“In this work I think that the novelty is that the nose voice is one of those women who have not had much voice on stage, lives in the middle of the field,” account Belén Blanco, who plays Marta in “Clandestine”, written and directed by Natalia Villamil. The work premiered in San Martín last year and replenishes tomorrow in Callejón Espacio, with functions on Fridays at 20.
This solendonal revolves around the history of Marten, Who speaks, whisper, canteen, seeking to compose his body and remembering with detail that episode of abortion after a violation that left his life started in two. It was a decision on the margins, hidden and silent. With a mute witness: the field.
The work has original music from Guadalupe Otheguy, who also plays on stage; The scenography is from Rodrigo González Garrillothe lighting of Matías Sendón and the costumes of Paola Delgado. We talked with White.
Journalist: What is the work?
Belén Blanco: The work tells a clandestine abortion that Marta became, helped by her sister in a situation of clandestinity. A typical case of helplessness, and I do not speak of a helplessness to link but of a helplessness by the State, the institutions and also for much of the society.
Q.: The trend of women is installed in the center of the scene, there are several unipersonal such as “Alma Mahler”, “Wonderful things”, “Human Animal”. What do you attribute it and how is the challenge of being alone on stage?
BB: Well, maybe it’s time to change points of view or a social need to look at other realities. In the case of “clandestine” I think that the novelty is that the nose voice is one of those women who have not had a lot of voice on stage, lives in the middle of the field, I mean, it is a federal story, of a woman in the province.
Q.: How was the season at San Martin and how is it now in the Independent in terms of production?
BB: It was very good and we were able to firm the work in full, with many functions in a row and that somehow dynamizes and makes the work grow quickly. Now is the time to make it circular, take the work outside, to other theaters, other neighborhoods, other cities.
Q.: How do you see theater and culture?
BB: Cultural policies are being bad, it enters that concept that culture must give back something monetary to the State, and that idea seems impoverusing. Culture is not to generate money but knowledge, experiences, experiences. It is, as is known, the oxygen of the peoples.
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.
