La Casa de los Caballos: the loser, the liberator

Este fin de semana son las ultimas funciones de una obra de teatro que nos coloca, sin vueltas, frente al mar de incertidumbres que las perdidas nos traen. With the support of the National Institute of Theater and the National Foundation of the Arts, and the Foundation of the Foundation for the Creation of Cordoba, “Casa Casa los Caballos” is an invitation to contemplation of the end, but with the company intends to find all the propios rumbos.

Por Soledad Sgarella para La tinta

Canta Gabo Ferro in one of her most beautiful songs: “Where do you want to go? Where do you know that? / ¿Where are you going, are you? Where are you going? Ser O será que ya no está? / Si hay Dios, si hay amor, si hay vida después / si hay mundo, si hay hoy, hay mañana, hay tal vez si hay ayer, si hay recuerdos, si hay de haber o ay de doler ”.

Who wants to go La Casa de los Caballos salen de El Cuenco movilizadxs, como si una tormenta de arena, dicen, lxs hubiera enceguecido por un rato para después abrir miradas y -por qué no- corazones y cabezas. Lo cone se conjuga entre un diseño de luces muy preciso, una scenografía impactante y fuertísimos textos produce, en principio, un oleaje intenso de revisiones y preguntas.

(Photo: Rodrigo Brunelli)

It is the work of a playwright and actor Rodo Ramos -guided by Gastón Mori- we are in an ocean of intensities. A psychoanalyst friend said: “The protagonist completes the space with the words, he decided to make something absolutely impossible to support, as if he were the experience of death that -for supuesto- no conocemos. Everything will be fine, you will be able to do it at the most gratifying moment, but the protagonist will approve of this phrase with a cliché to build something propio. Propio, pero, además, vivificante ”. Without finding the truth of life, give the feeling of common feelings, prejudices and mandates is what you live.

In this note, Ramos spoke with The ink y nos contó los trasfondos de una obra que abre puertas infinitas y gallopantes, como el propio mar.

—Why do you create a dish that can be a study about death and the loss of space? Pandemic fire? Just a topic tan estacas epocas y tan necesario de abordar…

—Me gusta mucho escribir desde la idea de la “certeza”, desde lo que ya existe y fue nombrado, desde lo que se dice “es así”. I believe that it is a form of finding someone “sure” that I will find myself in such a predicament, as if I were in the process of a pandemic that we live and live.

The process of this work is written with the language dictionary. The work is divided into chapters, which are definitions and conclusions about what you want to do on stage. It is a real studio about death, other than the things that make us generous, it is important to find out what is true and help us to find something that we do not know about ponerle palabras. Creía necesario ponerle palabras a los procesos de duelos oa los protès de perididas, no voy a nombrar la muerte, sino a la perdida. ¿Qué es lo que nos queda a nosotros que estamos aquí aún?

“I lost the duel as a duel to catch me writing. The duel of a heterosexuality forced by a System: a simple shoe of life to destroy a structure inherited and put together the hands of this man who is real, he can understand what one is. The process has started with a year and in a pandemic found a guarded text in the computer, a new work and I will be able to find a number of beautiful fireplaces in the script ”.

—What do you think is the role of art (and what do you think it is) to embark on these sensible topics? ¿The art of our “sirve” for something in the host times?

—Creo que sí, el arte moviliza, sensibiliza, interpela, enoja… el arte muestra distintos puntos de vista de los temas que atraviesan a la sociedad y que a veces cuesta ponerle palabras. La Casa de los Caballos toca un tema sensible, el dolor de perder a alguien; there is a lot of strength and vulnerability to the fact that we provoke these definite “courts”: death is the most concrete thing that exists, even if it is too dark. But you can see the things that “you can do”, but you can also “give them away”, and in the same way you can do nothing, but you can be an identity (that is a mountain).

El arte hoy, en estos tiempos que corren, está batallando con algo mucho más grande que él. This hospitability, which is still a convict in a monstrous without pies in our heads (extreme right, neoliberalism) and that advances velozmente. I create this art, because of the men in the theater (which is the place we buy), it is here, the battle is hospitable, and it is a battle that we always live in, so that everyone can comment, but the pandemic made him all fast.

—Laying the synopsis, we know what the success of the landscapes with the sea: Why do you say that this context is in this city of Mediterranean?

—Los otros días me preguntaron exactamente lo mismo y mi respuesta fue: siempre estuvo el mar en el texto, además de que es uno de mis lugares favoritos en el mundo. I love the pampa gringa, the llanura en todos sus sentitos y cardinalidades, vengo de mares verdes.

What happened to the sea is what makes me think that it is still known when the veil and the sea is a natural landscape. I believe that the sea is a perfect metaphor to symbolize the uncertainty of the generation of the lost and that the sea, when one is at peace, for more than the sea, one is only alone before it, it is a little indecent and adamant is a completely unfurnished land. The sea is the perfect metaphor for my history. A perfect excuse to watch the sea / as / es cordobes spectacles.

I said in a moment “that you have to feel alone” and that you will be the one to do this, and that you will be able to find yourself together, and that these shoes will be given to the master in a world where you will discover que conoce, pero solo con su body. The sea is full of tranquility. It is the process of understanding that one is a solitary process and is nothing, but with the sea as an alias, be alone, as, as the sea.

—Are you contacting anything from the photographic production? They are beautiful photos and graphics.

—Con Rodrigo Brunelli we work with the sea, with the hundirse, with the caer, with the soledad. The process of photography will be one of the last ones to be done and will be the brooch for cutting the frame. After many questions, we will be able to find out where we want to work with you to have a great idea of ​​graphics and work, with photography, we can control the people of La Casa de los Caballos.

The main graphic is the fire, it is the day to go, but not to go to the beach to go back, it is to go to the sun to see everything with a panoramic view, with the impulse of the road, to go with more fire superficies.

La Casa de los Caballos. Friday 19 and 26 November at 20:30 at El Cuenco Teatro (Mendoza 2063, Alta Córdoba). In the scene: Rodo Ramos Train and off: Tomás Leaño | Dramaturgy: Rodo Ramos | Illumination Design: Rodrigo Brunelli | Design and Realization of the Scenography: Rodo Ramos | Rodrigo Brunelli Dream Design and Video: Horacio Fierro | Video operation: Raquel Ambrosino | Vestuario: Lucas Mana | Photography and Graphic Design: Rodrigo Brunelli | Production: El Cuenco Teatro | Direction: Gastón Mori.

* Por Soledad Sgarella para La tinta. Photos: Rodrigo Brunelli.

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