Ron Lalá is a 30 -year -old Spanish company that fuses theater, humor and live music. It is presented at the San Martín Theater with “4×4”, on August 29, 30 and 31, with dramaturgy of the poet Álvaro Tato and direction by Yayo Cáceres.
“It is vital that the State manages culture. Productions are financed in Spain, there is help for tour, production and one can do theater throughout the homeland,” says Yayo CáceresArgentine based in that country that directs Ron Lalá, 30 -year -old company that fuses theater, humor and live music.
They are presented at the San Martín Theater with “4×4”, A trip to the first 4 works, on August 29, 30 and 31, with the poet’s dramaturgy Álvaro Tatoand performances of Juan Cañas, Miguel Magdalena, Diego Morales, Luis Retana and Daniel Rovalher. It is one of the longest, awarded and recognized companies in Spain. We talked with Cáceres.
Journalist: They reach one of the most important theaters in the country, which means this emblematic room for you?
Yayo Cáceres: Buenos Aires is still one of the most emblematic capitals of the world’s theater and it is always good to return. For us, poetry is the music of words and what better place to represent it. We work the language with the rhythm, form and meaning of poetry, both in the spoken texts and in the lyrics of the songs. We often use the classical metric of the Golden Age in our scenes because it is a synthetic, active and symbolic language. We try to deal with timeless issues such as identity, vanity, ego, greed, the end of the world, the passage of time, censorship and self -censorship, love, jealousy.
These issues are always discussed with critical and satirical humor, what can they say about their proposal? How does the public receive it in Spain and how do you think it will be in Argentina?
YC: Our language is humor, explore to infinity human ridicule, laugh at ourselves and as much as we can of everything around us. In Spain the relationship with the public was always very good, hopefully here it is too. We were in Argentina with some first shows and it was excellent, the Buenos Aires public is accustomed to the theater, is trained, is cultured and we believe there will be a splendid synergy.
Q.: How do state theaters work today in Spain? How do you see theatrical production in Spain and Argentina? There is no independent circuit there, why?
YC: The independent circuit is less in Spain than to here because state policy regarding public theater in Spain in very important, is absolutely federal, theater can be done for the entire homeland. Culture is a matter of state, it must be, productions are financed, there is help for tour, production and one of the great cultural heritage is that state policy for theaters, such as comedy, the National Company of Classical Theater, that of the Zarzuela. There is a cultural heritage not only of montages but of works of the Golden Age that are of all Spanish -speaking people. The intervention of the State is vital as a manager of culture and education, two of the most valuable tools that a country has to be who it is.
Q.: They appeal to the simple, direct, with a few musical elements and instruments, what is that criterion obey?
YC: We try to make an immersive theater and invite the imagination through the synecdoque or the metaphor, we seek that the public complete the work with the language we suggest on stage. We follow that theatrical apothegma that the complete public. We appeal to the fact that the theater and the public are part of that general assembly that is the theatrical fact in which we all meet to explore the human condition.
Q.: How do you see the theatrical and cultural scene here and in Spain?
YC: I know that it is always very powerful and it is enough to see that the theaters are crowded. In Spain, brutal state policy makes people go a lot, which ensures long life and culture to a country as important and prosperous as Spain.
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.
