Diego Reinhold and Daniel Casablanca, a therapy for Argentina

Diego Reinhold and Daniel Casablanca, a therapy for Argentina

“We investigate Argentina’s childhood, adolescence and then adulthood. The idea is to see how today’s traumas have to do with those early years,” Diego Reinhold tells about “Argentina on the Divan”, a play in which he stars together with Daniel Casablanca in which they subject the country to therapy to delve into failures and denials.

Written by Marcelo Cotton and directed by both of them together with Guadalupe Bervih, the work debuts next Friday at the ND Ateneo with performances on Fridays and Saturdays at 8:30 p.m.

Could the couch be the solution for this immense and exquisite country? This is a historical journey, but it is also a look at each period that the Nation went through with grotesque language, so typical of ours. We spoke with Casablanca and Reinhold.

Journalist: How much of the work is related to “Knock Knock” or “Under Therapy,” among many that have therapy as a theme?

Diego Reinhold: We take therapeutic practice as a trigger for mood and as a rebound or reflection of ourselves. With the excuse of using the symbolism or metaphor of Argentina personified and all the treatments that are applied. There are parallels between psychoanalytic therapies in people or treatments that are applied to the country to see the diagnoses and possibilities of improvement and social progress. In Argentina there is a deep-rooted culture of therapy and in the theater these themes appear.

Daniel Casablanca: Psychoanalysis and therapy is always attractive to the local public, in fact it follows the remake of “Freud’s Last Session” that was seen several years ago and is a success. The Argentine historical theme plus therapy is an attractive combo. In this case, the therapeutic sessions in Argentina allow us to know more about its history and its recurring problems, with a fun, tender, affectionate look and from laughter to feel identified and moved. Let’s see if we can get attached to this Argentina.

Q: What is this historical tour of the country like? What happens to revisionism in theater?

DR: We investigate this constitutive stage of personality and armed with local idiosyncrasy, with paradigms and beliefs. Argentina as a course, as a story in itself.

DC: This journey is more historical than political and brings us closer to Pinti’s “Salsa criolla”, so we have all the ingredients of the popular Argentine comedy. We have so much fun doing it that we are going to transmit that joy with the River Plate language that both Argentine comic actors and viewers are looking for. It is still our language, the grotesque, and what is more grotesque than Argentina.

Q: How do you see the current theater scene and the gradual decline in attendance given the economic outlook?

DR: The economic always has its correlation in the consumption that encompasses recreation. However, theater has the virtue of surviving those moments, perhaps the situations are complex but theater is booming because people need that recreation and theater has the possibility of having human costs. We can shrink to the point of doing theater in difficult times, there is something there that is not linked or tied to economic conditions and can enhance theatrical production despite a complex economic or social situation. Beyond the economic or commercial, in those moments ideas prevail, the need to say and channel, to sublimate. Theater and art allow us to give expression to the needs of conscience. Bad economic times do not necessarily impact theater, they do impact commercial or industrialized theater, but theater is something else, it is a reflection in which three vectors coexist: the work, the context and the observer, all three always in dance, one It gives value to the other.

DC: Argentine theater is breathed in the blood and is alive. We come from a very hard blow that was the pandemic and it hurt him a lot but he came back stronger. It is a miracle that people stop going to eat in Mar del Plata and do not stop going to the theater, people consume commercial, independent, official theater and it seems to me that this speaks very well of the spectator and the public who need to go to see shows, move around, think out loud in communion with other people. At this point, all viewers, artists, beyond any crack, defend culture in all its forms, levels, conditions, possibilities and that is how it should be. There are things that happen that cross the crack and unite all of us who do this, this is a project that tries to integrate and have a party or communion with all the spectators. It seeks to take a tour of Argentina, laugh, think and not have a party line so that the viewer can draw their conclusions.

Source: Ambito

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