Lectures PIIGS 2014

Teulada . Grècia

En ΣτεγηTeulada de María Tranou l’humor és extremament negre, i la situació i el llenguatge fugen del realisme per refugiar-se en Beckett. El lector no sap exacta- ment què passa a casa d’aquesta família grega. La història està dis- locada, igual que els personatges, que també estan dislocats per les mancances alimentàries i vitals que pateixen. Els salts en el pensament dels personatges es corresponen amb la manca d’una lògica narrativa en ús. Però així i tot, la violència i la degradació s’obren pas en l’obra de manera implacable.

Teulada (fragment)

Maria Tranou

Grecia

 

Escena 2

El Proveïdor ha vingut per quedar-se

La Mare està dreta davant de casa, el Pare no se’l veu enlloc

però se’l sent que respira amb dificultat.

El soroll de les canonades és el mateix d’abans.

Mare: Així doncs, ha marxat.

(El Pare continua amagat on era, intentant no respirar)

Va marxar ahir al vespre. No pas per sempre. Però ha marxat.

Serà fora per un temps.

(El Pare continua immòbil)

Et quedaràs fora per sempre? No en tens prou amb tota la nit?

(El Pare continua immòbil)

Estàs content d’haver dormit fora?

(Pausa)

Si vols continuar fora, endavant. D’acord.

Si no t’importa no aclucar els ulls, perfecte.

(Pausa)

Cap problema si vols continuar fora.

Però no et prometo que no ho faci servir

en contra teu, d’acord?

Ara ja hem perdut les formes.

Tinc més motius que tu per estar cansada.

Tinc molt bones raons per estar emprenyada

i decebuda i disgustada i per anar en contra teu,

dir als nois que ets un desgraciat,

i dir-ho a tothom si això serveix d’alguna cosa.

Ets un egoista irresponsable

i increïblement consentit.

Com pots dir que no es pot dir que no som persones

i que només tu no ho suportes,

l’únic que pot donar-se el luxe de tornar-se boig?

Com ho pots callar i fer que els teus fills ho paguin?

És que som uns éssers inferiors?

Estic esperant…

El Pare es dirigeix a contracor cap a la casa arrossegant

els peus.

 

 

Autora

Maria Tranou

Màster en Escriptura escènica i televisió a la Royal Central School of Speech and Drama, Universitat de Londres. Les seves obres més destacades són: Cows, (estrenada al Theatro tou Neou Kosmou, Atenes, 2007), Rebirth (Heraclion City Walls, Creta, 2009) New Dad (Battersea Arts Centre, Londres, 2010), Îœammal, love, (lectura dramatitzada al Factory Theatre, 2010). Premi Nacional (teatre infantil) del Ministeri de Cultura Grec de l’any 2006 per la seva obra Where Liromions Grow. Té publicats dos llibres de poesia (Mandragoras Publishing House, 2008 i 2013.)Entrevista amb l’autora …

1.How did the idea of writing this play come to you?There is not a single Greek I have met (this definitely excludes the upper echelons as they inhabit a different universe internationally anyway) who will not admit to a constant feeling of being severely violated, more degradingly so during the last few years. Any sense of hope or prospect of some sort of future or even present has been violently extinguished. I needed to show how organic, incessant and ruthless this degradation is and more importantly how distorting its effects are on our essential humanity. Because a financial crisis, be it real or a construct, is one thing, but what it does to people and their human values is even more disturbing. Internalising the we-are-good-for-nothing-propaganda, facing a state that in all its dealings considers citizens as guilty of still surviving, only adds to how suffocating the current condition is to any human being. The crisis manifested itself by the stripping off of possessions and basic standard of life but continued its effect, via the always classic, but so well-orchestrated “divide and conquer” rule to a splitting of society into scared individuals and ultimately to a stripping of minimum human values. At the same time, luckily enough, there is memory of times where our basic decency was not perfect, but definitely there, as an intrinsic part of our lives. This is where the characters in my play come from.2.-To what extent do you think that reflects the current situation in your country?What I described above is the mechanism that I have been witnessing throughout these years, though its seeds were there all along. In stages it has been like this: media spreading worry and eventually terror as to the country’s future, the official state relaying and investing on the all-important central european message of how “bad” we have been, media highlighting how overprivileged some professional groups have been, people getting more and more the sense that their enemy is basically everyone else. Under this widespread fear and utter mistrust of any other person, the average person now acts as if the enemy is someone next door. The mere experience of existing in this country has blindsided us to the fact that the enemy might be above us, not next to us. When you take these factors into account, this play is hardly a surrealist take on what is going on.3.-How would you define your style of writing?

I have come to realise that every time a new content comes up with its mysteriously to me preordained form. Every time the content somehow dictates its style of preference, it is like a condition I have to follow up every single time I start working on a play. So all I can say about my style is that it always strives towards serving and highlighting the content to its best effect. Having said that, if I had to use the usual terms, I’d say realism does not cut it for me, I’d even go as far as saying that realism is not enough for a theatre that is interested in social change. It has been my impression that most times, deliberately or not, realism works as a reaffirmation of our inherently violent bourgeois existence, comforting the audience to a point that is ideologically questionable. I need to be unsettled by the theatre, not reassured that my life is better than that of the fictional characters. I’d rather feel more alive and aware than before so this essential need informs and shapes whatever I write in any medium or format.

 

Director

Antonio Morcillo

Director i dramaturg format a l’Institut del Teatre de Barcelona i en diversos seminaris impartits per Martin Crimp i Yves Lebeau, entre d’altres.

Entre els seus textos destaquen Bangkok(guanyador del Premi SGAE de teatre 2013), Dow Jones (Teatre de Vallromanes, 2012), Al Hoyo (publicat per la revista ADE 2009), El Tiovivo (publicat per l’AAT i estrena al 32è Sitges Festival Teatre Internacional 2001 i al Teatre Tantarantana, 2004), Firenze (publicada per Arola editors el 2003 i lectura dramatitzada a la Sala Beckett, 2008), En experimentos con rates (guanyador del Premi SGAE de teatre 2007), Despedida II (guanyador del Premi SGAE de teatre 2001) i Los Carniceros (guanyador del Premi Marqués de Bradomín 1998), entre d’altres.

Entre les seves direccions destaquen: Dow Jones (codirecció amb Beatriz Liebe, Teatre Municipal de Vallromanes 2013), Hipòlti o la mirada d’Hipòlit (Teatre Municipal de Vallromanes 2011), A dues bandes (Auditori Caixa Fòrum 2010), Aoi (Caixa Nova, Vigo 2010), entre d’altres.

Actualment és director artístic de la plataforma de promoció de l’autoria dramàtica “perpetuum” (www.perpetuum.cat) i professor d’escriptura i expressió oral a la UNED.

Juntament amb Rosa Moliné i Beatriz Liebe és creador del Festival PIIGS i de la seva coordinació. S’encarrega de dirigir la lectura de l’obra Teulada de l’autora grega Maria Tranou.

 

 ACTORES GRE

Intèrprets

María Ramírez

Melisa Fernández

Laura María González

María Rodríguez

Joan Pascual

Traductores:

Marta Torras

Marta Roigé