“While we do the work, we eat and take vermouth, we are very much of the method .. of mofar and suck. Everything we say at speed and in verse we do it with your mouth full, but we are very fierce, ” says Alejandra Flechner About the spawning “Tarascones”, That Sunday returns to El Picadero to appear on Sundays at tea time, 17.
Along with Paola Barrientos, Eugenia Guerty and Susana Pampín, They star in this black comedy directed by Ciro Zorzoli written by Gonzalo Demaría that bats public records with more than 400 thousand spectators and goes for more. The ladies of Philosan Languages are Zulma, Martita and Wake, that meet at the house of Raquel To have tea, chat and play cards. But an unexpected event will transform the meeting into a bonfire in which the guilty sorceress must be executed.
“The work talks about good people and their hypocrisies, prejudices, classisms, he gets a lot with contempt to a class that is not the high or semialta. With an amount of beliefs regarding what it means to have money, to think that there is a superiority of all kinds, moral, ethical, for being guitad. These friends do not hesitate to tear off the leather to fish markets between them if they consider it necessary ”, synthesizes Flechner, with whom we talked about the pleasure of doing this work.
Journalist: Why do you think “Tarascones” became the unbeatable classic it is?
Alejandra Flechner: It is a classic, it is a feast of theatricality, it is all that I and people can expect and wish from what the theatrical fact is. The spell generated by actresses in the public, that text in verse, the bodies that cannot move in a realistic way, the amount of things that happen on the stage simultaneously, the explosion of colors and textures in texts, movements and things They are said, they are politically incorrect, monstrous. All of that generates a kind of mirror of everything that until some moment in the country seemed that it could not be said. But in the times, we see these unfortunate characters circulate in the media and in governments. Until a moment things were said that seemed impossible to listen and should not be said, that is very celebrated by the public. Makes laughing from a very incisive and intelligent place.
Q.: How do they get the four protagonists to meet again every year?
AF: We do the work every year because we have a tremendous addiction to Tarascones. We love doing the work in a way that has no name, the level of satisfaction that produces it is unspeakable and then we always want to do it. We put with common agendas, functions of other works, filming, trips, festivals but we manage to agree although it is not so simple, but we look for it boldly. We believe that over the years at some point we will not have to make up so much because we will be those old, we will end up doing it in the geriatric eating blood and drinking spirits for tea from 5 in the afternoon.
Q.: What ingredients does this black comedy have between the talk, tea, police, crime and witch?
AF: The first ingredients are tea or vermouth, is characteristic of this work, and the blood and masses. This brutal humor shows certain hypocrisy, prejudices, homophobies and racisms in four women of good. And something becomes crazy. It begins as a living room comedy of having tea and goes elsewhere, you do not expect the work to take off but go to the horn. It enters a delusional area and is transported geographically.
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Q.: What topics does the work play? It goes from prejudices and paranoia to friendship
AF: These friends end up skinning in a bloody way. They do not hesitate to tear off the leather to fish market among them if they consider it necessary. There is something of the material that contains an area of cruelty for having some power and hiding the rags under the carpet. Hypocrisy, say one thing and do another, today is more in force than ever.
Q.: How does the public receive the metric of the verse?
AF: In theater you have to enter the convention, we all play, public and actors, to what happens is true. Part of that convention is that these people speak weird, fast, many things happen, the public has a very active task, it is demanded but it happens cute, it has to stop the ear until they have to get used to that way of speaking, not only In verse, but with songs. It is a language that mixes genres, very popular and scholarly, very interesting and scholarly, laughs all the time. His own laugh does not let hear what is coming, at the same time he shouts, contains and has to follow the speed as a laughter of laughter. It is a very good dynamic, the public does not end up being able to download and on the end, people are screaming in the tension that accumulates. Derail as in a roller mountain drop. It is a baroque work, with much to see, listen and assimilate, it is very stimulating, it is like a fun park.
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.
