2024-08-30 03:01:00
The characters of Santiago Loza -in their novels and in their plays- they are almost always enveloped in a halo of unchosen solitude. In the ritual of the theatre they confess, they offer, a piece of their lives as if they needed the connection with the strangers in the audience. They are characters who go from being so common they become extraordinaryThey may be seen as oddballs but for some reason the viewer identifies with them, because what they explain in great detail – everyone has that need: to explain themselves, to unravel existence – is what the journey of life is like.
With so many years of theatrical writing behind him, delving into the specialty of monologuesat this point Loza is like a pianist who plays the same piece incorporating variations that seem subtle but imply important changes in his stories. Having turned a few years ago to other types of writing – the novel and the non-fiction story – his voice disappeared from the stage for a long time – the last text of his to be released was the beautiful The sea at nightwith Luis Machín (2017)-. The return is with another outstanding piece, White windthe actress’s first directorial work Valeria Loiswho faces the challenge alongside the young director and author Juanse Rausch. This is also the first one-man show by an actor whose work in this production is close to magic: Mariano Savorido.
Of all the monologues written by Loza to date, precisely one starring Lois –The filthy woman– became a phenomenon of independent theatre, adored by the public. White wind It has several similarities with that work directed by Lisandro Rodríguez, but also some differences: the main one, which is obvious, is that the character is not a woman. This is not the most common thing in the one-man shows of the Cordoba author, who used to feel very comfortable diving into the female soul. Two previous exceptions were The sea… y Killing is tiring. “In general, there is something masculine that has been left aside. They are queer characters.“, the writer explains. It will be interesting for those who saw Lois in that role to play with the comparisons.
Marito is a young gay man who lives in a town in the south of the country and runs a hostel with his mother, where he cleans with dedication. The presence of the wind sweeps through the entire work. This story takes place at the end of the world, in a town and a hostel that are less and less visited. The context made of earth, wind, sea, salt, helplessness and abandonment, in which a nearby chapel is also key, shapes Marito’s personality. He is a young man with a vocation for service, both in the hostel and in his relationship with his mother. At the same time, he tells us of a friendship – which is also a love – with another character who has left and returns to the place. White wind It is the story of a duel and a return, but fundamentally it is the path that Marito takes to begin to live, to beIn the work we only see him, but through him and his words we see the other two central characters in the text, the mother and the friend.
“White Wind It is a text for one voice. For several years I have been writing this type of material, investigating a character, taking it to its ultimate consequences. I am interested in characters who have a dull appearance, nothing extraordinary to tell, certain repressions and fears, routines close to boredom. Something or someone drives them to live what they barely dared to desire. White Wind There are two movements, that of the Mother and that of the stranger.
Mario’s character must let go of his mother’s memory to meet the man who arrives“, wrote Loza.
Saborido’s eyes at the beginning of the show, his cross-eyed gaze, are the prelude to an overflowing, very dynamic performance, which can be placed in more humorous or more melancholic nuances according to what the text suggests. More intimate moments and others more explosive outline the transformation of his creature. Lois and Rausch have done a great job with Loza’s words: White wind It is almost poetry in motion, with song included.. The objects, mainly fabrics that take on different roles in the staging, come to life in the hands of the performer. scenographyconceived by Rodrigo González Garillo -with a pool dripping water as the main element, perhaps depicting the overflow of emotions-, and the lighting of Matías Sendón They accompany very well the exquisite existential journey of Marito, an ordinary man. Or a hero.
White Wind. 8
With: Mariano Saborido
Dramaturgy: Santiago Loza
Directed by: Valeria Lois, Juanse Rausch
Set design: Rodrigo González Garillo
Costume design: Pablo Ramirez
Lighting design: Matias Sendon
Sound design and original music: Teo López Puccio
Photos: Sebastian Freire
Design: Martin Gorricho
Assistant director: Mercedes Aranda
Production assistance: Florentina Messina
Production: Carolina Castro
General production: Compañía Teatro Futuro, Mariano Saborido
Performances: Sundays at 8:30 p.m. and Mondays at 8 p.m. at Dumont 4040 (except Monday the 8th).