The rage of works where a single actor plays multiple characters

From Agustín Rada Aristarán with “Chanta”, where he plays the same character in different stages of his life, Benjamin Buttonto Ariel Staltari with “Exhausted”, where he plays 40 different characters, or the inoslayable Pompeyo Audivert in “Macbeth room”in November it premieres in the BAC “Vanya”, The version that makes Andrew Scott In New York and London, here with Paulo Brunettitranslation of Marcelo Zapata and direction of Oscar Barney Finn.

“Exhausted” It is a comedy starring Staltariwhere he makes 40 different characters, directed by Pablo Fábregas and based on the original text success in Broadway with Jesse Tyler Ferguson (Modern Family). This adaptation incorporates winks to the Argentine culture, from personalities of the entertainment to figures from the political and media sphere. The work tells the day of a personal assistant who must face calls, absurd demands and a personal crisis, all in real time and breathless.

The Plaza is presented on Friday at 22 and Thursday at 22.15. It also goes on tour in Buenos Aires and the country. We talked with Staltarialso co -writer of “The Eternaluta” next to Bruno Stagnaro, with whom he writes The second season. “The actor and the screenwriter feed, do not compete, I think the Eternaluta worked because it aims to recover values, friendship ties, understand that societies are saved if they think together and a good for the species, not individual.” We talked with Staltari.

Journalist: How did the adaptation of this award -winning work of Broadway arise?

Ariel Staltari: I saw the Broadway version on video, Valentina Berger approached me, it was very successful but to do it here we adapted it, I introduced some of my mark, I came up with new characters, which are recognized more in our society. The American idiosyncrasy did not find us so much, we had to bring it to our culture, with Fábregas we achieved a nice differential in the adaptation of text and dialogues, we add textures to the characters. That brings the work, which has a universal language.

Q.: How is the challenge of being alone on stage playing so many characters?

ACE: They are characters, emotional textures, body postures, it is one of the most important challenges of my life. Exit an hour and ten only in front of the public, without disappearing from the scene, without change of costumes, or makeup, or wigs, only imagination and recover that playful sense from when we were boys. All changes occur in thousandths of seconds, I do not have time to transform them, it is to be pimpiro among a co -worker, the call of the father, the brother, and so many others. That is the peculiarity of the work that raises the rod.

Q.: What happens to the candidate for actor who has to work as a waiter?

ACE: The search for this actor is similar to that of anyone who wants to achieve their dreams, between frustrated and dejected because things do not occur. He has to work in a place where he does not feel comfortable and is also a victim of oppression, abuse of power, abuse, precariousness, and being an artist feels that his path is elsewhere. He challenges anyone who has a dream or wakes up who yet or discovered it and perhaps begins to imagine. It is inevitable to live without a dream.

Q.: What differences do you see with other works that have an actor with several characters or the same at different times?

ACE: We saw each other with Rada, but in his work there are tickets, exits, changing room changes, scenery, mine is the guy only in an area of laburo that does all the characters. I saw other unipersonal that are a portion of life that the spectator can fuck from that hearth. Here you can see how a guy lives on a routine work day with all his classmates, his most personal calls, a representative, an actor friend who curls how well he is doing. I see them myself and the spectator even sees them.

Q.: Where are the threads of the second season of “El Eternalauta”, who wrote with Bruno Stagnaro? What do you attribute success?

ACE: We are in the research stage and structure the plot that has to continue accompanying Juan Salvo’s trip. In the writing process there is still something firm to tell, it is exploring, diving in those paths that were already sown and now you have to respond to certain mysteries that were established in the first season. Now they have to get the answers to those unfinished things. I wish we soon arrive at the final books and film as soon as possible. I do not know what to attribute success globally, perhaps with recovering values, friendship ties, understanding that societies are saved if they think together and if they think of a good for the species, not at the individual level. Societies have been quite cracked not only by technological but for the ego and dehumanization. The series worked because it is a powerful science fiction story in the best way and without envying anything to the industry from other places. Now it was others to approach our culture, the Malvinas War, our customs, folklore, national rock, mate, many things that are novel. The combo was bought and was blunt.

Q.: How do the screenwriter and the actor live in you? What gives you writing that does not act and vice versa?

ACE: Together with the theater teaching they are the pillars, everyone feeds, they do not compete, one does well to the other, I am better actor since I am a screenwriter, I am in charge of groups, I learn and that strengthens the actor. My actor many times feeds what the screenwriter is trying to investigate or know, many times I put voices to my creations. It is wonderful. I love acting and at the same time I love to face the blank sheet and give life to characters. From time to time the actor tells the screenwriter “you started later and put” Gallo for sculpio “and” eternal “while the actor had to surf more. At the same time the screenwriter tells the actor” Quiet, one day I will write you a story just for you.