Uruguayan drama debates finitude by treating death with beauty and humor

Uruguayan drama debates finitude by treating death with beauty and humor
Uruguayan drama debates finitude by treating death with beauty and humor

SPECIAL FOR THE STATE – Based in France, the Uruguayan playwright Sergio Blanco50 years old, develops a theater focused on autofiction, a genre that blurs boundaries between the real and the imaginary. One of his recent creations, Cuando Pases Sobre Mi Tumbawas the highlight of Mirada Festival, held in Santos. The show, written and directed by him, arrives in São Paulo, at Teatro Anchieta – Sesc Consolação, this Friday, 23rd, and Saturday, 24th, at 9pm, as part of the Mirada Extension project.

The actors Sebastián Serantes, Gustavo Saffores and Felipe Ipar lead an impactful reflection on finitude. In the plot, a writer named Sergio (Serantes) seeks a clinic in Switzerland to organize his own assisted suicide under the guidance of a doctor (Safores). Sergio’s last wish is that his body, after being buried, be violated by a young necrophiliac (Felipe Ipar).

The surprising narrative style, already known to the Brazilian public by the The Wrath of Narcissus and Thebes Land – directed here respectively by Yara de Novaes and Victor Garcia Peralta -, serves as the basis for a vigorous and modern staging. In several passages, it resembles a pop-rock show with the trio of actors singing and wielding guitars. A fine irony and an unexpectedly optimistic ending, however, disarm the viewer in the face of the heavy subject.

Cuando Pases Sobre Mi Tumba premiered in 2019 in Montevideo with the intention of celebrating death with beauty and humor. The feat has been achieved. For the author, it is time for people to face the issue as something inevitable. “I lost my mother three months ago and, of course, I am going through a complex phase, but I know that she has built a beautiful life and, at 80, it is natural for that to happen”, he says.

Controversy

The association of necrophilia with eroticism, however, caused controversy. For the playwright, there is a denial of desire in this case because people do not accept to see the idea in the obvious situations of everyday life. “There is an obsessive thought about the body of the dead and that is necrophilia, just look at the fascination around the funeral of Queen Elizabeth II or the fairy tale of Snow White, for whom the prince falls in love when he sees her sleeping”, exemplifies .

Blanco says that the covid pandemic It did not in any way influence his reading of the show. The health crisis served as an inspiration, however, for the following work, Covid-451, which was written in two months and premiered in July 2020 in Barcelona. The professional actors were spared to stage a doctor, a nurse, a social worker and a cleaning lady sharing stories in conference format. “We have to become aware of our weaknesses. The prospect of the end can give meaning to our trajectory and, for that, the pandemic should have served us”, says he, who also premiered the play in Milan zooabout a man’s love affair with a gorilla.

This detachment from reality is naturally faced by Blanco, who confesses to being interested in the suspension of facts since childhood. First, he fell in love with romance. Robinson Crusoein Daniel Defoe, and discovered the figure of Superman, getting excited by the shy Clark Kent’s transformation into a superhero. “I like things that are no longer what they are, that’s why autofiction is so seductive”, he justifies.

wanderer

Blanco says he is the son of a generation that dreamed of a world without borders and became a wanderer as a citizen and artist. At the age of 19, shortly after directing in Montevideo a version of Richard III, by Shakespeare, was awarded a scholarship that took him to Paris, where he lives to this day. He counts 37 projects around the world. One of them is the monologue Trafficdirected by Victor Garcia Peralta and starring Robson Torinni, which opens in Rio on November 3. Asked about what predominates in his autofictions – whether invention or memory – Blanco argues with a good explanation. “Lies are potentiated in my theater, but, after all, what is theater if not a world of lies, in which the artist pretends to be someone and the audience pretends to believe in it?”

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The article is in Portuguese

Tags: Uruguayan drama debates finitude treating death beauty humor

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