2023-06-09 19:33:46
By turning off the lights, a curtain opens that does not exist: it is the Teatro Távora in Seville, a square crossroads where seven women They are going to enter the feminine universe of Lorcaso rich, so passionate, so authentic, so faithful to the reality of women in her time, where machismo and patriarchy were natural, the indisputable, the norm.
The darkness gives way to a penumbra of omens, evocative of Lorca, dark, mysterious environments, and only four chairs accompany the actresses, which will serve as percussion instruments or props in certain scenes (some close to performance). And deep down, Gabriel Ocanawaits his turn on the guitar, while in a whisper the melody of the tararain a very slow tempo, heralding a groundbreaking dynamic in the powerful crescendo of the seven voices in unison.
It is no coincidence that the show begins with the tarara“the one who walks through the fields dancing, with a somewhat strange outfit and attitudes, perhaps crazy” and a melody that Lorca he borrowed to make it universal, while from behind he tries to impose a “shut up” a “shut up” a “shut up now” a “you want to shut up” that the actresses shout with more or less intensity, each one transmuted into the macho that orders silence the woman.
It is not only mistreatment, neglect, marginalization, machismo, in short, what is exposed, criticized and felt in the expression of those maddened womenbut also the solutionthe counterpartthe rebellionthe emancipationthe independence.
the tararaturn to the whisper, gives way to barren: “When my head is tied with a handkerchief so that my mouth does not open and my hands are tied well inside the coffin, at that time I will have resigned myself.” Here the choice of the fragment is not accidental either, since it expresses the rebellion, the bravery, almost recklessness of Yerma, which very accurately concatenates Marta Ocanadirector of Enlorquecidaswith phrases from the miraculous shoemaker: “Shut up? You are my wife, whether you like it or not, and I am your husband”, says the shoemaker; either Blood Wedding: “Do you know what it is to get married, child? A man, some children and a wall two yards wide for everything else”.
Each one of the actresses takes sides in this instructive tirade, with fundamental phrases from Lorca’s theater, until reaching the Green I want you green, to the green death of Lorca, to the poem that shows the suicide for the love of the lover, concluding with the phrase that gives rise to the beginning of the guitar: “But who will come? And where…?”
Gabriel Ocaña begins with seguiriyas, seguiriyas firedwith a free rhythm, almost tunes, stubborn in the green death, continuing the poem, which occupies the entire central part of the show and ending with a slow and beautiful version of the rumba of Jose Manuel Ortega Heredia, Manzanita.
gabriel touches falsetas for tangos accompanied by the clapping of the bailaora actresses, who are followed by a particular version of the Blood Wedding who with great inspiration set to music the black legreturning in the final stretch to the whisper of the tararathe common thread of this great show, short but intense, which manages to convey what it is looking for more than enough: vindication of Lorca’s feminismof how Lorca knew how to masterfully capture the oppression, marginalization and the mistreatment to which the woman of her time was subjected, through seven actresses, dancers and singers who with passion, art and talent transport us to the 21st century, so that we do not forget.
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