“The ugliness of Ricardo III described by Shakespeare is the way of equating the ugly with the bad. Today that idea is naive, when there is nothing more beautiful than evil. We see it daily on social networks: everything is cynicism, ostentation of beauty, manipulation of beauty, power, of the aesthetic, of what is made up so that it looks like beautiful. There is a malevolent manipulation ”, says Joaquín Furriel around “The true story of Ricardo III”, Free Spanish version Calixto Bieito and Adrià Reixach About the work of William Shakespearewith translation of Lautaro Vilo and General Directorate of Bieito.
Furriel I had already worked with the director in “Life is a dream” of Calderónreleased in San Martín in 2010 and in this work will be accompanied by a notable cast composed of Luis Ziembrowski, Ingrid Pelicori, Belén Blanco, María Figueras, Marcos Montes, Luciano Suardi, Iván Moschner, Luis “Luisón” Herrera and Silvina Sabater.
It opens on Friday 27 in the Martín Coronado Room of the San Martín Theater with a montage that starts from a real event: the discovery in 2012, in a Leicester parking beach, of the remains of Ricardo III, which ended a 500 -year mystery on where the body of the last English king deceased in battle rested.
“Thus our history begins: a dissection, not only of the turbulent but brief reign of Ricardo, but also of human evil that, consciously or unconsciously, is part of our biological and psychological nature,” The director affirms about his version of a king portrayed by Shakespeare as “Deform and Machiavellian, tyrant and bloodthirsty, which reminds us that evil is part of our daily life. That evil is inherent in human DNA, that evil and goodness nest in the heart of man.”
Difficult to recognize without your beard of years, Furriel He shaved since “Between beard and hair appears a romantic and weak figure for my character”. We talked the actor at San Martín, who at the end of the year premieres a Hernán Godfrid next to Diego Peretti, On September 19, the new series of creators of “The Money Heist” Already end of the year presents the Spanish film “Backfire”. Until the end of September they offer functions in the CTBA and then they go with the work to Spain and Bilbao, while here there will be works from Spain.
Journalist: What is this classic to present after others such as “King Lear”, “Life is a dream” or “Summer night dream”?
Joaquín Furriel: A repertoire of works was assembled, with actors who pass through different classics. In this room I said the monologue of Segismund of “Life is a dream”, “being or not” of “Hamlet”, now “My Kingdom for a horse.” Every time I meet a work like this I can do a field job that I am passionate about, I don’t know how much you will see on stage but I enjoy the books I read to address Calixto’s idea about the work, which is about evil. Our species has the gene of evil, man is born bad. The original text shows the person who wants to do something and nothing opposes him, he has no conflict and manages to carry it out. And what he decides to do is beastly, is to kill many people to stay in power.
Q.: How is this opportunity to return to work with the Spanish director?
JF: It is the director with whom I made Calderón de la Barca, we have a bond, leisurely but strong to accept this work and get excited. It is not easy to get a director to come at its best, because although Buenos Aires has a lot of recognition, economically it does not compete with the Paris Opera. So I value a lot to work with us, I think it also does it for the love he has for the Argentine interpreters.
Q.: How is Calixto’s version, in which all dresses appear as forensics?
JF: It is a contemporary setting, it is a version to talk about evil, with shocking moments, because he is a director of primitive, powerful and beautiful drives. The work has a lot of violence and sarcastic humor. In the original work, Ricardo starts the monologue saying everything he is going to do and concrete. In this version we will see what the power decomposes, the loneliness that the mental decomposition, the megalomania and the situation of believing magnanimous to take everything put. There is a single possible and tragic ending.
Q.: What else can you say about this work by Shakespeare and how does this version approach it?
JF: Today the original version, in my opinion, would end up being a farce. This is not one of Shakespeare’s best works, yes in terms of Plot but he has no magnificent texts such as “Hamlet”, “King Lear” or “The Tempest.” It is a historical work, of the last, they say it is the prelude to “Hamlet”. The interesting thing is the idea that Shakes writes in the high Middle Ages while in 2013 they found the body of Ricardo III by the Ricardians, a group that seeks to claim it because it is not recognized as a king but as a usurper of the throne. They managed to find the body, they saw that he had scoliosis, not that he was humpback as Shakespeare wrote.
Q.: What other issues appear in the work?
JF: In addition to evil or power, there are filial relations, those families that occur with each other. The public will have a good time because this Shakespeare is not a story of kings nothing more, there are links. Calixto did not want 20 actors, I wanted 10 solo actors, who can sustain a work, everyone could be Ricardo III. That cast is part of the proposal, it is one of the most powerful with which I worked, they are actors and actresses with a lot of journey and commitment to the theater, they are directors and teachers.
Q.: How do you see theater and culture?
JF: We live a moment of deep change to how we understood things, this is the prologue of an epilogue. It is a good time to rethink and see how we can improve and enhance cultural institutions. In all historical moments that there were attacks against culture, union was generated. I value a healthy state, one could not talk about how to do the institutions work better. The State has been transformed with different governments, you have to say things as they are, the destruction of that is so easy because there is much of the population that is fed up. Culture is dynamic and contributes to the creation of the identity of a people. As the first factor, there was no TV, a great vacuum that generated sadness since it is a large training space and direct closeness with the spectators.
Q.: You formed with the TV open and that bond was generated with the public, does that now happen?
JF: In Spain or Brazil that ritual is maintained but here not because it is a business and given the precariousness that is seen in all areas, you turn on TV and it is seen that the budgets of another era are not. There is an aesthetic on TV that speaks of a country that came to pique. On the other hand, adult cinema is very difficult in Salas, so that the theater is again the support space for many people who lived from other industries that stopped. The generation of Lali Espósito and Peter Lanzani is probably the last of that link with the spectators and TV actors. On the contrary, music was transformed and revalued. Fito with series, Paco Amoroso, Lali, Maria Becerra, Milo J, Duki, the music is reaching many people, a space we reached with fictions, and now it is reached by platforms, but those who star in are those who were popular in TV at another time.
Q.: Platforms have even less arrival than open TV or radio ..
JF: In addition, who sees TV in Spain or Brazil does so simultaneously, all seeing the same, and to have access to streaming you have to have a credit and internet card. Streaming has a limit, it does not arrive, and much of this audience that saw us on TV comes to San Martín because there are tickets from 7500 pesos and many promotions.
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.
