Here’s A Romantic Act by Richard Mascherin, or how to leave the public “disarmed” with a small/medium format show – | ACHTUNG!

2023-09-27 14:39:29

Richard Mascherin, among other things, defined this piece in the sharing with the audience after the performance as one of the numerous “fictions” that we have consumed throughout our lives. To which I would add that this means facing difficulties when it comes to distinguishing where their borders are with what occurs in reality, or worse still, in deciphering the extent to which they have contaminated each other.

In these times, fortunately, the emotional-sexual relationships They are based on agreements and the search for models that adapt to the needs of those involved, not the “obedient” reproduction of others who confuse means with ends, under the premise that it is “politically and morally correct” ( with everything that it carries with it). Now, the above will overcome its “alternative” phase once we, as human beings, collectively transform, performatively, what we understand by “the common” or “the normal.”

That is why the “three love letters” that were recited on stage seem familiar to us and at the same time subject to a series of stereotypes that are still valid to a greater or lesser extent. There is so much pain, confusion or frustration that we all have around issues of love and how to manage them in a healthy way, that it seems that “falling in love” or being in a relationship implies being in quicksand. That is to say: one can twist, ask for help, be disoriented, etc… this will not free us from “being inside.” However, this piece by this Canarian professional does not intend for us to attack models like the relational anarchy (Basically, it is a current that defends that we should not maintain ties or labels that preserve traditional models of relating. This includes our friendship, family or affection-sexual relationships), or anything similar; but in reality, that we are face to face with all the imaginary that we have built together. In case there is any doubt, love as such is not discredited throughout the development of this piece, in fact, we see that there is something that pushes us to seek to feel whole through it, and to take more risks than, not Any human being could be willing to confront in life.

Photo: Pablo Lorente

Here is a romantic act It focused on putting us before a series of images and sentences so that what we have not yet reached even if we want to give it a name, we can at least synthesize it with “photographs” and with sequences that became so cinematic, that it seems that one was before a memory. diffuse or in the middle of a dream (in this the lighting design, the dramaturgy and the sound environment were fundamental). Encouraging our “defense mechanism” to be insufficient, while in our “leisure time” we do not deprive ourselves of learning something new.

Photo: Pablo Lorente

Lucía Montes, Javier Mario Salcedo and Richard Mascherin They put their entire body, their being…, at the service of a job that demanded the maximum of implications. That is to say: here it was not enough to be a good scenic professional, but to be brave and persevering to find the key that would lead them to carry out a credible and solid performance. In the middle of a job in which temperance is required, or else everything would have been blurred before the public. Or put another way: even though these three dancers were elevated on a good support (lighting, sound environment and dramaturgy), most of the weight of Here is a romantic act It was on his shoulders.

Photo: Pablo Lorente

Definitely, Here is a romantic act It seems like a monumental work to me even though it is small/medium format. Seriously, it is not essential to have a cast of ten dancers and other means of a blockbuster, to leave each of us who make up its audience “disarmed.”