The work created by the great Gabriel Chame Buendía premiered last year in the Regio with CTBA production and continues this year in the polythame. The creator continues to explore Shakespeare from physical theater, with a precise language where the playful veracity is more important. Chame Buendía tries not to leave his work as Clown, does not destroy the work but translates it, tries to respect Shakespeare’s history and poetic images. The language then becomes hilarious actions thanks to the talented interpreters, who play the game proposed by the orchestra director. There are gags and visual entertainment, where the image and sound converge, with a rare, dark story, very politicians now that in turn is pure comedy. There is imaginative freedom and visual pleasure, with a precise chalimen and gags language. “Measure by measure” is a period of maturity in Shakespeare, where he returns to comedy but bitter and sinister, with laughter as a grimace. Today at 8:00 p.m.
This unipersonal about a woman who discovers a gift to cure patients and that addresses the universe of traditional science and medicine in a public hospital in the conurbano, won the Trinidad Guevara prize to female revelation. Peralta He plays many characters in a story of eroticism, science fiction and mystery.
The character is unique, a very particular woman in her way of speaking, of thinking about the world, of communicating. It combines two worlds combining a very marginal and earthly personal situation and another magical or fantasy and science fiction, which begins to live. In the metropolitan, at 20.30.
The sound
The work of Javier Daulte It addresses issues such as the vericuetos of the psyche that lead to madness, loneliness, life pressed by belief, faith, truth, post -truth and family ties that as a pendulum retain or destroy. Maternal and paternal figures determine and cross the characters, in coexistence with spectral presences, are they wrong or the wrong ones are the others?
Terrible mothers and absent fathers condemn these creatures to a contingency difficult to transform. In “the sound” a Norwegian swears containing in a briefcase all the words of the history of humanity, according to him, the truth. Soon a candidate for some political position guesses her potential and becomes obsessed with that little value, while the Norwegian ensures that there is an acute influence of those sounds in Berta’s house, the young woman who listens to her dead mother’s voice because little was what could hear her when she was alive. Science underlies the service of power and ambition to dominate the world.
Daulte Play with the misunderstanding in its multiple versions and provide hilarious scenes. In the climax it is revealed how that story of three brothers was really with that depressive mother, that abandoned father, and therefore the youngest daughter raised by her brothers who clings to the maternal voice inaudible to others and decisive for her existence. Humor abounds and a minimalist setting with predominance of sounds from the outside that build the inside and absolute talent of their interpreters: Lu Grasso, William Prociuk, Paula Manzone, Silvina Katz, Marcelo Pozzi, Agustín Meneses, María Villa, Ramiro Delgado. In Callejón Espacio, at 20.
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Parliament
The latest collective creation of “lava skin” makes theater and politics converge with humor, ingenuity and mordacity. The group called by the names of its members, Pilar Gamboa, Elisa Carricajo, Laura Paredes and Valeria Correa, He consecrated with “Oil”, where they embodied four men in an oil site in Patagonia, and now redoubles the bet with “Parliament”, Printing to this political debate that meets from the hereafter all the theatricality of which they are capable.
From gestures to build these intergalactic congressmen, to the use and metamorphosis of sound with a musician in situZypce, That acts as DJ, adds sound effects with his voice and offers moments of lyrical singer who confirm his talent, the great richness of “Parliament” lies in an approach to the despoting and distressing policy. Riquísimos hilvanados characters handmade from detail.
It all started when they were summoned to create and the result is a performative and sound investigation on contemporary political discourses. Thus, the work puts the magnifying glass in the debates in Congress although they were inspired by speeches of European parliaments, however, there are two policies that come from Europe, Gamboa of Spain (president of this Parliament that tries to discipline an insubordinate court), Carricajo from Italy (oscillates between moderation and private property) and two from America, Belt from Brazil (its motto is self -perceived capable of carrying weapons to defend against criminals) and Walls of Venezuela (it is claimed as a worker with what became a millionaire).
The intergalactic is imposed when the earth is burning, with a session at some point in the Milky Way, governed by protocols and bureaucracies of all caliber. The staging of the so -called parliamentary “debate” that is nothing more than one against another, offensive gestures towards adversaries, such as superheroes and villains, in permanent counterattack that involves personal scams to hurt instead of discussing ideas.
Distopia is used as a shortcut to be able to talk about today, that future not so far, feared, acetic, cold, imprisoned of its logics, governed by the artificial intelligence that enables transmutation, being as a hologram, a death that is never definitive.
With echoes of “Black Mirror”, “Handmaid such”, But also with that plasticity to Buster Keaton either Chaplinmimicry wins and says more than words. Words that in the mouths of these huge interpreters are hilarious, with permanent game with the language, with the noise of the signifier that predominates about the meaning, the stunning generated by those inconducent debates, dozens of empty, superficial, frivolous discussions sometimes. The tendency to go through the branches.
“Parliament” It gets more with the bodies in politics than with politics, as containers that seem to collapse and age early in that daily becoming of manipulation, weave and handle proposed by political animality. More questions are sown than answers around the fragility of creatures, the finitude of the body and the world, that these four congressmen move from the hereafter with threads, such as puppeteers to their puppets. In the Picadero, at 20.
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Rerveso
The work of Matías Feldman It goes for its second season and investigates metoverso, where there can be museums, virtual works for sale, you can go to music recitals that are only there, there is work, house and couples. With actions of Carla Peterson, Marco Antonio Caponi, Nicolas García Hume, Diego Cremonesi, Emilia Claudeville and Juan isola, The work revolves around a generation that lives in metaverso and works because it is similar to non -virtual reality.
“Reverse” He wonders if all that is true through a network of scenes in loop but reversed, as offering different alternatives to a reality, or building infinite alternatives of a truth. Unpublished, pain, transocralized and informed reality support these characters that are nothing more than avatars put into operation within metovers, that escape and escape towards some other part. It is a deep, absurd work, to laugh until we cry with Augustia, perhaps not for all and especially indicated to inquire about the New World or for those very accustomed to technological games. In the square, at 20.
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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.
