De Tom Stoppard, dirigida por Alonso Ruizpalacios, Rock'n Roll es una obra que contrasta los movimientos juveniles y el rock, with the emergence of historical events that marked the critical path of rebellion during the last half century and relate to the rise and fall of ideological and generational barriers, real and invisible
Rock 'n Roll is a staging that spans more than twenty years of contemporary history: beginning with the Prague Spring of 1968 and ended after the fall of the Berlin Wall in 1990.
With a start package (one of the leading ladies out the context historical work prior to rendering), the plot development is slowly enveloping the viewer's senses, thanks to the live music that crosses the track of the songs most representative of the hippie movement: the first Pink Floyd era, through the Rolling Stones, the Beatles, Bob Dylan and Velvet Underground, to the Czech band blues and progressive known as The Plastic People of the Universe.
addition, for the cohesion of rock with political speech and ideological, are two figures of major importance, which are constantly evoked: first, Václav Havel, dissident playwright and socialist, author of The opening (work that is currently presented in the Forum Sor Juana Inés de la Cruz) and honored by Stoppard in this story with the character named Ferdinand. And, on the other, Syd Barrett, the legendary lead singer of Pink Floyd, an icon for almost three generations and Stoppard also pays tribute to compare it with the god Pan in the voice of Eleanor (Karina Gidi), one of the characters protagonists.
The plot of the work can be seen various levels of discourse that can be grouped in the evocation of three walls: the wall Berlin, the wall of John Lennon and the "wall of shame", stated briefly.
The Berlin Wall
This wall is impenetrable line between capitalism and socialism, its bricks reflect an ideological barrier to symbolize the Cold War and the construction of " Iron Curtain. " This is the historical and political discourse that permeates much of the work. The Soviet intervention in Eastern Europe, with the recurring figure of Václav Havel and the awareness of a repressive state apparatus and unambiguous.
Here there is the arrival of Soviet tanks in Czechoslovakia, the brief reaction on the streets during the Prague Spring in 1968, the blind repression, the establishment of the famous Ministry of Interior was intended, in effect, internal control each of the Czechs. Also the first attempts to loosen the bureaucratic structures of transnational dictatorship through the drafting of the Manifesto 77, whose signatories were persecuted.
A wall built of concrete and metal desks rickety, decrepit by archivists to keep records as of communist dissidents that the instruments used for torture. However, here also comes the hope of liberation and the collapse of the wall, the desire for "socialism with a human face", which is no longer the poor face of repression, of imprisoned or tortured.
The John Lennon Wall
This wall comes in Prague after the assassination of the singer in 1980. This is the discourse of the "counterculture" youth-led, rock, drugs and sexual liberation. In this wall the protest group who just want "to be left in peace", the songs of Lennon, Dylan, the chords of "golden hair" by Syd Barrett. The slogan that shouts "no more political or ideological discourse because we are up to their mother." On its foundation feels nostalgia pass but failed cherished freedom of the sixties, whether in Prague and Cambridge, still wanders around the indomitable figure of Barrett and broken dreams.
Here are the archivists themselves, but they only come out poppies and marijuana, as a protest and an antidote to the monotony and the mechanization of the human spirit. More than a slogan: "We must make love not war" rock and "liberation of the senses," the instinctive desire for "a revolution of consciousness."
In this regard, Jan (Juan Manuel Bernal), a Czech student, a lover of rock and sent to England as a communist spy, represents the inflection point between the two walls and narrative levels: half and half ideological puppet free-thinker, it Syd Barrett and Vaclav Havel are idolized as well.
However, the rock can not be too pink or just release and flight from the control and deployment repressive and coercive. Long ago that "rock bands" left to represent what this genre was at first. It is no secret state absorption and commercial trivialization of this movement, as well as cultural events real. Probably, this is the impression left by the rock and socialism after more than twenty years of historical and cultural review.
The "wall of shame"
Located on the border between Mexico and the U.S., is the most recent wall, although not a central theme of the work , is alluded to in a reference teaching about other characters, including the viewer in the historical fiction piece. It is a further level of discourse, which is not represented directly, but trying to be the germ reflective public to take home: in a time of freedom and the individual is exalted to the unheard, how far We are a "new inquisition" or a new and revolutionized office?
Finally, it is worth noting the dynamism and the use of theatrical space implemented in this work. The scenery is at the center of the room, while the public installed around it, which breaks the line of traditional fiction and hierarchical representation-viewer. The characters come out as easily as the stage or stairs, between the seats of the public or behind a door. The stage directions are projected onto a screen while the actors take turns to write on a typewriter whose sound is connected with the music and voices on the scene.
In turn, the actors leave the role of your character to specifically address the public in order to contextualize depicted, thus reminding one of the premises of the theater of Bertolt Brecht that made the actor a guide and, of representation, a projection of the viewer. All for the sake of awareness of one's own historical condition of the public.
Thus Rock'n roll is a true work of resistance (both addressing the issue as execution time on stage) that accounts the theater as a space that combines the celebration, pleasure and critical. Representation leaves open facing the public and historical reality. History, rock, insight, meditation and reflection with joy.
Raúl Ulises Ontiveros
Photo Free French. Veronica Rosales.
Rock'n roll is presented in the Teatro Juan Ruiz de Alarcón, located at the Centro Cultural Universitario (CCU), Insurgentes Sur 3000. With features Thursday and Friday (19:30), Saturday (19:00) and Sunday (18:00), except 21, 22, 23, 24 April and 15 May.
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