Daulte returns to his own content powerhouse, Espacio Callejón, with “Luz witness” and “Valeria Radioactiva”; to May 25 with “El resource de Amparo”, he is working on a rewriting of “Los perro” for Cervantes, while he thinks about what he wants to write about. Next year Alfaguara publishes his novel written in quarantine, “Manifiesto del enemy”. We talk with him.
Journalist: What did you find when reading the text of a work that you had already seen?
Xavier Daulte: I have a vague memory and when I read it I was surprised because I found a new theatrical game for it. The night of insomnia in the protagonist is immersed, that moment in which the ghosts become gigantic, opened me to a game that I like. Juan Leyrado had done it at that time and he told me that this version seemed different, because of the different look. The passage of time also made it read differently, inevitably, because there was a change in the way of seeing the bonds between men and women. The paradigm has changed a lot in the last 15 years. What was common sense at the time is no longer common sense today. The text says “this woman tortures me” and today I seek to state that the one who tortures himself is one with his own insecurities.
P.: It amalgamates with the psychoanalytic look of the character of the therapist.
JD: This is a love story, with a man who plays Joaquín who has reached a limit with his contradictions and neuroses. He feels that he cannot be with his wife and he cannot stop being with his wife. If you can’t decide whether to go to a dinner party how are you going to decide what to do with the rest of your life. Juan’s character is this analyst who digs and won’t let him keep the shell of the problem, which could be his jealousy. The protagonist believes that jealousy could be the origin of the crisis but nothing further. There begins to grow the monster called neurosis that can destroy us.
Q.: How do you experience this return to Corrientes Street after two years of the pandemic?
JD: It was a joy to have this team and I was interested in doing the work because it is good that it returns after 15 years. For the generational change, for those who remember having seen it and not having been able to see it, and for young people it is a novelty. We will see what we find in the public, which we are urgently needing.
Q.: To what do you attribute the revivals? A way to play it safe?
JD: When the actor or actress appears to justify that new version, you bet. This solid text emerged for which Joaquín is at the right time for a character of this nature. It’s like Blanche Dubois for A Streetcar Named Desire. Of course, this does not mean that something that was done at another time will always go well. It is full of examples.
Q.: What do you think of the contents of commercial theater? You have your own content plant in El Callejón.
JD: The crisis in commercial theater at the content level has been going on for a long time, before the pandemic. I believe that the risks that are assumed are of a different nature. Sometimes with the content, sometimes with the cast, you choose which risks to take. There is a widespread disorientation and lack of risks. It has happened that a producer proposes risky material and wants to secure convening figures, but those figures are afraid of the work and do not want to do it. Or if a top actor falls in love with a material, it will definitely be done. The issue is when you take risks on all fronts. Today Tennessee Williams is risky but if Lali Esposito plays Laura, Rodrigo de la Serna plays Tom and Marilú Marini plays the mother, I don’t think there is a lack of producers ready to do it.
Source From: Ambito
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