Mujeres de «pájaros» y «placas verdes» en el Teatro Real

The Spanish interpretation of the works by the protagonists who face suffering for love during periods of dictatorship and deprivation of freedom has been repeatedly done in a figurative and similar sense as if they were birds.

Both works came together in a production on Thursday, at their premiere at Teatro Real, where they will remain until February 22, and the audience rewarded the Operative Association with an eight-minute ovation.

Among the authorities present were the Secretary of State for Tourism, Rosario Sánchez; Secretary of State for Foreign and Global Affairs, Diego Martínez; the Director-General of Public Function, Isabel Borrel; President of Europa Press, Assisi Martín de Cabiedes; the director of the opera in Montpelier, Valerie Chevalier-de La Cour, among others.

As stage director Rafael Villalobos stated in a press conference, these two works have formed a «hypertext and diptych» in which the works are linked but respecting the spirit of each, although the artists are intertwined in both stories.

The focus of the works from different perspectives on the deprivation of freedom, where in «The Brief Life» it is made of a philosophical sense and in «Green Tiles» from a more literal sense. A similar approach is seen in the violence suffered by the protagonists, as in the labor violence of Manuel de Falla, which is related to the lack of loyalty in a romantic relationship, and in Jesús Torres there is more physical violence. Colorina, the protagonist played by Natalia Labourdette, has signs and wounds on her ankles, calves, and face.

Therefore, it is portrayed in health (The Brief Life) and color (Green Tiles), two women deceived twice, two worlds with different musical and expressive languages, united by the dramaturgy conceived by the stage director, Rafael R. Villalobos. The ensemble is presented in a unique space where the characters travel from one work to another, strengthening the connection between the two works.

The performance began with «The Brief Life,» a work that returned to the Royal Theatre on Thursday after 28 years, chosen to reopen the Madrid Colic in 1997. The plot follows a humble family from Granada. The young protagonist named Health, played by Adriana González, falls in love with Paco (Eduardo Aladrén), an upper-class man who promises eternal love, even though he is engaged to a «Zagala» of the same social class.

The scenery is based on two pieces by the plastic artist and National Painting Prize, Soldad Sevilla, who was present at the premiere and took the stage at the end of the performance. The first piece is the «insomnia» that serves as a framework in the universe of both stories. The second is the «milk and blood.» Both figures appear in both performances.

The second act in «The Brief Life» begins with the wedding between Paco and his future wife, Carmela. A singer’s bow Maria Marín, accompanied by her guitar, begins to sing by Lolages live at the Real Teatro. A phrase resonates during the performance: «Some are born and others hammers,» is sung from the forge.

The violence reaches its peak with the choreography of five dancers and clothing companies, who have bites and blows, ending in several arms making the Roman salute.

Subsequently, there was the world premiere of «Green Tiles,» by Jesús Torres, which was part of the homonymous by Fermín Cabal. The title of the work designates a field of prisoners created in 1973 in Chile, after the coup d’état by General Pinochet, intended for the detention, torture, and disappearance of political prisoners.

«Green Tiles» incorporates fragments of the poem’s song and the romance of absences by Miguel Hernández, who wrote it during his time. For example, it is sung «Who frames a smile? Who threw a voice? Return the freedom of both.»

Jesús Torres’ work tells the story of the women arrested and tortured in the homonymous field. In particular, the one who lives the «missing color,» a young woman with a bird name who was kept and tortured in green tiles only for the romantic relationship she had with a revolutionary.

«Green Tiles» was written for six women solo, three sopranos, and three mezzo choirs – two female and male.

These two works offer a deep and emotional exploration of love, suffering, and freedom under the shadow of dictatorship and oppression, resonating with audiences and critics alike.

FUENTE