At only 21 years old, Francisco Martinez Bosch was captivated by “The Ninth”, of Tito Cossa, and brought together a team of young people from the field of film and theater for this version of a timeless work that continues to resonate. The young imprint comes with a sustainable work in a sustainable theater like Border, with recyclable scenery and costumes that circulate to and from other works. They also joined the NGO “Dar sense” that makes the programs with ecological materials and produces recyclable notebooks that will be sold at the exit. A percentage of the sale will be allocated to collaborating with different NGOs.
The work features performances by Robías Bearzotti, Alejandro Kersfeld, Sofía Zorraquín, Guido Masso, Luciana Sosa, Bianca Di Pasquale, Emilio Kenyou and Clarita Campos. It appears on Tuesdays at 8pm at the Border. We talk with Martinez Bosch.
Journalist: Where did you first read or see this Tito Cossa classic and why did you want to direct it?
Francisco Martínez Bosch: My first contact with La Nona was at an exhibition at my school. It was done by the older high school kids as a school work. I had just started high school and that night I remember that I laughed a lot, I had a great time but I still didn’t know everything that was going to come. Then I came across the text again in September of last year when I was going on a trip with my family. I saw that my sister was reading it for school and I asked her for the book. In a while I read the entire work and as soon as I finished reading the last word I wanted to do it. I came back from the trip and started the project.
Q: How is it still valid over the years?
FMB: For the mastery of Roberto Cossa who wrote an excellent text. Also due to the Argentine context where 50 years ago there were families like those of La Nona and there still are today. It is a timeless story that at the same time is being redefined with the passage of time.
Q: You respect the original book, but how do you update the setting? What’s so modern about it?
FMB: It is written in an exceptional way, which is why it seemed most appropriate to follow the original text. It is modern because it continues to deal with a topic that has addressed us today and always, especially in this country.
Q: How do you go about sustainability because the scenery and costumes are circular?
FMB: From the scenery made with recycled materials, the furniture bought all used, the costumes following the concept of “circular fashion”, programs printed on recyclable paper and merchandising made in a sustainable way, in addition to part of the income being donated to Ruta 40, an NGO that supports rural schools.
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Q.: To what do you attribute the wave of Argentine works of a time like “Waiting for the Carriage”, “Made in Lanus” or this one? Is there a period feel that’s coming back?
FMB: It’s always good to come back. I saw several of those works and perhaps now due to the situation in the country it is good to bring them back. In addition to being stories that are close to us, familiar. They talk about us, about our identity as Argentines and our culture.
Q: What is the theme of the work?
FMB: The work talks about family and people. It seems very general but further up the plot line and its inconvenience with the economy we can glimpse that of putting each person’s own interest above that of others and that leads us to ruin. Being a family is being a team and everyone must push in the same direction. When this does not happen, situations like those in this work appear.
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.
