Mariano Stolkiner: The work has that tension between the voice of this mother facing the loss of her son and the assumption that her son was a femicide. She is a character who cannot escape pain, from that internal break with which she lives and is titled. The procedure and dynamics of the work transcend the stage and take place in the audience, touching fibers in the spectators who, beyond the duration of the show, feel something that continues to resonate. Time has made things macerate, the work went through different stages and cities, the actress found nuances and everything became more fleshed out.
Q.: You touch on hard topics that are sometimes preferred to be avoided but in this case they worked, to what do you attribute it?
MS: There is a public willing to these proposals. The work has its share of spectacularity and entertainment that, beyond the hard theme, is still there for you to enjoy. People leave ingratiated, gratified. At first I had doubts about how it could work, because it addresses gender violence from a very different perspective than what we are used to. The work also brings the judgment of this woman and ends up generating great empathy with her character. There is preciousness, there is an impressive performance, there is music, there is visual design. She could distance but because of her proposal, she invites you to stay, there is the brutal versus. the beauty and softness of the aesthetic proposal.
Q.: It addresses gender violence and the death of a child but with a loving and beautiful look.
MS: I always said that this work was more about the pain of a mother of losing her son than about the circumstances of the femicide. People came who suffered the loss of children and the pain is the same, it is not greater or less if it occurs in one way or another. The emptiness that remains is endless. It is not a condescending piece of work, it does not propose an easy place to abstract ourselves from what is happening to this woman, it has those folds, the edges are not clear. That puts the audience in a dilemma and those tensions also favored its impact on the public. It was a work that was thought for the independent and it was a discovery that accommodated very large theaters. There was something about the scene that was very adaptable. Today we went from a room with 63 seats to another with 400.
Q.: You will coexist in La Plaza with humor, stand up and text works. How do you see the theater and its themes?
MS: Today the theater tends to light themes but not only in the commercial. Beyond the hardness or lightness of the themes, when a show is good it may have more viewers. The theater public in Buenos Aires is active, looking for experiences that confront it and put it in tension. I see this passage from the independent to the commercial very naturally and I think that the idea of the circuits is already a bit blurry, more and more one interferes with the other. Many independent things have commercial thinking, where there are so many other things at stake. Everything is theater.
Q.: How do you see the performing arts for this 2023?
MS: Complicated in relation to the country that directly hits the economic possibilities of the people. I imagine a complex year in that sense. The theater needs the public to be able to pay for a ticket and beyond that to indulge and take risks when paying. When it hits the pocket, people have to be very selective when choosing consumption and look for a certain certainty of remuneration. That leads to less risk, it is more safe and it is bad for the theater, which is a risk area. There is a whole possible and interesting theatrical framework that gets hit. In the independent and commercial it is costing a lot to motorize production, there are reruns and that causes creative activity to fall. Many times creativity overcomes the lack of resources but they are essential to be able to create and today they are lacking. That lack is felt, it is noticeable, and 2023 can be anticipated to be a bit flat in certain aspects. But hopefully I’m wrong.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
