“’Salvajada’ apparently addresses bullying and discrimination, but its infinite layers, like those of an onion, refer to many other themes such as identity and power,” says Pablo Mariuzzi, who won the ACE gold for “Savagery”, of Mauricio Kartun, and travels to Spain in February with the cast of “The great illusion”, directed by Luis Pasqual, which was presented this season at the San Martín Theater.
The work of Kartun part of a story Horacio Quiroga and debuted at the Cervantes under the direction of Luis Rivera Lopez. She was awarded several awards and applauded by the public. We talk with Mariuzzi.
Journalist: What is it about “Salvajada” that was the work of the year and crowned you with the gold ACE?
Pablo Mariuzzi: It is one of those imperishable stories, Cervantes offered it to Luis Rivera Lopez, who amalgamated scenic languages, puppets, manipulation, musical theater, choreography ingredients, many songs, scenic condiments, it is not just traditional theater. From the premiere he had great empathy with the audience because he has the enormous virtue of dialogue, and he does not do it from an intellectual place, that comes later. It is an honest question that has to do with theater, things happened, the audience entered into a catharsis with what they were seeing. You could identify with what was happening on stage, many of those moments had to do with humor, which helps us digest reality. Great poetry does not obey only the language of the word but also the visual, sound, and physical aspects. The level of production achieved would not have been possible without the Cervantes.
Q.: What are the themes of the work and what makes it so unique and unique?
P.M: Classics in theater have the uniqueness of unfolding themes as the action and story progress. Like the layers of an onion, there are levels of depth and conflict. “Salvajada” is no exception. One could say that the theme is bullying, discrimination, which is related to the little story of the story, but as one does it and works with the material, one notices that other themes are unfolding, it is good to dive in as a team. creative, as an interpreter, because Salvajada addresses identity, need and the right to know who one is in order to be in a state of plenitude. There is another that has to do with the mechanisms that society puts into operation to be able to accept and digest what is different and goes beyond the canons of normality. The character played by Carlos Belloso, the circus tamer and who appears as the school director, needs or invents the role of the one who brings order. And since he cannot do it, he leaves it to the chance of the simple people of the town who do not have the tools to be able to do it.
Q: What is it like putting the body into Kartun’s dramaturgy?
P.M: He is one of our great authors, a great master of the national stage who knows how to put together dramatic situations well in terms of theatrical action. He has his own personal style, beautiful poetry, a very particular way of connecting with the word, from a semantic point of view, which always implies a challenge for the actor. Although the action progresses, there is a pause in each of the phrases, the construction of the speech, where the word is fundamental. It is a divine journey for the actor to travel, difficult, loving, one feels embraced and sustained by those words. He feels it as his own, although that feeling of ownership has to do with very deep work.
Q.: “The Great Illusion” is another great text about theater, fiction, dreams and reality, what can you say about that experience?
P.M: It is an enormous privilege to travel to Madrid with the play, to the El Canal theater. It is directed by the Spanish Luis Pascual but with an Argentine imprint, the entire team is from here with production from San Martin. He ends his season in Madrid after four and a half months in Buenos Aires. It is a great text written in the post-war period, in ’48, it has an Italian, Neapolitan profile, with a very powerful Italian neorealism, which seemed close to our Argentinian identity. Pascual is a director with a great sense of theatricality, knowledgeable about rhythm, the word in theater, neat at directing and leaving room for the actor’s work. It was a huge challenge because my character has a great dramatic arc. An identification occurred, I wanted to tell that story. I try as much as possible to choose those things that I do in the sense that I am interested in telling and that sticks to me, and this happened. It speaks of how much need we human beings have to be able to invent and generate illusions that allow us to continue living. It is not clear what is fiction and what is real. It has enormous validity in terms of complicated moments of humanity.
Q: How do you see theater and culture?
P.M: Theater is alive and is still done as in Greece 2,500 years ago. As long as there is a spectator and an actor, it will occur. Theater reminds us of our humanity. I see the theater as moving, vital, asking questions, anticipating our time, I see it as that parenthesis that human beings have invented for non-time, I see it as a means of communication. It is a collective event, a community meeting. Indispensable. I see culture beaten, defunded, manipulated, there are many factors that seek to make us believe that it is not necessary, but there are antibodies that should commit us to continue doing things.
Source: Ambito
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