“Who is late”, directed by Paco de la Zaranda, dialogue with the miserable of the world we knew how to build

“It seems a dystopia because in the work they do not have water, light, telephone, food, work. But is not the radicalization of problems of the present taken to the extreme? The work starts from that reality to shed light and humanity, pulls that piola of what would be missing as a society,” says Nayla Posewho together Lucia Aduriz Star “Who is late”, A creation of Eusebio Calongedirected by Paco de la Zarandawho for the first time faced a collective creation with production of Sebastián Blotrach. The work is presented on Sunday at 18. We talked with Pose and Aduriz.

Nayla Pose: I do to key, it is devastated, it is aware of the routine in which it is trapped and that propitiates its shadow but also a certain flash of light. He works in an office that copy a list of last names again and again and that awareness of his reality at the same time allows him to create certain sparkles of uprising. That makes your spark be turned on and can start a deep transformation. He sees the hostility of his world and with all fear he wants to look out to see what is beyond, despite the pain, weariness, defeat and fear, he did not give up. The other woman, fine, denies reality, believes and about believes, does not give up.

Lucia Aduriz: There is no naturalist plot succession with a situation in the real world, Zaranda part of a real world and made another space with other laws of time and gears to glimpse another space that is not seen. The characters repeat because it is the only way to survive and spend time, and go through different moments. My character has moments of optimism, Luz, he carries out the joy and the desire to continue despite every prognosis. But it will fall into all desolation, there is the binary counterpoint where the work acquires its greatest relief and beauty.

NP: They love themselves as they hate and need. They survive because they continue together. The construction stands on a universe that is pure poetry and dispossession. The characters appeared, in the middle of the process we were lost, we asked the directors and told us “the theater will come, the character is looking for you, Abrile, let him do you, abandon you.” Which does not mean throwing chanta but a kind of surrender pleasantly with the difficult, sweet and abysmant that has to surrender. It was a deep research process, it was not to resolve, it was very of the Zaranda, you could not force them at the same time they could be here only one month. It was pure delivery and faith. It was becoming something and stop being.

THE: Survival occurs when they cling to having something to do. They continue forward and survive finding a space of lots of light in the imagination. Zaranda creates internal pulses, from the respiratory bellows to draw songs and spaces of the work. The text reaches the end, to crown the surface. You work differently, we first learned the text and then we lead to space. I looked in the text the deep roots of founding the rhythmic body that had to say what I had to say. It was a moment of the game against all difficulty, there were arduous moments, there was darkness and the light had to be taken.

Q.: This of the absurd routine in a drill of existence, where it seems that they only expect the definitive collapse, it has much of the absurd of Beckett or Pinter, what can you reflect on the apocalyptic that takes shape over time?

NP: When I read work I thought of Beckett and Pinter, authors who explored the existence that is revealed as absurd and precarious, so full of tensions between language and silence. The work dialogues with that, the routine is absurd and is a metaphor of existence. The world in which Beckett and Pinter have lived was very different from that of now, which is getting worse, the questions for existence have another urgency. The work dialogues with the miserable world we knew how to build.

THE: We live a epochal moment that makes you think about the end of everything, with the question for a sustainable world, for this way of producing and consuming, is it viable like this? Inequalities are increasingly expanded, the question is appears for employment. The apocalyptic has our time. The work shows a slide that generates a mirage. What happens when what works? Where is existence if not there? What kind of difficulty do we have? The work circulates around.

Q.: Was the author inspired by that blackout in Spain, which takes as a starting point the lack of electricity and the technological blackout, as a metaphor for the great sunset of the West?

NP: We talked about that, we had the work written before. Eusebio said with humor that he was responsible for the blackout to justify his work. In La Zaranda they have an antenna, they capture and bring to reality what floats in the air. His theater is very contemporary as they dialogue with the context. This was something premonitory. In our work there is no light, among other things.

Q.: The metaphor of light as hope, that if the progress is not turned off and falls into a constant deterioration of our own humanity, is it a dystopia? Part of a pessimism to open a luminous ending?

THE: Dystopia is present daily, it is hyperrealistic, people who make that absurd rethink the modes of production, is the history of capital, the beings that we have to work on that. The cut of light as Argentines know what it is, everything that implies, and the work starts from pessimism but is concrete, because if one refines the harmony with what happens today it is evident that the thing is wrong. If one only observes, it is obvious. In the work those that make our existence what it is and want to convince us that there is no other possible future. It is time to rebel against that, there is another way to exist and relate, to distribute affection, of the human. The title can be “that is already late” or “that we already defeat and who wants things to be horrible was late” and they will not be able to.

Q.: The protagonists are finally revealed with the imagination, how is that at the scenic level?

NP: The imagination ends up being the great ally, does not deny reality, integrates it, is the light that expands, which is not, that is created. My character writes as an automaton, writes what he imagines, goes from being a reader to being a writer, that transforms her. At the scenic level, the powerful of the Zaranda is a certain dream that inhabits the stage.

THE: They reveal themselves with imagination, poetry brings light, my character lives in his imagination and thus supports existence. Doing theater is a form of resistance, for use of imagination against real.

Q.: How was the work with the Zaranda? What is the method?

NP: It was necessary to enter into a certain code that they propose not to solve. May the body be filled, that the self does not neurotice the scene, let it be. Investigating with objects, space, they say that objects must be tamed them, such as squeezing them. We work hard, powers, text reliefs. Each character is as an energy field. One is an actress found by the character, that is something alive, changing and throbbing. It was an expectant adventure, be drifting, meeting with the unknown and transformation. It took me to remote areas. When nothing is released, everything is transformed. There is no Zaranda technique, yes a way of experiencing in several planes at the same time, the scene and the space that is sought from chaos and precision, something of its doing does not meet the ideas but on what returns the scene when it was stimulated.

THE: It was difficult and joyful, we worked different from how they work and brought us mounting difficulties. We had to be patient and times we didn’t have, we had to go to find the area. I admire them for what they think of life and work with them required fine, physical and spiritual tune. We had to connect with the imagination in a complex way. There was a lot of humor, laugh, hard and committed work. Life should go to you.