“The inhabitants”, a four -episodes miniseries on stage

“The inhabitants”, a four -episodes miniseries on stage

“We are very interested in the possibility of making the dead appear,” says Pedro Sedlinsky, Creator next to Joselo Bella of “The inhabitants”, that opens on Sunday. It is a play that was born as miniseries and was transformed into a pandemic to be seen on a stage told by an actor in four episodes.

Joselo Bella (actor) and Sellinsky (Author and director) The action passes in Madrid, Spain, in 1936, when three brothers owners of a bar frequented by artists, poets, militants and intellectuals are killed by Falangist soldiers.

The inhabitants is the story of these young people from Madrid and a Russian Jew killed. The violent death they have pierced has taken their lives as they have known it. In that passage, without knowing it, they have been endowed with a gift: they have the ability to inhabit the bodies of the living. And from there they will seek to twist the course of history. And save his friends Federico García Lorca, the actors of La Barraca, Carmen Luna, a feminist republican militant and Antonio Machado.

The first two episodes of this play in chapters can be seen from this Sunday, at 21, in Callejón Espacio, while in March the remaining two will be released. We talked with Pedro Sedlinsky, Author and director.

Q.: How did the idea of ​​a miniseries arise in four episodes that then led to the theater?

Pedro Sedlinsky: The inhabitants emerged as an audiovisual project. First it was a script for cinema, then a miniseries, then a project with several seasons. It was not done, he slept in a drawer, and in the pandemic the idea of ​​doing it in theater like a unipersonal arose.

Q.: What attracted them to these famous characters and why did they want to rescue the history of murders to artists? Do you feel validity and today?

PS: The inhabitants are a group of dead who can enter the bodies of the living. The concept is that when a collective murder happens, a massacre, some dead can enter the world of the living, to act, to face the murderers. We take killings at different times. It begins in 1903, in a pogrom in Russia and continues in 1936 during the Spanish Civil War. We were interested in taking these victims, Federico García Lorca, Carmen Luna, Antonio Machado, the persecuted, killed, exiled by fascism. We were interested in the poetic, social, political world that these characters had, and also the relationship with the progress of fascism in our country and other parts of the world.

Q.: They added magical realism with the inhabitants in other bodies to avenge the blood, who inspired them in terms of magical realism?

PS: It is inspired by the Japanese Noh Theater, where there is a contact between the dead and the living, by Shakespeare, as in Hamlet and Macbeth. Especially in Macbeth when dead bench, her murderer appears. Macbeth says, “There was a time when the brains jumped, the man died, and there ended everything. But now the dead rose with twenty head wounds and throw us from our seats. ”

Q.: What will the viewer find? Series in theater format? A story in chapters? A theatrical work style?

PS: The spectator will find an actor who counts a series. That makes him see the spaces, the characters, the tensions, the emotion. The inhabitants is an analog show, something rustic, urgent.

P.: How do you see theater and culture today?

PS: We see the theater and culture in redefinition. Crossed by pandemic and postpania, as social, economic and political. Extrem -right governments are not interested in culture, defining it, they attack dissident voices. At the moment we have to sharpen our tools and fight as in other areas so that they do not take away our rights.

Source: Ambito

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