The judge did not appreciate a crime. The sentence, issued five years after the complaint and six of the facts, ensures that “it is extravagant” that “a request for sensuality of the program director in the exercise of artistic creation or interpretation […] ‘I want you to be a milf’, ‘I want eight out of ten spectators to wish you’, ‘I want you to show your curves’, ‘I want you to lower the neckline’ […] A serious illegitimate attack on dignity, security and/or sexual freedom can be considered. ” Nor did she perceive, unlike the complainant, “lascivious mood” in “approaches, invasion of space or physical contact” of a television director to an actress who, without asking permission, lowers the neckline. “As anyone can warn we move in a very slippery terrain,” he says, however, the opinion. The document is one of the elements with which the actress and playwright Iria Pinheiro revives and analyzes the process triggered for her demand for sexual harassment in the workplace, finally unfavorable, against the director of the television program in which she worked. He does it in Vitóriaan autobiographical theater piece that opens this Saturday, February 8, in Cangas (Pontevedra) and that places the deconstruction of the “judicial violence” in its nucleus.
“Everyone told me ‘You are very brave for denouncing’, but what I felt was a great loneliness,” recalls Pinheiro (Ourense, 1978) in conversation with eldiario.es. His complaint in the courts was public. The press reported on it, associations of actors and actresses from Galicia and the State showed him his support. “Although I had many supports, I lost my work and was vetoed for a long time,” he explained in the text of the work, “if I went back, I would surely have done things in another way.” The machinery he had activated was powerful. And slow. “I would have protected me more,” he clarifies to this newspaper, “I wanted to hit the table, but something like that cannot be done alone.” Justice failed against. In Vitória He adds: “I waited for years with life in pause to receive a disappointing sentence, and I realized that in reality this I no longer had to do with me, it has to do with the rest of the community.” About that exactly is what Pinheiro’s new work is about.
“I wanted to reflect on how we are accompanied in these processes. Provide ideas and be pedagogical, ”assumes without reservations. Beyond media cases and the causes and consequences of #Metoo, Pinheiro speaks in Vitória of personal, and economic effort, which means taking a step like the one she took in March 2018. of the difficulties. And of what she, and others before and after her, call “judicial violence.” “The lack of preparation in the judicial instance for these types of cases is alarming,” he says, “coldness and lack of empathy.” In the process for Pinheiro’s complaint he reached the extreme of not being able to guarantee his videoconference statement. The complainant had to go down to the room and the courts improvise a screen to avoid the encounter with the denounced. The computer failures, the cancellations of views or the magistrates of the magistrates delayed the trial. Five years, six from the three months of work in the television program in which the events reported occurred. “Six years are many for those who expect justice,” he says Vitória.
The passage of time has served, however, the Pinheiro writer. Before Vitóriahe wrote and interpreted Dunha Serea Anatomyagain documentary theater, which reported in the first person his condition of obstetric violence during his son’s childbirth. In a hospital in the Galician Servizo de Saúde he was practiced, without informing it, an episiotomy (a cut in the vulva), which caused sequelae: constant and misunderstood pain by doctors. “Now I see Dunha Serea Anatomy and Vitória As part of the same, ”he says. The years passed also shed another light on the documents of the complaint for sexual harassment. The perspective was modified. “All pieces fit,” he says, in reference to the continuity between both works. In addition to its autobiographical character -there is no fiction or self -fiction -a certain criticism of Foucaultian echoes to institutionality, a search to make visible invisible realities and confidence in the theater as a tool to access the truth are common elements.
Self -managed assembly
There are three voices in Vitória: Judicial, Poetics and the Common. The incarnate three actresses: Iria Pinheiro, Arantza Villar and saves the river. The address is in charge of Susana Villaverde and Ricardo Corréia, who had Vanesa Sotelo in support of the dramaturgy. The music is from Monica de Nut. The text, fabric from the judicial documentation -including the recordings of the Court -and personal -diaries and notes-, was born from a literary residence in the house of corner, in Coimbra (Portugal), and the assembly is “totally self -managed” . “I am interested in documentary theater because I like the feeling of truth. In fact, the word truth I like more than fiction, ”he says, before pointing out that in Vitória “There is also a lot of humor and a cabaré, a cabaré in court.” After all, it is a work by Iria Pinheiro, laughs.
After its premiere this Saturday, February 8, at the Municipal Auditorium of Cangas (Pontevedra), Vitória It can be seen at the main theater in Santiago de Compostela on April 3.
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