Pau Miró puts a Chekhovian dress
Chekhov begins All three sisters With the death of the patriarch, the father of the Maixa, Irina and Olga. Though Julio ManriqueIn its version, a prologue was invented in which we attended the funeral, the Russian author launches the work with the following moments in the burial. Peace Miró it also starts Eject With the days following the death of the father of three brothers, two women and a man, in a peri -urban house where the family spent the summers. There is the older sister, the little girl, the brother and the daughter of him, the girl.
As in all works on brothers, there is a theme that crosses it: the inheritance. Is there in All three sisters and many of Chekhov’s works as a Uncle vania and The cherry orchard. We also find it in classic works of the 20th century American, such as The pricefromArthur Miller. Into Eject It appears, yes, but in a Chekhovian way, that is, lateral, because what matters here is the conflict between brothers, among an older sister who was adopted, who is an idealist, like parents, who is out of work and who has gone to the summer house, and young brothers who also go through a bad time. As an external agent, the girl, the daughter of the brother, looks at everything from the outside and discovering who her family really is.
The title of Miró’s piece, however, already offers us a track that is not just inheritance. The play begins with a football expulsion: the girl has won a red card in the football game that she played that morning (the temporary space of the text is 24 hours) after breaking her knee to a rival. It is the first aid of help to a sub -cars that will eventually emerge at the end, in the purest Borges style. And the question will be to know if the three brothers are willing to take it. Because the expulsion will not only be a red card as a result of a hard entrance, but they will be people who are out of their house who find, at their father’s house, a shelter.
Eject It is the return of Miró to the stage after a good season without premiere. His last work is A real story (2019). It is also the return to the family universe of the playwright. And why not, in the Raval, because in the work he directs Toni Casares In the Beckett Room, with Montse Germán, Anna Alarcón, Xavi Sáez and Mia Sala-Patauthe neighborhood where Miró was born ends up being of paramount importance.
Miró is a genius when delving into complex homes: the test is its animal trilogy, especially in Buffalo (2008). They say he is the most Chekhovian of our authors. Ejectprobably, shows that this is the case.
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