“I’m scared of the person who says they can’t keep anything to themselves, who preaches and revels in telling the truth. I prefer someone who doesn’t have things so clear.” says Gonzalo Heredia, protagonist with Elenora Wexler, Lautaro Delgado Tymruk and Alexia Moyano of “The lie”, of Florian Zeller, which returns to the Astros theater on Friday, directed by Nelson Valente.
The work that was presented last year with a good response from the public asks about the fine line between truth and lies, questions whether absolute sincerity in relationships is advisable and if it is possible to have a relationship without lies. With performances from Friday to Sunday, this comedy shows that as you believe in the purity of love, you discover that most people do not want to hear the truth. We talk with Wexler and Heredia.
Journalist: How did the work grow throughout these months of performances?
Eleonora Wexler: We were discovering the complicity between us and with the audience, the humor, the most profound moments, we got to know each other better and we allowed ourselves to play. Comedy is a watch, precise and as we went through it we deepened the bonds and the game.
Gonzalo Heredia: You begin to delve deeper into the characters, into the dramatic arc of how they begin and how they end. I began to understand more how certain things mutate and deepen, but above all how the character becomes fragile, how it starts in a more superficial way and then that fragility appears. There is something about the comedy that happens with the viewer that has a tempo, a musicality, something dizzying and a construction as if it were music. One knows when there is a punchline and reinforces it so that it works better, a reaction that grows more to better reach the audience and when that culminating moment of the work arrives, the revelation, the way it was constructed from the beginning of the work is dismantled. The public ends up identifying with the work, which at the same time has its own identity.
Q.: In the play, the lie is not so bad and the truth is not as good as it is always preached?
GH: I was never entirely convinced that lies are so bad and the truth is so good, I believe that some of the lies are white and some of the truth is black, absolute lies and truth do not exist, they are a construction. There are points of view, different ways of approaching certain situations. They are stories and different ways of telling and seeing.
EW: Nothing is so bad or so good, everything depends on the eye with which you look at it and the need that one has. And the agreements. It didn’t change my ideas, it did change the character I play, what she believes and what she doesn’t, but when you read the text you begin to internalize that it doesn’t exactly have to do with the truth or lies but rather how these characters stand in front of to life, what they want to build and how.
Q: To care for and build relationships, is a white lie worth it?
EW: It is not a white lie, it is omitting certain things, which the other person is not interested in knowing, for example, an opinion about what their editor friend writes, if they are not asked for an opinion, why say what one thinks? Omitting is not lying.
GH: In the different relationships there are always white lies, with our children, with friends, that one prefers to omit so as not to hurt or expose. There are ways to say and not say.
Q: What links are counted? What topics are addressed?
EW: Work, friends and relationship ties.
GH: And the bond with oneself, one chooses how much one can lie to oneself and believe it, and how much one tells the truth. How honest one is with oneself.
Q: How do you see theater and culture?
EW: This season has just started, we have to wait, the last one, despite the crisis, was good, there were a huge number of shows. I see culture defunded, emptied, going through a bad time.
Source: Ambito
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