Runa by Lali Ayguadé, or how to make an anthology about sharing intimacy with a loved one

2023-06-27 23:42:46

Lali Ayguade and Lisard Tranis They have represented us a piece as beautiful as it is enigmatic. In which the mere fact of being alive is already a “poetic act”, which can only be expressed but not fully understood. Thus, these professionals savored those things that are shaping us, while we realize that life is always within a “us”.

For this, these Catalan professionals showed us how the memories that have gradually constituted us as individuals who need to give and receive affection are being sedimented, building spaces that revitalize us and confirm the value of life. Along the way there will be comings and goings, however, they could be understood as a context in which to get to know those who accompany us, and consequently, ourselves. Do we really know that person who has accompanied us throughout our lives, or have we only shared more or less similar scenarios with the same person? Is saying goodbye to it or letting it go, is it comparable to affirming that we have died a little more? How to distinguish codependency from complementing others? These types of questions implicitly open Speech without pretending to answer them, since it is a work that works by “vignettes” in which introducing dialogues would be redundant, or failing that, it would close the possibility that each of us who integrate the public, put the words in their characters as a mechanism to make this work something of our own, a catalyst to understand ourselves themselves.

Photo: Lolo Vasco

The generosity of these two professionals rests on representing us scenes where there was no way not to want to be part of his family, at the same time that we were restoring our faith in the human being, without this taking away all the wounds that we have without healing, or even keeping in mind the moments that we have not yet been able to redeem ourselves. I suppose that what it is about is acquiring enough maturity to accept that this life is not to be treated as an object of consumption, but rather, as an ephemeral transit that dwindles day by day. So, like these professionals, let’s “dance” it from a lightness that spirals everywhere, a metaphor that from anywhere our feet land we have access to all places in the universe, and we can also love all the people. humanity loving our relatives. If the present is the only habitable time frame (the past already was, the future is not yet) and on top of that, things are redirectable to the extent that we recognize ourselves as potential creators of realities and ways of understanding them. It was enough to stop at the moments in which the characters of Speech They reflected through their dances what was happening in their respective internal forums, or when they consummated something that reinforced their bond by dancing holding hands or during a choreography that they performed in unison, a sign that achieving complicity with our relatives is comforting.

Photo: Lolo Vasco

As far as the staging is concerned, I thought it was a complete success that the lighting design of Conchita Pons was at the service of representing the passing of the days, of the years…, in a room where their characters lived together and developed. Along the same lines, the musical composition of Miguel Marin Pavon it made something universalizable, things that happened in the intimacy of these two characters, at the same time that it merged with everything that was arranged on stage. That is to say: once again the music of this Andalusian professional is presented as an essential element for the materialization of the dramaturgy of the piece in question, not a mere accompaniment for the performers to “show off”.