Laura Pizarro and Juan Carlos Zagal, Directors of Teatrocinema
“PLATA QUEMADA” (The work is presented until Sunday, July 28 / 8:30 pm / Aldea del Encuentro / Av. Alcalde Fernando Castillo Velasco 9750 / La Reina Alta)The story set by Teatrocinema is based on real events occurred in 1965 in the province of Buenos Aires, written by Ricardo Piglia, is the portrait of a society that is still in force: politicians, police and criminals collude to make an assault that goes wrong. The search for freedom symbolized in the metaphysics of money puts a deadly trap, in a poetics that does not simulate death in life, we see a society cornered by the mirage of paper money, says Laura Pizarro: "The work is contingent and necessary, reveals the plot where our society has been built, badly structured from the beginning ". The characters represent Argentine delinquents, who look whole and sure of themselves, transmitting in the most oppressive moments, that they, like thieves, are the heroes and the corrupt and decadent police the threat of values, comments Juan Carlos Zagal: "We Distancing interests in the Brechtian sense, as a fictional and distant place, so you distance yourself and say, that is not me. One was taught that the police are to protect, sleep peacefully says the song of the pacos, without worrying about the bandit, but those values have been reversed lately, when at three o'clock in the morning someone kicked your door, it was precisely these forces of order those who came to tear your life. You learn that the police are not there to protect order, but to protect the private property of the owners of the country. "
Does the last work indicate a trajectory forwards, in that movement do you believe that you have to be vulnerable to what life is offering you? How do you face the future with an open sensitivity for things to happen to you?
Laura: That depends if you put it that way, I do not think we all start from there, talking about vulnerability, you have to learn to be vulnerable, because you are the son of rigor, therefore there is a constant self-demand, to be vulnerable, respect to how you develop and give space to that, you can classify it as weakness, sometimes there are some who are angry at the weakness, but it is a process to learn that one is vulnerable and live without certainties. If we take it to the level of our search for language, there is never a recipe or how something is done, there have been tools that have been discovered and you can manage, but there is no certainty.
Juan Carlos: In all our works, in dramaturgy, creation and in the same staging, when we rehearse, a concept that marks everything is chaos. That all planning will be transformed by all the human, political, social variables of the day, something that fell there and generated a thought in me and begins a free association of ideas that produces chaos. In that sense there may be a destination, but these forces that interact in one, we apply it in creation, in fact there is a character in the work that says: "It makes me nervous the day before, someone tells you, little brother we have everything under control ", And that is because he has no idea where he is standing and that there is nothing controlled, but we believe so and that everything will be influenced by those forces that are going to act in the present and in the minute.
Do we let life flow or seek control?
Laura: It has to do with a different maturity, stop controlling, that's why self-demand. As a young person you started like this, letting yourself flow and then you say, I want to do this in my life and allow that control to leave has to do with maturity and it has nothing to do with controlling us, because you have tried to be aware of all that so as not to sink into that control and build a free thought.
In the theater do we have to manage the variables of chaos without leaving anything to chance and having a controlled design?
Juan Carlos: There is a principle where there is no control and one tries to channel that river, but the river is, the thing is to stop and know that it will come to you and that your mind is like the universe, there is a Big Bang in each work that we do, that generates an expansion of more ideas, images, visions, more emotions and most escape, because you can not keep everything, the phenomenon of the actor's work of repeating the same, is to try to rediscover that light that he saw, until that energy manifests. But there is a moment where the work must be closed and a planet is formed.
Do you think you have to deconstruct in your mind how you educated us about money?
Juan Carlos: Theater and creation is a path, in our theater we have landed that language develops not based on great ideas, but on a sustained work in time, collective, that allows us to get rid of things that they talk about the theatricality and we say, the theatricality does not exist, it's like the money that is an invention, in the theater they told us that it was done in a way, that we had to put a living room or some panels inside the four walls of the theater and we said that that does not exist, why we put four walls ?, when the mind is super broad, we are behind a camera, we change space, that the cinema and literature achieve very well and the theater is always circumscribed to a black space where the actor declaims and we said, is that theater? If the word theater means what you see, what you see. We work based on that, there are two tools that are super important for the theater, which are your eyes, if you do not see anything, for me there is no theater, if you listen is literature, oral story, etc., the theater implies the orality and a whole imaginary, but the eyes have to do, whether the actor's movement and what actions that actor does to influence. So, there is a tremendous deconstruction, because we have to leave everything behind, in quotation marks, duty, how theater is made, to investigate and say that we are explorers of places that are not known and thus there are thousands of actors and creators in the world and those have given us small sparks to move forward.
Do you choose this work for living a specific moment of their lives?
Laura: In the course of all the works we have done, we start with the blank page and connect with what you are living, what you perceive or is moving in your head and suddenly you find something that is interpreting you and is there where you go to work, shredding, adapting and all the process between.
And the inflection point or what elements are shown for you to say, now we go, we launch with the work?
Laura: It's like an iceberg, the same thing as an actor, you are discovering more and more things, content, but it is because of being in that place, digging into the same thing, expanding to other places, in that sense it can be a pyramid.
Juan Carlos: There is the element of synchrony where elements and things are agglutinated before an idea, subdivided into many others and begins to be a cell, which generates something, but one drives it. If I go back to chaos, it opens like the branches of a tree, or a labyrinth or a river that advances, that tends to make its way, sometimes it seems that we are going backwards but we are moving, winding. There we say with Laura, we have to be attentive, because sometimes you dream or imagine or someone tells you something, it depends if you are very attentive to that moment, that present here and now, is that you can take that and unite it with this other, that it is the poetic act that we try to do with our theater, the poetry of the action that we call ourselves, as elements that have nothing to do with each other, we find the connecting point that unites them and begins to have a new meaning and that does not come from an exact point of inspiration or nothing, but of the work of the pirquinero, of insisting until it breaks. The artists always work with intuition, you can glimpse, I tell the actors that nothing that is said in this essay will go unnoticed, everything is used and remains latent to be used, the thing is how one reads in the sky to build something.
It is very neural and organic, when you build a thought you join neurons with each other. In that process of ideas, a universe is constructed. Do you decide everything?
Juan Carlos: It is very collective, but there is a moment where we have to decide, although there are times when we are lost, that does not inhibit or paralyze us, it obviously frightens us and when I say, we will stop to think, it is understood that nobody has an idea where we are standing and slowly begins to have a direction fed by the collective and in that sense someone has to say, there we go.
Laura: There the role of the director if it is lost, has enough clarity of what is not and denying certain places is finding where to go.
Juan Carlos: In the strategy of moving us all, we can not all be in the same position and in the same time and space, because if not everyone would see the same point, so we have to stand out and this is where the roles come, we are collective but everyone has their role, the actor is in the valley and I have to climb the mountain to see the valley, but they can not see it, being outside you can guide and correct, but inside there is no possibility to understand, then the role of the director would be how do I get the authority, not the power to impose an image ?, and that they grant me the authority so that I say that there is the position, then there is also the credibility, just as the spectator believes , the actors also have to believe that what they are doing is coherent.
When the work is ready, do you have the feeling that it always existed?
Laura: It's good, hahaha.
Juan Carlos: I do not think, however fractal it is, a thousandth or millionth of something that is or is not there already makes it different, the theater is a unique act, that's why we believe in this, it is unrepeatable and it does not depend on a or two people but of this group, but also that you as spectators have gone freely to sit there, freely say that they are going to build this reality together with them, the theater, the creation is built and invented day by day, for me not It's done, it would make me nervous if it were, I believe that you can discover something by your own impulse and will.
Laura: That's why it's not rigid, because it has to do with what happens in that unique moment, with a group of spectators that is not the same as the previous day, it changes. Essentially the work is the same but it changes, there are different energies.
The structure is there, but every day things happen to you, you and the audience is different, the energies are mutating, the work could have existed, but the decision you made is already a different way, because a millimeter beyond is a new creation, the human being has that possibility because he chooses, one is co-creator of life, you create it daily.
Laura: And the grace is that, to create your own life, to be aware of where you are standing and not what happens to you.
Is this work the result of something you have never done before?
Laura: Of course, it is a journey of experiences on stage and in the trade, with thirty years already in the body, then we have more resounding visions to say no or yes, or there it is.
What role does poetry play?
Juan Carlos: As we are the actors who make the action, it is very important, our theater is a lot of action, it is not based only on the word, the action not only of the actors, but of space, time, we try to be about reality, over the sofa, over the chair and about what things mean in themselves, and the actors begin to turn in a time and space that is not real, in the work the imaginary is created that There are three hundred pacos or when a character says: "Neither shit I go back to prison, they do not take us out of here, they will have to sweat if they want to take us out, because we will not leave". When they make the decision that they are going to die, what underlies is that they die a little earlier and begin to leave the body and everything known, where the money is white leaves that have no meaning and that product of the fire that can flood them will not feel pain, they are detached, they weigh 21 grams, they almost float, in another dimension, death would be that, another dimension. When we mix things we enter a more poetic state than the real one.
Laura: When you get hooked up with the bad guys in the movie, here you can see why they are there, you see a badly delivered social fabric, a character if you put it in reality is a young man from Sename, who never received affection or understanding , that the guy had a distorted head and how I can make him stand a little, there is no contention of any part, that's why they become heroes, because of the circumstances of how they armed themselves, so that they arise in a different way.
The metaphor is that the characters bet that when stealing they buy total freedom, then the panic of the people leaving the system is linked to the risk of ruin, do you think that you can pass that line successfully?
Laura: The tools are not given, each one has to be built, each time there is more fear.
Juan Carlos: What is getting out of the system? Going to the field? Or is it doing what you want to do? Nobody lives in the abstract, if I go to the El Plomo hill I'm going to freeze, there's the common sense of survival to be able to generate more thought. With Laura we have done an act of freedom, because we refuse to work in television, in movies, doing classes, any paid work, nobody offers us work, when they have called me I tell them, why do you call me and I hang up, because we decided to do the path of the theater that did not cause us ruin, if it provoked us cold, hunger, fear, anguish, but we resist and look at the monster of the labyrinth in the eyes, because it scares you, but when you look at it and you face it sucks and falls your ears and you ask him, were you the one that scared me? Yes, but you are yourself, I am the projection of your fears. You can be by your side, but it is not fear, it is suffering, it is leaving a paradise, you are thrown out of paradise where everything was fine and now you have to make a living with your own means, that does not paralyze you, it makes you suffer and you stretch the elastic, you suffer but later you enjoy a lot too, we have lived extreme situations with Laura, which also lead us to enjoy the moment when we do manage to focus. We have opted for this freedom within the system and not go to the field, because the theater requires the gathering of people, it is a civic activity.
The characters said we steal to have freedom, but many people are comfortable in their fear and status quo. Is it because they are afraid of the risk of the ruin of leaving the system?
Laura: In the 80's poverty could be praiseworthy, if we talk about that kind of ruin, but now poverty looks horrible, it is said that it is because it is working poorly, for something they are like that. Here the characters do not care about everything, but when they are cornered and they say they are going to die, the act they did is transformed, it passes to another instance, because if the assault had gone well, they would have had a good time with the money and why not do it again, but when they look bad they do different acts.
Yes, their lives are still on the edge of the precipice.
Juan Carlos: There you have the option to say, I will live degradation once again in animal condition or at what moment I choose my own dignity and you say, what has value in my life is what I think, I feel and I act in consciousness and absolute freedom and decide for my life.
When they do not achieve the theft, they become undead, that in society there are also people who have already thrown away the sponge, because they did not achieve their dream socially.
Juan Carlos: How can you judge that someone did not achieve anything? If he emptied everything and lives an act of absolute freedom, we do not know.
When you are a beggar you value and feel that your freedom is the great value. On the other hand, there are those who think that with money you are free.
Juan Carlos: There's the freedom to pay and the one who wants to go in an X direction and does not care about anything, but freedom costs, most of the fifteen million Chileans can not get on a plane to get out of here , because they have another type of restriction, the economic and the theater companies do the same to us, we always said that the censorship was not political or content dictatorship, there was no handle to do anything.