“The visible goods”: an election to a father who extinguishes himself little by

“Culture and theater are being dynamited, a form of organization that was woven since so many years is today the objective of the national government with the almost disappearance of the INT, whose law derived and promoted everything that flourished later,” says Juan Pablo Gómez, Author and director of “The visible goods”, That he presents a new season at the Cultural San Martín, on two brothers take care of his old father that “he moves away a thousand kilometers per hour” in a delirium space, a town of strange sounds and voices that push, invisible, this story about aging.

The functions are Thursday at 20 and has actions of Enrique Amido, Patricio Aramburu, Anabella Bacigalupo, Agustina Reina, Guadalupe Otheguy, Andrés Granier and Manon Segret. We talked with Gómez

Journalist: Is there a relationship between the work conceived in the context of Covid and its theme about old age? How does that closeness impact the death and disease at that time?

Juan Pablo Gomez: In the pandemic the issue of care and aging hit, some “old man” appeared in society, a threat, discard, the question of how to take care of our elders. That appeared strong. We had been working on this trilogy of care or life, because with the same team we had already done that and this is a kind of continuity. We talked about how to take care of childhood and the 10 -year -old actress in real terms, and this continues, they are the same brothers and now take care of the father.

Q.: How is this story of links and old age that stalks a thousand kilometers per hour?

JPG: It is key to incorporate this 80 -year -old actor, while realistic stories appear and we seek to rethink it. Because we believe that it has nothing to do with a scenically representing the house or those areas where human dramas occur, that was too embedded in urban life or bittersweet dramas and we separate ourselves. Our way of working is different, but there is some realism that has to do with performances. It is not taking care of the actor in a hostile space, it is like a palimpsest of many layers where our own passage of time appears. The work is a sound drama where all the time the choir that Sounds makes mattresses in the work. It is an elegy or poem sung by the physical disappearance of a father, who does not die, who gradually extinguishes.

Q.: What other issues appear?

JPG: The links, the inspiration in Nick Casavettes, where there is violence below, love that does not find a channel and ends up bursting. Those who cannot be transmitted more civilized by the love you have. How to take care of us and in the work mode. There is some of the pure theatrical experience of how the public is within the work, that closeness with the actors. More than a topic is the sensory experience in itself, we get into the form of contemporary expectation and the way of presenting a show.

Q.: How is the Passage of OFF to Cultural San Martín? How is circuit exchange?

JPG: The cultural is in reforms, the room 3 operates again and I believe that the circuits are more permeable, the audiences follow the works. We come from Independiente but we are in Dumont, where there is a very perforated border among several works, the cultural is analogous. The difference is the scenic capacity of here, more people work, there is more amount than we can assemble, although everything official is very helped and definance. But they are supported by workers and artists, who work as an independent company. We were interested in the Cultural the New Curatorial Line, where Alejandro Tanainan advises and we have an related look. The theater as formal experimentation, which proves about space variables, time, links, the human, the theater taken from the anecdote and thinking as a human event.

Q.: How do you see theater and culture today?

JPG: Culture and theater are being attacked, a form of organization that was woven since so many years is today the objective of the national government with the almost disappearance of the INT, whose law derived and encouraged everything that flourished later. It is an organism responsible for the face of theater today, of the young people who do works, of the profusion of material, a kind of eternal Alfonsinist spring seen in the Buenos Aires theater and in the country as well. It has to public policies, attacking the heart of symbolic production, a community, rich and valuable organizational form that they seek to dynamite. But in the city there is that old tradition of support for culture and does not attack it directly, subsist and function as a gear between the independent and the officer. It is difficult to be in the theatrical test if there is no very big conviction of getting time where there is no to investigate. It is difficult to find findings if it is not experienced, we seek to capture the time given to social networks. The new generations have a hard time taking the time because we have to work, but we fight it to do the work we imagine.