The group made up of Pilar Gamboa, Elisa Carricajo, Laura Paredes and Valeria Correa presents “Parliament”around politics, after being consecrated with “Oil”where they played four men in an oil field in Patagonia.
The latest collective creation of “Lava skin” brings together theatre and politics with humour, wit and mordacity. The group, named after its members, Pilar Gamboa, Elisa Carricajo, Laura Paredes and Valeria Correawas consecrated with “Oil”, where they played four men in an oil field in Patagonia, and now doubles the bet with “Parliament”, giving this political debate, which takes place from beyond, all the theatricality of which they are capable.
From the gestures used to construct these intergalactic congresswomen, to the use and metamorphosis of sound with a musician on site, Zypce, who acts as a DJ, adds sound effects with his voice and offers moments of lyrical singing that confirm his talent, the great wealth of “Parliament” It is based on a hilarious and distressing approach to politics. Rich characters hand-woven from the detail, all crowned by scenery and costumes of Rodrigo Gonzalez Garillo and the lighting of Santiago Badillo, This work is the result of a residency of the playwrights and actresses at Arthaus.
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They were called to create and the result is a performative and sound investigation into contemporary political discourses. Thus, the work puts the spotlight on the debates in Congress although they were inspired by speeches from European parliaments, however, there are two policies that come from Europe, Gamboa from Spain (president of this parliament who is trying to discipline an insubordinate court), Carricajo from Italy (it oscillates between moderation and private property) and two from America, Belt from Brazil (their motto is to perceive themselves as capable of carrying weapons to defend themselves from criminals) and Walls from Venezuela (she claims to be a hard worker, which is why she became a millionaire).
The intergalactic takes over when the earth is burning, with a session somewhere in the Milky Way, governed by protocols and bureaucracies of all kinds. Although there is a satire on the far right, the group admitted that after the victory of Milei He attempted to separate the work from any local allusion, although a reinterpretation is unavoidable after the assumption of the current government.
The staging of the so-called parliamentary “debate” is evident, which is nothing more than one against the other, the offensive gestures towards the adversaries, like superheroes and villains, in a permanent counterattack that involves personal shenanigans to hurt instead of debating ideas.
Dystopia is used as a shortcut to be able to talk about the present, that not-so-distant future, feared, acetic, cold, prisoner of its logic, governed by artificial intelligence that enables transmutation, being like a hologram, a death that is never definitive.
With echoes of “Black Mirror,” “Handmaid Tales,” but also with that plasticity to it Buster Keaton either Chaplinmime wins and says more than words. Words that come from the mouths of these great performers are hilarious, with a permanent play with language, with the noise of the signifier that predominates over the meaning, the confusion generated by these inconclusive debates, dozens of empty, superficial, sometimes frivolous discussions. The tendency to go off on a tangent.
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Much of the above was worked on in the excellent “The translation” that Lava Skin created together with Matias Feldmanand the richness of addressing the thousands of interstices of communication.
The bonus track with the Coca Cola advertising jingle from the 80s is like a stone that reminds us that this dream about a world had no basis. At least it brings a smile to the viewer who is teleported to childhood, the corner of the best kept experiences.
“Parliament” It deals more with bodies in politics than with politics, as containers that seem to collapse and age prematurely in that daily process of manipulation, weaving and handling that political animality proposes. More questions are raised than answers about the fragility of creatures, the finitude of the body and the world, which these four congresswomen move from beyond with strings, like puppeteers with their marionettes.
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.
