2024-09-01 03:01:00
There are several questions that arise in the midst of humorous situations Tutoriala work by Eva Halac. Among other issues, the mystery of artistic creation and the dialogue between generations is present: What is a cultural asset, how is it produced? Can parents and children understand each other? How are sentimental issues resolved at different ages? Directed by the author herself together with Hernán Márquez, the work can be seen at the Teatro del Pueblo (Lavalle 3636) with the performances of Fernando Migueles, Natalia Giardinieri, Mora Monteleone and Nahuel Monasterio. The costume, set and lighting designs are by Gabriela Gerdelics, Micaela Sleigh and Lailén Álvarez, respectively.
In the work, a young artist is inspired by the instructions Noah received to build the ark that saved him from the flood. The Bible contains a tutorial that protects and helps, but in life it seems that “it is impossible to have a tutorial for issues that have to do with the emotional,” Halac and Márquez laugh in an interview with Page/12. The need to know whether one is proceeding well or badly is something that worries the characters in this work written with scraps of observations and good listening. Everything revolves around a middle-aged man who does not fully understand the new communication codes that young people use, nor how to end a love relationship or start a new conquest with women of his age. Perhaps what is expressed most, according to the author, is “the difference between the idea that one believes to hold and what one ends up doing.”
About the humorous register that it raises TutorialHalac maintains that the key is the approach of contrasts and counterpoints. In turn, Márquez observes that “contradiction is a tension that always generates a vital energy that is much more interesting than speaking from certainty.” In any case, the director warns that in her work “There is irony but no parody”“I don’t make fun of anyone, I don’t seek to judge or punish because I recognize myself in all the characters,” she says.
Another question that arises is the difference between an institutional and bureaucratic culture and the cultural project that develops on the margins. And in this context we find the young artist who does not enter into dialogue with a tradition that he does not know and the frustrated artist who could not achieve anything despite knowing the changes that took place in the field of representation. “Art is a mystery, a question mark,” reflects Halac and ventures: “perhaps it is in the tension between the changing form and the essential that always underlies it.”
-What do these characters have in common?
Hernán Márquez: – They never stop thinking about themselves. They are balancing what they believe to be correct behavior and feeling observed, as if there were some kind of audit of their daily actions.
Eva Halac: -They have prejudices about success, money, loneliness, the need to be in a relationship no matter what. They have the need to fulfill an image of happiness.
HM:- They love the image, having a selfie moment in their life. And they negotiate everything to get it.
-How is the distance between generations expressed?
EH:-The generational aspect has to do with the way we look at things, with the images we carry around, with the ways we understand love, freedom, art, communication. The father’s character feels permanently out of date, perhaps because the idea of what is right and what is wrong has changed many times.
HM:- Today, young people have codes of procedure that are very far from those of their elders. The generational gap that has always existed in all eras is greater today due to the speed with which changes and deconstructions have occurred.
E.H.:-The viewer laughs and identifies with the characters because contradiction is something very human. Even talking about guilt and responsibility turned out to be a good joke.
*TutorialTeatro Del Pueblo (Lavalle 3636), Fridays at 8 pm.