“Vincent, the red madman” returns, which delves into the man that Vincent was, stark, fragile, sensitive, violent and excited, to tell of his heartbreaks, his passion for painting, his childhood traumas and the frustration of not having been able to sell during his lifetime and today one of the most recognized artists in history.
“Vincent, el loco rojo”, which can be seen starting Saturday at El Grito, is a family project, which has Flor Berthold as author and director, Joaquín Berthold as protagonist, Guillermo Berthold in lights and video, Queli Berhold in photography and design. And their mother as an inspiring muse, since everything arises from this mother’s passion for the painter.
The play won the special mention of the José María Vilches award, won an Estrella de Mar for best production and was nominated for best one-man show. We spoke with the author and director.
Journalist: What attracted you to this animal of art that is Van Gogh?
Flor Berthold: I always liked Van Gogh, I am a big fan of plastic art in general, it is a universe that has attracted me since I was a child. I like to give voice to real characters with these characteristics of injustice, loneliness and genius. I did it with Pizarnik, Camille Claudel, Gilda, Anais Nin. It excites me to think about them from the present with a perspective.
Q: What is this family production like?
FB: My mother always gave me a love for art, but with Van Gogh she had a special connection. When I was 14, I wrote a poem as if I were van Gogh and my mother was shocked because there was information there that I had no way of knowing. That always remained something pending for me. Joaco, my brother,’s resemblance to Van Gogh and my mother’s passion for the artist were key to deciding to write that text. Joaco had wanted me to write a one-man show for a while and we were thinking about the theme together, and since mom was having a bad time, it seemed to us that this work could do her some good, and so it did. I had already done several separate projects, with Queli, with Joaco and with Guille. But it is the first time that we are all together on the same project and it was an intense, crazy and wonderful experience. Perfect to represent Van Gogh who only had his brother Theo in life.
Q: How did you start writing and how did it change from paper to stage?
FB: The writing was quick, I had it saved there to be written. And the process to the stage was very dizzying and assertive. Joaco is a brutal actor who gives life to the text in each phrase, Guille put together a simple and impressive video and lighting device at the same time and Queli was in charge of the textures of the costumes, props and photos, so directing him was accompanying all that.
Q: How does the sole proprietor build Vincent? Does it add aspects of his life that are little known?
FB: The proposal is a Van Gogh today, in 2024, who sees what became of his work in retrospect. He comes to talk to us and tell us his version of the events, one of the things that happens most after the performance is the genuine emotion that occurs, and these aspects that are not known. Even in the several films that were made about van Gogh, events that are told in the work do not appear.
Q.: How is the audience for the theater in this context of an ax attack on culture?
FB: The theater audience always resists. In good times and bad times he is always there. It is not a comfortable audience, it is an audience that becomes stronger in the face of adversity. I remember the first post-pandemic performance of “Water for Alejandra”, we were afraid that no one would attend and the room exploded.
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.
