“In the middle of so much fire”, by the Spanish author Alberto Conejero, with the direction of Alejandro Tantanian and starring Victorio D’Alessandro, is released. The work is a song to love in a world signed by war, a queer manifesto in favor of desire and dissent,
“This is a deconstruction of the Iliad, which tells the love story between sponsorship and Achilles,” says Victorio D´Alessandroprotagonist of “In the middle of so much fire”, A text of the multi -award -winning Spanish author Alberto Conejerowith the address of Alejandro Tantanian. The work is a song to love in a world signed by war, a queer manifesto in favor of desire and dissent, which opens next Friday at 21.30 in Dumont 4040.
The Trojan War has been counted by the centuries of the centuries, but a magnifying glass is made here in another love link. “It is a theater for the ear, with beautiful texts,” points D´Alessandro around the work in which CONEJERO Convene, among many others, the voices of Safo, Lorca and Lemebel In this intimate and unique approach of the Iliad, who opposes the soldier, the insatiable lover; To the war heroes, a rare lineage; Already the hymns and swords, a desperate joy and the possibility of imagining a future of matrias governed by Amazonas and Maricas.
With d’Alessandro and Luzu TV production, the artistic team with Johanna Wihelm In audiovisual design, Axel Krygier With music and the costumes and lighting of Oria Puppo. We talked with D´Alessandro.
Journalist: The work is a song to love in a world marked by war, a queer manifesto in favor of desire and dissent, why this text?
Victorio D´Alessandro: I was very interested in the works of Conejero, in Madrid I took the opportunity to see this, I did not know what I was going, when I entered and discovered that it was one of the epic who as a boy so caught me I began to think about doing it. Both the Iliad and the Odyssey, stories with Greek gods and the descendants of gods, the heroes, the struggles, interested me. But the look of this work and the B side of the Trojan War struggled. A look that is set in a character but not as central as a patroclo, with which Conejero tells a love story that was born and died in a short period but followed his eternity. Beyond being dark and going to the underworld, it is also a song to joy, dissent and that loved, prohibited. Telling it from that character that does not usually have a voice seemed super interesting. It is a theater for the ear, a theater of the word, and that seduced me.
Q: Does the love story between Patricio and Achilles address? What novel imprint contributes to the hegemonic history about Troy?
YOU: It is a deconstruction of the Iliad, from the gaze of the patroclo, of this Homeric poem with emphasis on a love of young people, hidden, that crosses plans such as death, is a love that was lost, that the character is still looking for and trying not to fall into war. The protagonist does not want to go through Matanzas, spears, screams, blood, and wants to tell this love story without entering the war, but it is inevitable. Patroclo’s attempts to meet Achilles play again in favor of having to be part of the war, which seeks to avoid although inevitably falls into it. There is a life that hugs, but not being legend but being that colloquial, entrecasa, natural, without waiting for glory. That intimate love, to get up in the morning with someone, spend time together, that love that is buried by the prophecy that falls on Achilles. When falling in love, Patroclo clings to the love of Achilles, who is the son of a goddess and therefore almost immortal, invulnerable.
Q.: How is this incursion of Luzu TV in theatrical production?
YOU: One of my friends works there, a long time ago Luzu is getting into theater, commercial and independent. They ventured accompanying production and communication to bring young people to the theater. That the theater exists as a way out for young people is good, that they have the opportunity to see works not only commercial but of the off circuit, with beautiful texts and stories to fill the soul and feel that there is a revolution in front of what one already knows, putting people in check when they feel to see work, there is always something that one says in theater that does not say in life.
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.
