Theater criticism ‘The Grammar’ Playwriting and direction Ernesto Caballero Scenography and audiovisuals Victor Longás Lighting Paco Ariza Costumes Anna Tussell Sound space Ernesto Caballero and Pablo Quijano Performers María Adánez and José Troncoso Location Nave 10 in Matadero, Madrid 4The premise of this performance cannot become more attractive: a cleaner who works at the Royal Spanish Academy suffers an accident one day: a complete collection falls on her head of Grammars. The impact has an inexplicable effect on her, and she goes from being practically illiterate to becoming an erudite woman and, furthermore, intolerant of her own and others’ linguistic errors, which causes her to suffer serious work and family problems. To reverse his situation, he goes to a psychological laboratory. Ernesto Caballero is the author and director of this comedy, a sort of ‘Pygmalion’ in reverse. In it he reveals his perplexity and expresses with total self-confidence and relief his criticism towards the perversion that the ‘politically correct’ has made of language, in addition to denouncing the progressive deterioration of its use; Even the Academy itself takes a pinch for giving in, at times, to that same political correctness and the vulgarity of common speech. Logically, Caballero makes the injured cleaner speak in an impeccable manner from a grammatical, lexical and syntactic point of view, while his ‘opponent’, the psychologist in charge of his case, receives his patient’s darts every time he makes a mistake. linguistic. Standard Related News No La Nave 10 of Matadero is reborn as a center of contemporary dramatic creation Julio BravoThere is, however, no pedantry in this comedy, a constant generator of smiles and that provokes gestures of assent among the audience when the cleaner (Female subject is the name applied to the character) pours out some of his criticisms. There is, yes, a charge of depth: language determines our life, our way of being, our consciousness. But Caballero wraps it in a fun theatrical piece and presses the dramatic accelerator when the discursive temptation appears. He also conducts the show with a firm hand, based almost exclusively on the interpretation of the two protagonists, who swim with ease in the waters of their characters. María Adánez gives credibility to her dissociative character, while José Troncoso colors his (much more unpleasant) with a multitude of gestural details full of intention.
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