Fernando Tejero read ‘History of the Zoo’, which Edward Albee wrote in 1958, at the School of Dramatic Art, newly arrived in Madrid from his native Córdoba. A teacher sent her to read it; He did it but did not know what the author wanted to tell. … He calmed down when he knew that his classmates had happened to his classmates. But he insisted; He read it again and analyze her, to work her scenes and her characters … and there was the thing. The years passed and a few months ago Juan Carlos Rubio offered to interpret ‘Camino al Zoo’, a Spanish translation of a function of 2004 in which Albee joined his ‘history of the zoo’ a prequel titled ‘Homeelife’ (life at home) . After more than a year on tour, the function arrives in Madrid directed by Rubio himself (author with Bernabé Rico de la Adaptation) and played by Fernando Tejero, Ana Labordeta (which replaced Mabel del Pozo, who started the tour) and Daniel Muriel.
‘Camino al Zoo’ includes two different parts; The union link is Peter, the executive of an editorial. The first part shares it with his wife, Ann; The second with Jerry, a stranger he knows in a park. The author himself justified a while ago the writing of the prequel in which “will develop Peter completely and will improve the subsequent balance. Almost before I realized, ‘Homeelife’ fell from my mind to the page … intact. Here was the Peter who had always met, a completely three -dimensional person and, wow! Here was Ann, his wife, whom I should have imagined in the back ».
Edward Albee (1928-2016) is known above all for the stark ‘Who fears Virginia Woolf?’, But his are also ‘a delicate balance’, ‘Three high women’ or ‘The goat or who is Silvia?’ . He is one of the big names of contemporary American dramaturgy, and sank the absurd scalpel to delve into contemporary society and some of his ills. «’Way to Zoo’ has a lot to show, remove, shake, break and why not? Back to the viewer again that mirror of our own existence that, although it does not always return a kind image, is essential for Go ahead, ”explains Juan Carlos Rubio.
After many years, Fernando Tejero has already understood the text of Edward Albee. It has sometimes resorted to the subtext. «There are absurd dialogues, as a question that I ask Ana: ‘Why do we have two microwaves?’, And I have searched for it, as in others, a subtext that shows and explains the lack of communication in this marriage . They talk about anything, and always with incoherence so as not to enter into the real problems that the couple has ».
What most attracts attention at the Edward Albee Theater, Ana Labordeta intervenes, is «how he knows the human being; It is what catches my attention the most. He is very ruthless, very cruel, but at the same time he demonstrates a great love of the human being. The first part of this radiography to this marriage, which has been together thirty years and with an already boring life. They do not know what to talk about, because they are afraid of really saying things. My character, Ana, is a woman who rebels and wants to get out of that cage in which they are both locked up. The work speaks of sex, talks about love, talks about loneliness … topics that you address in a very stark way ».
Mold the character
«Human beings are getting known little by little, but we never finished knowing each other. Something similar happens to this function; Every day I understand it more, but I never work from the same place. Depending on how I find myself, I try to mold my character, my Peter. It is a function that does not cease to surprise and that gives you to investigate I think all my life ».
Albee’s writing is very particular; It is characterized by its dry, sharp dialogues … “It costs to digest it,” says the Cordoba actor; It happens as with the drama, that if it is passed through the comedy filter, even if it is ironic and hurtful, it is better digested. In ‘Camino al Zoo’ there is humor; The function has comedy dyes and, although the language is dry, it has only one direction. It is very clear what you want to have that language, even with the absurd ».
“It’s a strange text,” says Laborda, “but fascinating. It fascinated me a lot. I knew ‘History of the Zoo’, but the work is completed and understood much better with the first part; If you only see this, you don’t see Peter’s route; You don’t know where it comes from, you don’t know the emotional burden of this man ». The actress has given on the nail, because, in the words of Edward Albee, “‘History of the Zoo’ is a work with a character and a half. Jerry is a three -dimensional and fully developed character. But Peter is a board. It is not fully developed. Peter had to be more developed ».
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