Andrés Lima reflects on the war in ‘Shock 2’


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The success of ‘Shock 1 The condor and the feather‘, presented a couple of seasons ago at the
Valle-Inclán Theater
, has encouraged those responsible for the National Dramatic Center, now under the leadership of Alfredo Sanzol, to put up a second part, entitled ‘Shock 2 The Storm and the War‘.

The show, which has the same creative team -dramaturgia de Albert Boronat, Juan Cavestany, Juan Mayorga and Andrés Lima, and the direction of the latter – opens next Tuesday at the same Valle-Inclán theater. Its interpreters are Antonio Durán ‘Morris’, Alba Flores, Natalia Hernández, María Morales, Paco Ochoa, Guillermo Toledo Y Juan Vinuesa. They themselves will offer from May 8 the functions of ‘Shock 1’ that will complement the staging of this second part.

‘Shock 2’ also has a lot to do with the pandemic, since, as Alfredo Sanzol explains, “Lima saw that, because it was a social trauma, it could once again become a very usable shock for those who consider that his primary value in life is greed».

And it is that greed is in the spinal cord of the project. “This is what the system calls interest,” says Andrés Lima. We live in a capitalist system, and one of its pillars is interest. That’s what function is about; of how this system is defended through the violence of shock, that is, of the crisis both provoked (coups, wars, interventions) and natural (tsunamis and other natural catastrophes). A system, he continues, “to which we belong, and which we legitimize with our being and our being.”

Lima quotes the German philosopher and political scientist Carl Schmitt, who says that the first distinction in politics is between friend and enemy, and “defends that hostility is a reality between human beings; he is speaking of war as a natural fact. But Robert Fisk, a British war reporter, wrote that “war is only death.”

This second part of ‘Shock’ is a reflection on the war that moves between these two ideas, says Lima, and that mixes theater -emotion, rhythm, harmony …- and journalism -criticism, document, reflection, another form of look…- . It begins, continues, where the first one ended. It starts in the eighties, “with the conservative revolution led in Europe by Margaret Thatcher and in the United States for Ronald Reagan».

The almond of the show, continues the director, is the Iraq war, and continues to this day, with an epilogue that has the coronavirus as the protagonist, “although we still need time and perspective to talk about what is going to affect us.”

The shock doctrine‘, from Naomi Klein, is the inspiring text of the two parts of the show; ‘Shock 2’ is based on real events and texts from Olga Rodriguez Y Alba Sotorra. “We tell what has happened and we want to reflect on it. It is already counted, we have lived with war since we were born. And we want to make a theatrical reflection, so that the public can inform themselves and feel and get excited. This experience can only be given by the theater.

Andrés Lima assures that what they have tried, both in the first and in this second part (especially in this one) «is to put ourselves in the place of the other. I don’t think there are good or bad people; there is good and evil and their management. We tried to do what he did squirrel in the first tragedy ever encountered, ‘The Persians‘; he participated as a soldier in the battle of Salamis, but when he tells that story the protagonists are the enemies, the Persians. He tries to put himself in the place of the other, and we have tried it too. And we hope that there is reflection.

The show comes after more than a year of work in documentation and workshops, and Lima hopes to reach viewers through sensations and emotions; and that is where the reflection starts. “It starts with data based on real life, in documents contributed by journalists and historians, and comes to life. I try to make the show move. And let it be entertainment (which does not mean escape) ».

Acknowledge that visions are never innocent. «I have a point of view that comes from me as a person; there is no objective documentary. The will to be objective yes, but nothing more. You put your eyes where you want to put them, you put your gaze on what catches your attention. I try not to give a definitive version of the facts, but to ask questions, but obviously my heart goes out to those who suffer ».

Finally, Lima assures that the handbrake has not been applied so as not to be a ‘rally’. “It is full of political speeches; every time a war starts or every time an election is held there are political speeches. In that sense, I do put myself in the place of the rally; but I don’t try it, it would seem like a mistake ».

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