nin Uría: The initial trigger was an edition of the Gazette of Buenos Aires where I read the children and that image caught my attention. As Dickens of the Río de la Plata, those children lived in a printing press. I also wondered what a child would be like in the 18th century in the Río de la Plata. The boys are not so present in reading those times, we do not usually ask ourselves what it was like to be a baby, the idea of childhood is quite later. I ran into the Viceroy Vértiz, not so well -known, who in his brief government installed determining things for what came later. There were many things that happened in the process of the colony, which is not a very visited period, and those things came to stay. The ideas of public lighting, the printing press, the first newspapers, the first theater. That viceroy had cultural concerns, he was a very rich character for his complexity, at the same time ended his mandate and returned to Spain, being that he was not Spanish, he was born in the Indies, in Mérida. These issues synthesize historical tensions of these 200 years.
Q.: Where do the story shore and what are the themes of the work?
HNU: It takes place in the house of the Escósito children, of the first institutions to house them, which were already a reality impossible to hide. I am interested in both works as a founding hypocrisy of Argentina born in the Río de la Plata. It is what installs that the illegitimate works as a moral placebo of the time, half of the children died. In parallel, the figure of the caretakers, anonymous heroines who will countermarket of the interests of the rulers and individualism of each era is claimed and traction history.
Q.: What is that founding milestone that speaks the work and myths of our country?
HNU: The work reviews the myth of the landing of the first modern ideas of these lands, how that paradigm was created with illuminist ideas such as the first printing press or the La Ranchería theater as a kind of landslide resistance of this progress, with many quotes.
Q.: What anchor is there with this present?
HNU: The work resonates because it reviews this initial clan with this imported and failed project, something that we see cyclically in these more than 200 years where we are trapped in a constant frustrations loop. At the same time, the work throws light of hope and is not entirely pessimistic as long as anonymous heroes appear. Maybe those do not have a street with their name but support everything and give us hope.
Q.: How did you work at Cervantes? How is the theater today?
HNU: I worked very well, with professional people who passionate what he does, determined to get the theater afloat and take care of it. That is why it works like an oasis at this time where culture is going through a difficult time. There is a great awareness that we all want the best and that survives. Where the public is so denosted and appeals not only to survive but at the level of excellence.
Q.: How do you see culture today?
HNU: The culture is beaten, I think that thinking about the dialectic of the work speaks of how in dark moments the human emerges. Culture is fulfilling the reservoir role of subjectivity. Despite the difficulty of building the future, there is a place to meet others, create and look forward.
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.
