“The work talks about a woman who is about to sign a divorce and shows how she will face that situation that is critical and painful for her because she does not want to take that step. “I premiered it while I was in a relationship, then I separated and went through the work in relation to my own love story, which is not reflected in her character but changed my vision of the material.”, says Vanesa Maja, protagonist of “Love is shit”, that returns with three only shows in March on Timbre 4.
The one-woman show written and directed by Cecilia Meijide – which had several previous seasons – can be seen on Sundays March 17, 24 and 31 at 6 p.m., on the 24th at the cap.
Vanesa Maja also continues with “Printers”, by Lorena Vega, which will have a performance at Konex and returns to El Picadero in May. Meanwhile, it opens in April “That bow window is not American,” of Samantha Shwebling, directed by Mariana Obersztern, with Mirtha Busnelli, María Merlino and Maja, which will be seen on Saturdays and Sundays at Dumont 4040.
Journalist: How has the work transformed over the years?
Vanesa Maja: We released it during a pandemic. All works are resignified over time, it has always happened to me with works of long periods, which begin in one way, and with the passage of time end in another. Current events influence, this time is one of great changes and discourse goes through everything. The work is also transformed as an artistic fact, it is understood more in depth, it is enhanced with the passage of time, with the encounter with different audiences and spaces, the body on stage in those different places. One thinks that something is one way and over time it changes because it resonates in another way and one rediscovers. That is the wonderful thing about theater and makes it always alive and present. If one is open to that happening, the greatest transformation arises. Every time I do the show I try to be thrown into whatever may arise, I try to make sure that what appears does not escape me, I take care of it like a little treasure.
Q: What is it like doing the same work for several seasons?
VM: One surrenders to the knowledge that this function is unique and unrepeatable. Doing it for so many years is still satisfying, playful, beautiful, because I embody that with all my tools as an actress, technique and emotionality. I make decisions in each function and they change because one is not the same. What I said before doesn’t resonate the same today, and that’s great. He is five years old and in that time I changed a lot. Being able to say and feel the same material the way you are now is great. For me it is much better now than when it was released because the material was mixed. It is a privilege to be able to continue doing it.
Q: How did the work resonate with you before and now, based on your experiences?
VM: The work talks about a woman who is about to sign a divorce and tests how she will face that situation that is critical and painful for her because she does not want to take that step. Situations, memories, sensations emerge from everything that her life as a couple was like. I premiered it as a couple, then I separated and went through the work in relation to my own love story, which is not reflected in the character but changed my vision of the material. The work comes because we have all been through a situation of separation, or heartbreak, or also a happy relationship. Enter that universal thing of sentimentality. It is a very direct work, it always seemed to me to be a very powerful text that allows me to act on it with a lot of freedom and truth.
Q: How do you experience this moment of theater and the blow to culture?
VM: These are very difficult times for the theater, I don’t know if I have experienced anything like this, we are the focus of tremendous violence and an unprecedented battle against culture, very painful, extreme. I have been an actress since I was 15 and for 30 years I have been doing theater and no one gave me anything. There is a demonization that culture is subsidized by the State and that is a tremendous error, a very small reading. All of us who do the wonder of independent theater, recognized in the world, work all the time, we put our effort into rehearsing without earning money or getting paid for it. We are people who know a lot about work, we put body, spirit, passion, because it is what we want to do. All theater makers, from those who have a space, to those of us who make shows by acting, directing or writing, ask for subsidies, if they give us any, but these subsidies never save a work. Now with this definancing, those few aids no longer exist. It is a very sad moment, and a very biased look at the matter. Culture does not belong to artists, it is the soul of the people, it is where the public can see themselves reflected and their feelings can emerge and be moved, when seeing something, when looking at a painting. It is the soul, it has to do with that other thread, not tangible, that belongs to a world of beauty. By trying to punish, the soul of the people is cut off. This does not scare us, we will continue building but it is difficult to build in nothing. We are used to it, but it gets harder and it hurts. We always resist and will fight.
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.
