With Silvia Villazur as the mother, “we must not cry” by Tito Cossa is set in a context of crisis and deepens land such as frustration, communication conflicts inside the family nucleus and the denial of reality as a mechanism of evasion.
It premiered “You don’t have to cry” by Roberto “Tito” Cossa, with the direction of Lizardo Laphitz and that can be seen on Saturdays at 18 at Nun Theater Bar (Ramiro de Velasco 419, CABA). The piece written in 1979 covers the dynamics and frustrations of an Argentine middle class family in the 1970s.
With actions of Silvia Villazur (mother), Mariano Morelli, Matías Filguiera and Nicolás Mizrahi (children), Cruz Carot and Mavy Yunes (daughters -in -law), the action advances during the mother’s birthday celebration. Set in a context of crisis, the work deepens lands such as frustration, communication conflicts within the family nucleus and the denial of reality as an evasion mechanism.
The work explores how money, or the illusion of wealth can get the worst of people to the surface: resentment, greed and lack of empathy, even towards loved ones themselves. We talked with Laphitz
Q.: What is peculiar to the dramaturgy of Tito Cossa that with this work written 25 years ago portrays the Argentine middle class in the 70s?
Lizardo Laphitz: Tito Cossa was a deep and sensitive observer of our society. In this case he focuses on a low middle class family and thoroughly shows his frustrations, failures, dreams and needs, by showing us these aspects of the human being, he manages that his work is valid today.
Q.: How is this birthday celebration and links with children and daughters -in -law?
LL: It is a surprise celebration of the children to their mother on the occasion of their 80 years and the encounter in her house. One of the children arrives on a trip because he lives in the south and there are waiting for his brothers and sisters with the surprise celebration. The Dramaturgy of Cossa is unraveling the roles inside the family, the links and imaginary. The mother’s gaze towards her children and the relationships between the brothers, their wives and feelings of greed and interest flying in many situations.
Q.: In what sense do reality refuse, do you want to evade the crisis? Are we always in crisis?
LL: In this case, reality is not denied or evade the crisis since they are immersed in it. The family is located in a middle class that fights and a certain bonanza atmosphere appears from a past time that is no longer. A constant in Argentine history, the economic crisis and the ways of sustaining themselves afloat sometimes paying a very high price.
Q.: In what sense does the work address how money, or the illusion of wealth can get the worst of people?
LL: The work shows a group of people who are going through a social critical moment and without the possibility of getting ahead, this makes a possible exit to glimpse excessively and when that possibility reacted in a brutal and cruel way.
Q.: The fear of poverty, inequality or frustration are still the issues of our present.
LL: This work was written in the 70s and speaks of the terrible needs of the working class. Today we are at the same point and unfortunately it is familiar to us. What keeps us standing is the desire to achieve a more just and balanced society.
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.
