The Jarra Azul and the ships of the republican exile
With the premiere of Massility company The jarra azul not only celebrates its 25th year, but complete a trilogy that began in 2005, in Mexico, with The children of Moreliain co -production with the Mexican company Conjuro Teatro. They had the dramaturgy of Víctor Hugo Rascón Band and the direction of Mauricio Jiménez. A collective testimonial network, defended by five young performers, carried the experiences of the children who traveled on board the Mexique – from Bordeaux to Veracruz – and they installed them in a boarding school.
The idea of doing a second work on exile ships arises in 2013, when, on a tour of Chile – with his work 3, 2, 1… zero-, the company encounters the story of the Winnipeg, and is committed to turning the graphic novel of Laura Martel In play, adapted by herself and directed by Norbert Martinez. Into Winnipeg, Neruda’s ship (Greek 2020), In interaction with objects and a suggestive and eclectic sound space, four actors told us the story of the boat, which, thanks to the intervention of Pablo Nerudabrought Valparaiso more than two thousand Republican refugees.
Massilityat the Akademia Theater (until July 6), closes the trilogy dedicated to ships of republican exile, in a new exercise of Recalling historical memory. Of the more than sixty referenced vessels, they chose the Massilityon board which in 1939 they had traveled prominent intellectuals to Argentina. The fact that those Spanish exiles stayed in Buenos Aires had to do with a decision of Natalio botanadirector of the newspaper Criticismand also with the victory of a horse – of name, Romántico – in a race.
A story of exile and memory
Signal Óscar García Recuencofounder and producer of The jarra azulthat the chronicles of the Spanish journalist Constantino Esla for the Argentine newspaper The Nation They have been the great documentary treasure that the creators of the piece split, although they also went to other materials. They even could interview with the son of this reporter, as well as the last passenger of the Massility that remains alive: Carmen Bernanddaughter of Carmen Antón –Triva de la Barraca and author of the book I see when passing: Republic, war and exile– and of Gori Múñozrecognized plastic artist.
The montage, with dramaturgy ofAlbert Boronat and Maria Donosodirection of Nelson Valentte and a cast integrated by Laura María González, Lluís Marquès, Júlia Molins and Martí Salvatpresents some of the exiles who arrived in the Argentine capital, while seeking the most ideal point of view to tell a distant and very forgotten story that, in spite of everything, appeals to us in relation to contemporary exiles, Ideological polarization against the migratory phenomenon and the role of the media in all. It is also worth saying that an unpaid tone predominates and an organic use of humor is made. A very good proposal for this Greek.
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