“The public will identify with those adults on stage, but also with those young people who ever went, and that we had a professor who marked us a lot and had a wonderful way of teaching us something,” says Javier Daulte, who adapted and directs “Druk”, based on the Oscar winning film of Thomas Vinterberg, “Another round.”
Daulte He had seen the film in pandemia and was captivated, from there he wanted to take it to the theater for what was based on indications of his own Vinterberg To be taken from the big screen to the scene. He has an attractive trigger with a study on blood alcohol and derives on an exciting trip, with dramas, pain and a bright end.
It stars Pablo Echarri, Juan Gil Navarro, Osqui Guzmán and Carlos Portaluppi, and premieres in the Metropolitan on March 12. The scenery design is by Julieta Kompel and Gonzalo Córdoba Estévez; The lighting of Matías Sendon, Ana Markarian’s costumes and Verónica Pecollo’s movement. We talked with Daulte
Journalist: What captivated you about the movie?
Javier Daulte: There is such a clear approach, with a beautiful provocation, with respect to the politically incorrect and how fun to think about this theory that the human being is born with 0.5% of alcohol in blood of less and that to function normal we should incorporate that percentage. It is a trigger that makes the viewer want to continue watching that good film by Vinterberg.
Q.: What adaptations did you do to take it from theater to the theater?
JD: I worked a lot the adaptation from a text by Vinterberg himself to pass it to the theater that I believe had a version in a room. The basis of adaptation is to keep those four teachers of the school and take the public as the students. There are some space condensations but houses and school are traveled.
Q.: The links between these men and the dreaded 50 crisis, how are these characters?
JD: One of the characters affects the empty nest, another has the nest too full, another never had it, they are different vital moments despite the fact that everyone is going through the same crisis as 50. In any fiction the link between the characters matters and here is the link between them, with the students, which are very important for them because they work by vocation and care about the new generations. On the other hand there are the links of the characters with their solitudes, couples, women and the conflict that entails.
Q.: What did you propose to the actors when starting the essays and how did the work grow?
JD: I always ask you to learn the text and start by putting the body. We do not stop at table or reading work but one understands to the extent that it stands and the 3D of the theater appears. To discover the link between these men, if they could say what happens to them, open, they would not be needing alcohol, that works to stimulate things or cover those that want to cover.
Q.: What can the work of the work expect?
JD: That supposed study derives in an exciting, dramatic, painful, risky experience, gets heavy, and costs are paid, some very high. The public will find a human history, with everything that has fun, pathetic, which can identify us with certain pains, with lost hopes. There are two moments that go in that sense, the character that Portaluppi says that perhaps those who have already expired and we have to be attentive to new values and know how to listen to the new generations, which is not easy. It is a very key and revealing text. And another one that says the character of Osqui, “the students when they go out through that door are forgotten from one forever,” the teacher who gave everything, did what he could to take his students forward and will be forgotten.
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.
