2023-07-16 20:55:23
I am not the first to say that everything we have consumed conditions us. Including, of course, the companies we have surrounded ourselves with, the places we have frequented with their respective environments, and so on. That is to say: we are, among other things, a solution from how we deal with what we have encountered along the way, and how we have digested and organized it within ourselves.
Which brings me back to the scenes where the relationship between the characters they played Rocío Molina and El Niño de Elche They gradually opted towards a context in which the character of Rocío Molina stopped “feeling safe”, with the certainties that made her believe that she had no room to be or react in a different way. Yes, I am referring to the first scenes of this creation in which it seemed that everything was a dream, in which these characters were “programmed” and followed certain inertias, in which thinking and remembering what they had experienced up to that moment, it deserved to be streamlined so that everything is neatly tied up and in its place.
Photo: José Antonio de Lamadrid
However, the character of Rocío Molina ended “throwing off a cliff” in which it was not possible to distinguish what was in the background and how high it was. Something like the certainty about what could happen no longer worked as the fuel with which to continue fleeing forward, passively waiting for everything to change. But no, Rocío Molina’s character had the courage to redirect her survival instinct, towards a direction that surely nothing will be like before.
Photo: José Antonio de Lamadrid
Let’s not fool ourselves, no one is victorious first before such undertakings, and there will be no shortage of those who feel they have the right to “claim their privileges” from those who do not respond “as planned”. Likewise, one will look clumsy and inexperienced, when assuming a role that has not been explored until now… The fact is that these two examples come to light as soon as one “incarnates” a performative transformation of the story that we will have carried with ourselves throughout our lives. Thus, the character of Rocío Molina “danced” it to its final consequences, tracing paths in the open air. So much so that she got to the point where whatever I went through needed it. Otherwise, said character would end up rotting inside, while she continued to be the “food” of the story to which she had been reporting.
Photo: José Antonio de Lamadrid
Regarding the staging of carnation, I would like to highlight the elegant links from scene to scene, which allowed us, the viewers, to let out a breath and not be in a hurry for the play to end; It also contributed to our understanding that it is not necessary to tell a story of an “initiatory journey” to convey the idea that even in our own daily life there are “fissures” in which we can reshape our own lives. On the other hand, the entrances and exits of the choir Renaissance Chapel, by violinist Maureen Choi and soprano Olalla Alemán strengthened the sound environment of this piece, which in several of its scenes, were carried out by The Child of Elchewho delighted viewers who did not know very well what Rocío Molina’s work is about (as creator, director and performer), but it was worth it to see her sing and act in a format that awaits greater visibility and reproduction .
Photo: José Antonio de Lamadrid
Without forgetting that the costume changes or the lighting design without outbursts, fostered intimate environments and the most festive and comical ones, almost without realizing it… These and many more things are what make carnation one of those works whose symbolism invites its viewers to feel that the work is addressed to each one of them. And although it is evident that this has not been the case, it does maintain a charge of mystery about what exactly these professionals were talking to us about. Honestly, it has been a real pleasure to enjoy carnationwhich by the way, has been done with such rigor, professionalism and ease on the part of each one of the professionals involved, that there is nothing left but to stand up and applaud.
The Itálica Festival opens with a reality that is impossible to ignore
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