Journalist: Is there any connection between the previous works and this one?
Fabian Lucas: One is always saying the same things. Although the theme of each work is different, the problems that concern us are basically the same. There are certain obsessions that are repeated: the illusion, the double, the manipulation, the unfolding of time, the use of the different languages that musical theater allows. Although the point of view, the way of considering the matter, is different, these obsessions are reflected in each of our shows. From one to the other the landscape varies, the repertoire also, although identifying gestures of what we could call our style can be recognized.
Alexandra Radano: We make the way of approaching the material and its choice with Diego Vila and Fabián Luca, with whom we have a particular look at songs, perhaps not so visible, and I, above all, who sometimes am very peripheral, can put my visual on a word, a melodic turn and on that build something, as the phrase goes, on a small stone build a church or a shed. There is a Burroughs style, I love his art to filter the future between the lines; everything can be edited.
Q.: What did you want to investigate in this work?
FL: Through the artifice that theater allows, the tools that we all use for manipulation. From there we began to explore the matter of handling the truth and the use of the tools that allow it. Thus, topics such as the emotional truth, the fake news of the networks, the manipulations of the different languages appeared, resulting in a catalog of what we call “mistrust” that are reflected throughout the show.
AR: Every form of art is a low crime. The real is an unavoidable paradox. The show, the entertainment, the environment, the borders, fell together with the Berlin Wall, as a great symbol for humanity and everything was turned upside down. It is as exciting, from the expressive point of view, a political speech as a tragedy by Shakespeare in a Roman amphitheater. And the question for which expression is more real. Orwell bequeathed us “1984” and the film “Argo” showed us that we can communicate a terrorist attack that never happened.
Q.: Why the chosen songs? Many of Kreisler and two of Radiohead and Bowie, among others.
AR: George Kreisler, an anarchist of the song, what comes after Kurt Weill, is the great discovery, thanks to Fabián Luca who introduced me to his songs and translated them. Translating a song is as complicated as translating an architectural plan to carry out a building, and not collapse. Bowie and RadioHead are translators of reality and great architects of the song.
FL: We don’t choose the songs, they choose us. The work that is done in the creation of a musical comedy is very different, where a subject is chosen to talk about it and develop texts and songs about that character. The work we do expresses ourselves through songs by various composers and styles. In that sense, our work is more similar to the selection that a performer makes for a recital: he chooses the composers and the songs that allow him to express himself as if they were his own voice. The case of Kreisler is striking because we have been visiting him regularly for years, in addition to the fact that he is a composer who confronts us with a very prolific work, a humorous political musical theater, which he fully identifies with. It is a genre rarely visited in our language, a kind of “sung speech”, created precisely by German composers such as Berg, Eisler and Schönberg. Kreisler makes use of that compositional system in his songs. Over the years of translating and decoding it, we have learned to consider it. It was not an a priori choice but rather it happened naturally during creation.
Q.: What response do you expect from the public?
AR: I try not to expect anything from the outside, neither applause nor rejection. They say that each audience freely conjures up its demons. We will see what we will have conjured when we have released.
FL: We imagine that it will trigger questions and reflections about the very idiosyncrasy of human beings and the manipulations we carry out with different objectives, some more laudable, others darker. Eduardo Basualdo says that “Art is not beauty, it is reflection”. We also aspire that people contemplate moments of certain light through videos created especially for this show by Ignacio Masllorens, Gastón Viñas and Romina Ricchi, and above all that they have a pleasant moment. The ultimate goal is to entertain, and if, in addition, people get to know new authors or reflect on what we show them, our task is justified.
Source: Ambito
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