Lluís Pasqual received an invitation from San Martín Theater of Buenos Aires (one of the great cultural institutions of Argentina) to set up a tragedy, a work of García Lorca. «I thought the country already had enough tragedy and proposed to ride … a comedy; that had depth, but a comedy ». The result is’The great illusion‘, an adaptation of’ The Great Magic ‘, of Eduardo de Filippothe great figure of the Italian theater of the second half of the twentieth century. Production, released in Buenos Aires in August last year, now reaches Channel theaterswhere he will be on the poster from February 15 to 23. The cast is made up of Marcelo Subiotto, Patricia Echegoyen, Pablo Mariuzzi, Alejandra Radano, Nacho Gadano, Elvira Onetto, Yanina Gruden, Paco Gorriz, Pablo Razuk, Santiago Sirur and Ignacio Sureeda. In its version, Pasqual has included a prologue, a scene from another work by De Filippo, ‘Lord and Gentilehombre’ (1928).
This is the third assembly that Lluís Pasqual makes of the work of Eduardo de Filippo. The first, in Barcelona, and the second, in Naples -a birthday of the playwright -, at the request of the author’s family. “I met Eduardo,” presumes the Catalan director, who justifies familiarity; «In Naples there are Two gods: Maradona and Eduardo de Filippo. But people call him Eduardo because he is a popular figure, who told the things that happened to them, and that is difficult to find. I treated him very little -he settled his story -but I met him, and I did it shortly after working with José María Rodero in ‘Lights of Bohemia’. Rodero was an actor who, if one day a grace laughed a lot, the next day he stopped. Because he said he did not want the public to think that José María Rodero sold cheap. The same thing happened to Eduardo de Filippo: he did not feed that surface Neapolitan comic, on the contrary. I told them: let’s talk about serious things. It can be done smiling, but they will be serious things. And in that aspect, when I met Eduardo, I said: ‘It’s like José María Rodero’. The two were proud of not selling to the stalls, of not being easy as interpreters ».
‘The great magic’ premiered in 1948. As always, Filippo wrote it for its own theater company. From her it attracts attention, says Pasqual, the language: «If there is popular theater, we will assume that it exists, its paradigm is Eduardo de Filippo. It treats deep, universal issues, but with a very popular and very understandable language, very edible, but because there is complicity with its audience. It is very rare that a playwright now, or even twenty or thirty years ago, becomes the representation of a city. And that happens with Eduardo ».
Despite the unanimity in pointing out as a fundamental author in the European theater of the twentieth century, Eduardo de Filippo does not end up caught in our scene. «It is not easy because it is a style that does not do very well. Nor has the ‘Commedia Dell’Arte‘, which requires training, and the Spanish actor is more intuitive and less training. Eduardo needs to enter a certain style. But it shouldn’t be so; There are sites in Madrid that seem Naples and should be closer ».
“Argentines do not speak Spanish, they speak Italian with Spanish words,” says Lluís Pasqual, who has found the complicity of an Argentine actors. «They come from the Neapolitan theater; Then Freud crossed by Enmedio and dedicated themselves to other things, ” Eduardo’s theater is like Fernet Branca; That is, an old drink, which knows old and bitter at the same time. Due to the structure, very closed, time may have passed, but it has not done so for its characters ».
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