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July 30, 2014
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A loyal mise-en-scène of Lorca’s classic

A scene from Marcelo Caballero’s version of Federico García Lorca’s Bodas de sangre.
By Carolina Nogueira
For the Herald
Caballero’s version of Bodas de Sangre features Argentine and Spanish actors

Under Marcelo Caballero’s direction, Blood Wedding by Spanish author Federico García Lorca returns to the stage in Buenos Aires, more than 80 years after its premiere. In a classic and loyal mise-en-scène, the play features Argentine and Spanish actors.

Based on a true crime that shocked Spain back in 1928, this drama focuses on the troubled marriage of a young couple that ends up in several murders. The action takes place in a stable and the set design accentuates the rural aspect of the story, also offering a constant analogy between the horses and Leonardo’s character, played by Christian Alladio.

In a brown and grey colour palette, the costumes and the performance space suggests a modest and plain reality. Lights are dim throughout the whole play, generating a nightly sensation. Also — as a decision to imitate old theatrical illumination methods — Caballero’s proposal adds footlights at the front of the stage, constantly reflecting the actors’ shadows, while creating a lugubrious feeling.

Leonardo is a passionate lover who wants to run away with the bride. His character is the only one who has an actual name in this Spanish play; other characters are only identified by their roles. This choice creates empathy with the character, making his side of the story more approachable to the audience.

Since social gatherings and dancing were some of the most popular activities during the early 20th century, live music and flamenco are key elements in the play. That is why a large group is brought on stage to represent typical dances and recreate the epoch’s social reality.

Topics such as love, passion and murder have vital importance in this story. To emphasize this, the use of red lights dyes the stage and adds a bloody ambiance during the whole show. Also, the constant stage presence of the cast’s majority represents the audience’s constant observation, judging every choice the leading performers make. García Lorca’s main themes are thus properly accentuated by the direction.

The Bride — played by Lizzy Pane — symbolizes the disturbances and contradictions that love relationships generate, causing hesitation during the whole drama — leading to the final tragedy. Gonzalo Ramos — one of the Spanish actors — performs The Groom in a sweet and loving way, with a mesmerizing capacity to recite the play’s classical dialogues. Chusa Blásquez — as The Woman — plays Leonardo’s pregnant wife, a humble (yet demanding) young lady.

Tiki Lovera is The Mother, who mistrusts The Bride’s intentions and suffers continuously, thinking about her son’s future. José Manuel Espeche plays The Father, a kind and affectionate man who supports his daughter’s wedding. The cast is completed by Lucía Andreotta, Conrado Busquier, Jaime Díaz, Pepa Luna, Mercedes Mastropierro, and Carmen Mesa. Héctor Romero and Pablo Alexander play live music.

Where and when

El Método Kairós (El Salvador 4530). On Sundays at 8.30pm. Tickets from 90 pesos.

@caritonog
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