Leandro Calderone and his Shakesperian life scenes

“I became a Shakespeare detective and I find many series taken by that Shakesperian tradition, for example, ´House of Cards´ or ´Succession´, among many others,” says Leandro Calderonewho works twenty years ago as a series screenwriter and returns to the theater with a work of his authorship and direction. “This is my Shakespeare” It opens Wednesday at the Guevara shed at 20.30 with performances of Adriana Ferrer, José Frezzini, Karina Hernández, Ariel Mele, Andrés Passeri and Payuca.

At 14 years Calderone a book of Shakespeareand although he read it obsessively, he could not understand a word. Jast who lived situations in which he discovered amazing contact points between his life and some comedies and tragedies of Shakespeare. The author summoned a group of actors to help him recreate those stories in which his life is intertwined with the work of the British playwright. We talked with Calderone.

Journalist: How did Shakespeare surprised at age 14 and how do you see it today?

Leo Calderone: I approached Shakespeare as something I had to read and know that I was interested in art, theater and wanted to be an actor. It was indecipherable, especially those translations to the Castizo, very old and very searching. There was something to access that seemed another language. But when I could enter that logic, in that tempo and that complex language structure, a world that fascinated me was deployed. There is something of the worlds that creates in the 5 acts of each work that captivated me. In my adolescence I had already read the complete works, there was a lot of fascination. Today I still see everything that appears related to Shakespeare but what impacts me most are reissues, finding this author in other stories. Everything theatrical and cinema related to this author I see it, not everything interests me, I like it when there is rupture in forms but they support the content. Shakespeare is classic because it is unchanged in time but not in forms. I saw the film shot in Pandemia with British unemployed actors where they were playing on a network, it was a network Hamlet in the confinement.

Q.:What are those issues of the everyday in which Shakespeare is without us knowing it?

LC: There are three large groups of works, historical, comedies and tragedies. In the historical ones there is everything related to political thread, there is nothing new today that is not in Shakespeare, alliances, features that turn around, as power is built or destroyed, what does a king or president, all political philosophy is in his historical works. He recreates the most popular stories of England’s reigns and talks about these issues. The dimension of tragedy and comedy, this author has described human nature with an unusual truth for the time, tended to the Romanization of the human being, to raise their values ​​to a superior category and Shakespeare says “humans are this.” That forcefulness that has the miseries of humanity is unique. Something that crosses his entire work is the mediated desire for what the other wants. It transforms into envy of what you want, has or wants the other. Everything is in Shakespeare, almost like an oracle for me.

Q.: Is Shakespeare overvalued? Sacralized? How does the general public access?

LC: It is not overvalued, today it is not so present in the curricula, as boys we had some Shakespeare at school. He is a bit sacralized and all that is half dead. But annually there are many companies that do some Shakespeare, did not die because it always challenges artists and spectators. The general public may not see a setting from Ricardo III to San Martín, although they never lack public, but access otherwise. The Shakespearian construction of some series, such as House of Cards, armed from Otelo, Macbeth and Ricardo III. Succession raises a King Lear who at the last moment decides not to distribute his legacy and there the children face the father.

Q.: How did you work on?

LC: It was almost laboratory with the idea of ​​revising Shakespeare’s works that impact me the most and look for brief adaptations of different works. In the course of essays and work with the actors I found another work within the work and I wanted to tell something more personal, a hybrid between an adaptation of Shakespeare works and a bioava. With my obsession with that reading and understanding the dimension when I lived those things in my own flesh. What happened to me allowed me to understand the depth of Shakespeare’s work. The setting is a space that is like my space for study and work, I speak of my construction as a writer crossed by Shakespeare’s work. There is a desk, the library that begins to deploy in different worlds. The setting is a recreation of those Shakesperian moments of my life.

Q.: What is it like to do the audiovisual?

LC: My training is theatrical, acting, dramaturgical, the last 20 years I was taken as a screenwriter. Now I have more time and reconnect a few years ago, I needed to return to that primary vocation and it is a major challenge to make a series. Here I can find something more unique and proper, to investigate, I can afford the search. In the audiovisual more results are expected than search. I am interested in getting out of the lonely that is writing TV to meet the actors and the theater company.