“The boxer in decline is a beaten being but does not fall, reflecting what we are living. We receive a blow after another and we think we have one more chance of resisting. There is a parallelism of how society is today,” says Maxi Rophranoauthor and director of “Cake”, A free adaptation of the story “Black Ortega” of Abelardo Castillo, that occurs on Fridays at 22 in Callejón Espacio.
The work combines performance, live music and boxing choreography to tell a story of a boxer on the edge of retirement.
Has the participation of Agustín Monzóngrandson of the mythical Carlos Monzónand performances of Leandro Orellano Like Jacinto “El Negro” Ortega, Fabián Petroni, Federico Milman, Santiago Maurig and Lorenzo Martelli. We talked with Rofano
Journalist: When did you read this story by Abelardo Castillo and how did this adaptation to the theater arose?
Maxi Rofano: I read this story in my adolescence, at school they gave you books of a certain literary structure, I was not very comfortable by reading them until I found this in “The silver candlestick and other stories”, from Castillo. With that book I fell in love with reading for pleasure rather than for obligation. I always liked football and this story questioned me. This text moved me for the end of the EMAD had to choose a story and take it on stage. There was a lot of dramaturgical work and then I started with the setting. I liked the idea of putting two on stage, the beauty of pugilism and parallel between the actor and the boxer.
Q.: There are many works of boxers in decline, what do you attribute it to?
MR: It is accompanied by a certain social phenomenon, on the one hand, there are many places to train boxing, which is a fun and complete training, putting on the gloves and hitting a bag, many people do it to exercise with something that is not boring. Bosse are in the air. And a long time ago the influencers and youtubers revive this sport and make evenings where they start fighting different celebrities and train for a year, then go up to ring and boxean. Boxing recovered the popularity that I had long ago, in a new way, not so much professional but from another side. There are very good boxers today but there is a revival of boxing at the popular level from the influencers. At theatrical level, the boxer in decline is a beaten being but does not fall, reflecting what we are living. We received a blow after another and we think we have one more chance to resist. There is a parallelism of how society is today. In general they were monologues that are linked to the inner world of the boxer generating beautiful contrasts, they are tender and well -achieved works.
Q.: They put together a putography with boxing and movement, how did they work it and how do the public see?
MR: There is a fight that brings together the work, the actors trained a year to be able to do it, when they dominated the technique they went to an instance of choreography that is taken within what the story is. There are details of the fight as they are told in the story, let’s get what Castillo imagined to the movements. There are rigid moments where it runs from the feet and then free moments where they glove, there is real boxing. The assistant is a boxer and has the eye set there so that the choreography does not rise. The public attends a summary of a fight beyond the story taken to the theater. It has a texture of the 60s but with modern ingredients of these times.
Q.: What topics appear in the work?
MR: If doing things for money or honor, that duality is above the work. If you will win in a fight offered at Luna Park or go for everything and try to win beyond losing the money bag. The dramas of high competition appear, which is the sport in general because one sees the athletes of Elite and Millionaires but behind are all those people who tried and did not arrive. The dichotomy of fulfilling a dream appears in exchange for betraying values and how beliefs are put in pursuit in pursuit of money. Today we talk about silver all the time and they say that not everything is money.
Q.: How do you see the theater today?
MR: I highlight the hug to the INT, attacked and to which the situation of the institute is sought. I see it capricious the attack on culture, I see artists trying to do the works despite everything, that is moving. There are many stories that, no matter how much artists and theater spaces try to silence the stop. It is very brave from the Argentine Theater to continue sustaining the activity. There are very good works, very high, we are in a privileged place and it is a pride to be part of this sector.
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.
