Exploit the scene! – Magazine Teatre Barcelona
Seven years after its premiere, Bounce, bounces and in you face explodes Return to the old theater, from 10 to 14 and from 17 to 21 September. The assembly, created by Agnès Mateus and Quim Tarridacontinues to appeal the audience with the same force as on the first day. It is not looking for easy applause, but to shake the audience and invite him to position himself in the face of sexist violence and the patriarchal system.
The piece, recognized with prizes such as those of critics or armchairs, is based on feminicides-assigned from women by the mere fact of being-and expands towards institutional inaction, sexist education and the responsibility of the media and culture. “Sexist violence has become so present that we are at risk of getting used to it,” warns Mateus, who interprets this monologue alone. Tarrida supplements it: “What we want is that no one comes out indifferent, because indifference is also part of the problem.”
The show appears the audience with direct texts, physical action and poetic videos. There are no fourth walls: the actress addresses directly to the one who observes her. “We have spoken texts aimed at an audience that is there and looks at us; this audience is the purpose of our speech,” they say.
The assembly does not shy away from provocation. Words like murder, dry shit, vomit or abortion. Not as an empty provocation, but to say things by name. “There is a saturation of information on victims that leads to general misinformation,” says Tarrida. That is why they insist on calling reality clearly and without euphemisms.
“Even today, the heteropatriarchal gaze conditions who explains what, how it is programmed and who has a voice.”
Matthew defends the stage – or the theater – as a place where you can say things that in other contexts do not dare to go out. “It’s a space for freedom. You can’t do a show and stay indifferent. If the audience comes out just as you have come in, we are launching public money,” he says.
The critic does not remain in civil society: it also extends to the cultural sector. Matthew denounces that “there is also a high degree of sexism in the theater world”, adding: “Male power is much greater than we want to see. Even today, the heteropatriarchal gaze conditions who explains what, how he is programmed and who has a voice.” That is why he says that the theater must also take on its transformative responsibility.
With a language that goes from silence to noise, from sarcasm to tenderness, the proposal has become a key element of the denunciation theater. It also focuses on the structural fragility of the sector: the creators warn that institutional support is insufficient and erratic, and that many stage projects can only exist thanks to the complicity of independent networks and alternative spaces. “Politicians take responsibilities from envelope and culture is relegated. Thus no real transformation can be sustained,” they lament.
“This is not a game of children,” summarizes creators. Bounce, bounces and in you face explodes He returns to remind us that there are violence that cannot go unnoticed-not on stage, or out of it.
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