Muscari told this newspaper: “The meeting with the classics is a must. I started a long time ago with ´Electra´ by Sophocles, which was ´Electra shock´ with Carolina Fal; then I did ´La casa de Bernarda Alba´ by Lorca with Norma Pons and later ´Madre coraje´ by Bretch, with Claudia Lapacó. The time has come to mess with Shakespeare, whom I never transited. I had adapted it a long time ago and I always felt that a ‘Julius Caesar’, being one of his most important works, with so many characters and the groundbreaking decision to include Moria, had to be in a context that legitimized the proposal such as the CTBA . I don’t propose to reinvent the classic but I take it as my own and from the base I give it my stamp. When I transpolated the characters, situations and genesis, I already have a new work and I don’t go back to the original, with few exceptions. I don’t reinvent the classic but rather use it as a trigger to write my own ‘Julius Caesar’. It is a work that speaks of men fighting for the political power of a nation with which, in its synthesis, it already speaks to us of the present. I let that dialogue with the present through the language, the humor of the characters and the particularities of the staging”.
Titus Andronicus
Marcos Arano Forteza, one of the authors of the version of “Tito Andrónico”, starring Vanesa González, reflected: ¨They are texts that have been proven for centuries, but something has been reinvented in human relationships over time. The classics are texts that go beyond the individual, they speak of the collective, of us as a community and as a species. They are a game board. In a theater that is taken in Buenos Aires by realism, putting these great texts in verse from the clown, the masks and the popular genres, is a feast. Any classic proposes a crossing of speeches and each era adds its reading. It is unavoidable the reading of genre of this time and more in a work with tremendous atrocities. Adaptation and translation is always a betrayal because thinking about it for a current context adds our look of the time. The text itself speaks of the human condition through the ages and has a musicality, it resembles the Elizabethan idea of mixing genres and conjugating languages. We eliminate period marks and things distant from the medieval or Renaissance world, we prioritize anachronism. History is redefined today with the war between Russia and Ukraine and talks about how we systematically fall back into barbarism. Shakespeare is talking to us about current things, in Tito there is gang rape, as an act of power and not exclusively libidinal. How there is a subjugation of the bodies that speaks to the whole society”. The cast is completed with Santiago Cejas, Darío Chiocconi, Juan Pablo Galimberti, Magalí Meliá, Manuel Lorenzo, Federico Tombetti and Abián Vainstein. It is presented on Mondays at 20 in the Picadero.
Gabtriel Graves, co-adaptor of this Andronicus Titus, indicated: “Calvin says that the classic is a text that one is always rereading. It has the capacity to continue meaning beyond its context of enunciation and produces meaning beyond when it was first made. That’s attractive because it’s stepping into a tradition that has stood the test of time. There is a very powerful matrix that, once explored, invites you to discover the secret they keep. You don’t have to reinvent them or feel pressure to have to be too original, the time in which they are staged resignifies them. Also the decisions of rewriting and setting lead to see which areas of the text we are interested in lighting. These authors seem to have grasped fundamental questions of the human condition. We remove from the text what is very tied, what ages worse, and it is also an opportunity to raise problems that today we do not dare. We can say certain barbarities again in this time of political correctness. You lose the awe or adulation, by having these characters on the pedestal who can become playmates with whom you can have fun. Familiarity is gained out of the obligation of having to be too original or respectful. The theater should continue looking for entertainment, Shakespeare achieved it in a superlative way and after frequenting these authors one manages to desecrate them and bring them closer¨.
lysistrata
Silvia Gómez Giusto, who co-authored her version of “Lisístrata” with Agustina Gatto and directs it with performances by Matías Broglia, Abián Carrasco, Camilo Polotto Javkin and Marcelo Pozzi, expressed: ¨I was called from the Faculty of Law for a cycle of Greek theater and I was given to choose any author. I came across Aristophanes and his comedies and noticed that I had seen many reversals of Greek tragedies but not so many comedies. The first question that lingered within philology for a long time was whether this work really represented feminist questions and whether Aristophanes was a champion of feminist questions. Philology determined that no, that all that look was not like that and that the author was on the opposite side. I came across an insulting and very difficult text for women. It was very difficult to laugh at such a hurtful comedy. It can be a very current text, we see the patriarchy from which we come and we cannot fight and that man chooses war to resolve his conflicts. I felt that the work had to be performed by men in all roles, as at that time when the theater was written, performed, directed at men and women could not access the Dionysian festivals. To the title we added ´the laughter of men´ because only men could laugh at this back then and today some still do. We take the voices of the musicians and narrators so that they put the historical context in which the work was written. Here the central theme is the endless war between Athens and Sparta before which the women tried to reach peace with the only weapon they were able to find: take their husbands’ sex. The men locked themselves in the Acropolis and began to rave, unable to carry the war forward. At that time they laughed at women taking power over public affairs and over their bodies. We play with the grotesque and absurd to move forward with a work that presents an unprecedented level of profanity and insults. I revisited Tato Bores a lot, one of my childhood idols, who was able to criticize current affairs through humor, like old comedy. After research and discussion we concluded that Aristophanes, after all, was telling Athens that she was fighting the war so poorly that even a group of women would handle it better. That changes the focus and the gaze on ‘Lisístrata’”.
Source: Ambito
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