“Hair as a symbol of beauty, strength, desire, feminine power, and what happens to hair throughout life, when it weakens, and yet they say that the dead’s hair continues to grow” , says Paula Ransenberg, author and director of “Pelomuerta”, which is presented on Tuesdays at 8 p.m. at the Galpón de Guevara.
This is a musical work with original music and musical direction by Facundo Borgiaalso on piano, and cast made up of Dolores Ocampo, Iride Mockert, Laura Silva, Andres Passeri and Federico Llambí. With Nico Echeverria on battery.
“Pelomuerta” is the story of two women and their fierce struggle against decay, death and loneliness.
The scenery is Gonzalo Córdoba Estévez and Agustín Yoshimoto; the locker room Cynthia Guerra and Ransenbergthe lights of Adrian Grimosi, the choreographies of Marina Svatzman. wigs Monica Gutierrez and masks Roman Lamas. We talk with Ransenberg.
Journalist: How did the desire to write about these women appear?
Paula Ransenberg: It came up in my hair salon, I was getting my hair cut and I heard a dialogue that I immediately transcribed to my phone because I thought it was hilarious. In that area, a temple of beauty, we look very frightening, with the dyes they put on our heads, while it operates as a confessional between clients and hairdressers where very intimate, personal and family topics are discussed. That dialogue was the kickstart to enter that world.
Q: What story does it tell?
PR: It is the story of two women, Clotho and Laque, who go to the hairdresser’s daily, both very different, one is a femme fatal who talks about her sexual bond with men, her relationship with taking care of dogs and the other is a woman attached to her mother, in a toxic relationship. Her mother has her imprisoned and she cultivates a very strong relationship with the Virgin Mary, when she was little she wore her hair. All scenes are interspersed between hairdressing and their private lives. They begin to consume products that are in the hair salon and become delirious in fantastic or dreamlike situations.
Q: What themes does the work address?
PR: They are women in their fifties, it could be 60, with the decay of their bodies, their beauty, their enormous struggle against the passage of time and the desire to be loved. In some way it has to do with the encounter between the drive for life and death. In this back and forth, hair appears as a symbol of beauty, desire, feminine power, strength and what happens to hair throughout life. There are fantastic characters like the mummy with waist-length hair and the myth that the dead’s hair continues to grow. It also talks about friendship and resurrection, how from some crisis one is born again.
Q: What tone predominates?
PR: It is a musical comedy with black humor, we laugh at terrible things. The characters are pathetic, ridiculous, there is her mother who is very terrible and decadent, she is clinging to that mother to hers. Behind the humor there is a human and compassionate look. It came out musical, a character started singing and then everyone continued singing, the music had to be composed so I put together the musical team. The hairdresser is like a narrator, he talks about the passage of time and realizes that he is losing his hair.
Q: How was the work transformed from paper to performance?
PR: The big change came with music that not only intervenes due to the change in climate but because it is live and pushes dramatic areas. Music is a wonder in theater and I was privileged to have it. With the tremendous actors came the intervention of the text, they added and omitted things like good actors do.
Q: What is it like doing independent theater today?
PR: Very difficult and this one also requires significant expenses per performance such as microphones, sound engineers, things that a play does not normally have, this makes it more expensive, in addition to so many actors and musicians on stage. It is a very great act of love. Subsidies are delayed, costs are delayed, so one does it for the pleasure that the creative act gives and sustaining independent theater, so important and rich in this country. There is no money, outings are restricted, we support with promotions, to the cap, two for one more than ever, so that people continue coming to the theater. Because it is so important, especially in these difficult times. Independent theater is sustained thanks to the great work of actors, directors, assistants, producers who work practically for free, so we must combat these lies about the INT or the INCAA. They are not useful, they dynamite the activity. These organizations are the means that theater and film people have to be able to put on a show or film, and it is barely enough.
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.
