Ruben Pires is director and co -author with Victor Winer of “God collects fallen angels”, a tragicomedy that occurs on Mondays in Itaca with performances by Guido d’Albo, Marito Falcón and Josefina Basaldua.
“This work speaks of great revenge, the desire, the strength of life and its unrepeatable value and wealth, the enjoyment of the senses, the impossibility of repentance of some people, the purity of feelings and love at first sight,” says Ruben Pires, Director and co -author with Victor Winer of “God collects fallen angels”, A tragicomedy that occurs on Mondays in Itaca. Has actions of Guido D’Albo, Marito Falcón and Josefina Basaldua.
In a forgotten corner of the Boca neighborhood, a former sick military and the ghost of a soldier meet to star in a delirious rebellion against God himself. The scenic device was conceived by Pires next to Alejandro Mateo; Lucio Bazzalo He designed the images; Nelida Bellomo The costumes, Roberto Traferri The original Iluination and Music Mariano Cossa. We talked with Pires.
Journalist: What was the original idea of Victor Winer and how did they resume it to write to two hands?
Rubén Pires: Victor passed me a first writing in 2021, when I read it, I was interested in the idea that proposed about the encounter between a former army captain and the ghost of a soldier, and then the woman’s character appeared. What attracted me the most was the title, since it allowed me to open questions about the place of God today, the place of power and the issue of guilt. At that time I stay there since the piece did not question me to direct it. After a year Victor proposed to resume the project but writing a new material based on the idea he had shared. I had already written in co-authorship with Nina cut a work called “The Visitor”, then with Manuel González Gil “The Romance of Rome and La Julieta”, also with him an adaptation of “Songs to look”, with Ricardo Halac “Luna Gitana”, which I already have an exercise of co-writing, I also made translations and adaptations of classical works of W. Shakespeare, J. Anoult, J. Anoult Puskin, L. Pirandello, A. Discepolo, Samuel Becket, which is in a way is to have from other voices, interpret and let them go through the materials.
Q.: How did the work grow in this rewriting?
RP: In this work I developed the female character giving him the job of dressmaker and that is Correntina, with more presence in the plot and turning it into the trigger for the conflict. I incorporated a universe that related the material to the Bible and a certain worldview of the good and evil that proposes the binary look of the Judeo -Christian reality, I found a different end and the character of the captain has a more metaphysical interpretation of human existence. I crossed the texts for a more Nietzscheana conception, if the qualification fits.
Q.: How did the work work grew on stage?
RP: We began to deconstruct each phrase and I met another universe that had not conceived in writing, together with the actors we created everything that proposed nonverbal language, which is the essence of the theater, what exists between two words, and it was from the playful, the setting is a succession of dramatic games that inhabit each of the six scenes that make up the body of the work.
Q.: How did artistic areas work?
RP: The setting is multimedia has projections during the time of the show, they are part of the landscape behind the house window and at other times they become protagonists of the story for the characters and for the spectators, it can be a theatrical comic that counts this code tragicomedy, the work takes place in 2025 but in a dystopian, analog universe, arrested in 1994.
Q.: How do you see the theater today?
RP: I perceive it as a place of belonging, where I feel my drive of life, poetics is my way of communicating my words and with words, it is the possibility of expressing itself in an infinite palette of possibilities, but in these moments of crisis creation is despised by the power of the day. This same contempt means that it becomes a political fact and is a place of resistance of the imagination, of the possibility of dreaming. It is not good to eliminate the place that the INT had achieved for the creators of the whole country, it fought a lot for that law in 1997, it is not understood which is the reason why it is eliminated.
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.
