Diego Rinaldi: It is a comedy inspired by what happened after the fall of the Wall, which left symbols on the other side and people went to the military. It has to do with those years of passion and militancy. I think the public is challenged with that question about dreams and the ideal of those times, as well as a concrete look at a new revolution, a new construction with dreams in force from another place. I don’t associate it directly with the feminist struggle, but there is something about the characters who believe in the struggle again and others who put aside their ideals because they became bourgeois, or because life passed them by.
Emilia Mazer: I was interested because it is a crazy comedy that humorously takes historical events that marked our lives. My character is faced with making decisions that he imagined resolved.
Q.: How does comedy operate?
DR: A father of a family is going to resume his revolution, which was frustrated, while in Berlin they were fighting. But when he returns, he finds a different reality than he expected, he thought he would be greeted with hype but he was wrong. In this clash that the characters experience, the humor and comedy that Winer poses begins to happen.
Q.: What other topics does the work touch on?
DR: What happens when someone returns and one of the two is stopped in time. It is a comedy about love when it transforms, about friendship, betrayals, wondering where those dreams of youth are.
MS: The work refers to the time when ideologies were part of a kermesse of illusions, with hits and misses.
Q.: It was released ten years ago, did you add changes?
DR: There are some changes because something is proposed about the groups that are very present today, so we modified a final proposal that was anachronistic in tune with today. Although it takes place in a certain time, in our version it could happen at any time, it talks about the wall but it can be adapted to any revolution.
Q.: It resonates somewhat with “Goodbye Lenin”, which spoke of preserving a mother in her illusion that the Wall had not fallen.
MS: Somewhere, yes, my character is transported to a moment in his life that he thought he had forgotten, with thoughts, desires, dreams of his youth that are updated.
Q.: How do you see this moment in the performing arts?
DR: We had been punished for a long time, not only because of the multiple platforms that reduce the theater audience, but also because there is no new spectator that is being formed. Although there is a certain post-pandemic revival, it is not usual for shows to last many months on the bill, as happens with “Radojka”, which we launched together with “Bruges” as soon as the theater returned in 2020 and we are still going on. We have to aim to train theater audiences, I have students who study theater but find it difficult to go, it seems that they want to be famous or influencers to upload content but they are not interested in what they study. We have to point to the combination of an actress like Emilia whom ladies can meet through soap operas and take her to the off, which generates new audiences to come, or take young people to Corrientes street, which is beautiful, illuminated, but does not carry the desired influx.
MS: I see a resurgence of shows and in my case I intend to recover that stopped and sad time that we all had to go through. Some people more affected than others but no one was left out of this pandemic. Being able to go through it theatrically and return to independent theater is gratifying.
Source: Ambito
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