“This is a show that despite the rawness achieves for the public to come out vibrant, is very punk and vital. That which happens on stage reflects us, we talk about what you cannot talk about, putting the axis in the desire of the actresses and public to break with those patriarchal schemes,” Chilean actress says Patricia Rivadeneira, who next to Alexandra von Hummel The fourth season of a version of a version of a version of a version of a version of a version of “King Kong Theory.”
“A woman full of vices” arises from the testimonies of Virginie Deans On his own violation at age 17, his decision to prostitute himself, his direction of pornographic films and more. The famous French wrote an autobiographical text that with self -confidence and intelligence revolutionized the intellectuality after its publication in 2006 had applauded versions in Argentina divided into monologues. The functions will be Saturday and Sunday. We talked with the actresses and managers of the project.
Patricia Rivadeneira: Facing this essay was to open a world to a text that marks a before and after. Giselle Pelicot would never have been able to do that judgment and not what happened to him if it were not for King Kong theory. Recall that in December last year a French court condemned 51 men for the violation of Pelicot for a decade. Dominique Pericot, her husband, received the maximum penalty of 20 years to drug her and facilitate abuse. In total they add 441 years in prison when fasteners wrote this essay there was no word femicide.
Alexandra von Hummel: The essay of the pungry is personal, she is a woman who speaks and refers to others. It took a long time to write it, process it. For the same reason we decided to put it in two bodies, two actresses, which somehow are the same: the one that is, the one that will be, and all the coming and going that implies, because one advances, it goes back, rises again, sometimes it is doubted, sometimes it is certain, so two actresses to put in the body those contradictions.
Q.: What is the body to put this text?
Pr: It is to enter the text because for all women it is personal, the author’s courage to put her experience in a concrete, stark, sincere mode. Surrender to that testimony that were 30 years looking for herself. The violation of disfigurement and constitutes, in addition, its experiences such as prostitution, the call that makes masculinities and patriarchal mandate are vital.
AVH: I believe in something that I call the intelligence of desire, from there I move, I never thought about what we should say, but how to stage what moved us when we read the essay. Sometimes we wondered how much we could emancipate from the original text, but finally the only way to be faithful to a text is to be faithful to the reading itself. When we read we cross what happens to us with our experiences, historical time, sensitivity, etc. And perhaps doing justice to such a personal essay is also daring to stage from the reading itself, always personal and that otherwise it is only a look among many possible.
Q.: How do Virgine Build, as it marked that traumatic fact in his life?
Pr: Virgine is all women. In research work very personal experiences appeared. I suffered two attempts of rape and more than once I had unseeled sexual relations. We build it by putting our own experiences by comparing them, reviving them, remembering them, making them appear.
Q.: There are several works, films, and series that advance in the internal conflict of those who doubt whether they gave the consent to a friend or partner of having a sexual relationship, what can they say about it?
Pr: I was pressed, forced, she did not want, it is a conflict that we all have to face but with men. There is a mandate to the names of being sexual predators, there is a precise cultural device that predestines women to enjoy the domination of the other and they are dominating males. It is in our culture and we continue to live it. My heterosexual son told me “there is something in women who like to be treated badly.” It is a device that requires being aborted.
Q.: How did the Chilean public take the work and how do you expect contact with the Argentine public, who already enjoyed this saga in Cervantes?
Pr: The adaptation we made is very different from that of Cervantes, which was with text in hand, read, a chapter was addressed per day. We seek to break those submission schemes that capitalism has imposed, with men at the service of war and women at the service of producing soldiers for war. People will laugh, vibrate, cry, the public howled in Chile a full room, there was always a resounding applause.
AVH: It was a vibrant experience, where humor fit, perhaps sad, perhaps rabid but also liberating, pain and contradiction.
Q.: What can you say about the theatrical scene in Chile?
Pr: The Chilean theater was born in universalities, different is the case of the Argentine theater that is more conceptual. Comedy was never our flag, there is little commercial theater, it is more political. The setting was always very valuable, we continue to advance on those paths, it is our seal, it is a scene that is alive. Something broke with respect to the seasons, there is a lot of replacement in billboards. With the advent of the digital culture that phagocite and wants quickly, the billboard is harmed because it does not give time to the works, mature, maceren. However, just as AI can replace the audiovisual, the ritual experience is enjoying.
AVH: It is stimulating, there are many people experiencing, seeking to stage what moves them and guided by desire before thinking about what the reception will be like. It could be thought that this means stop considering the public but it seems totally the opposite, because pretending to know what the reception will be some way to belittle the public who are complex people, therefore to the only audience we know is ourselves, and if one asked questions seriously, it is cornered, it enters those places that are full of contradiction and exposes them from a fiction, it will be able to establish a relationship with the public. I think that the more locals the works are, the more universal are, and by local I do not mean the territory but to the exposed body.
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.
