J. C. Prez de la Fuente: "The figures from the theater public is very high". From 1919 to 1937. O from 1937 to 1919, everything changes and dramatic jumps in the forefront of "Time and the Conway ', a strange drama written by John B. Priestley in 1939 that Juan Carlos Prez de la Fuente rescues for the Spanish scene (as translated into Spanish in the late 40 Luis Escobar). Tomorrow puts it over at the Palais des Festivals de, sto credits, Santander. A good excuse to chat with Perez de la Fuente: February rehearses the opening of the National Classical Theatre Company "A fool percent done," Solis, and preparing "The unruly 'zarzuela that the canal opens in April. Also to talk about theater, public and private, with the businessman and former director of the NSC, who knows both sides of the coin.
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*- Works in two premieres, aion kinah kaufen, at a time. Is it crazy, quixotic, suicide bombers or theater lovers do this today * Facebook
- (Laughs) I think that is all that at once. In times of crisis so hard you have to respond more gigs. In the last essay in Madrid thought, 'My God, I have a company with twelve players, twenty with the technicians, and one that now comes, wow powerlevel, with ten. " I always slept badly, occasionally need some reassuring, and from now on more. But fear is due only to work, not changing objectives. I'm not doing theater "commercial", a word that every time I like less.
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*- In fact, "trade" is a term that has not been used correctly, is not it * Facebook
"Of course, always been understood by commercial theater that does more for business purposes than for art. That some people will do, but it is not my case. My goals were not hoard money and have houses and cars. You can make good theater from the commercial and awful.
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*- Does that apply to the Public Theater, which often seems to have to be "cultural" * Facebook
"The theater groups, as long as I have said, for he was born and what should be, like television and public radio is to the public. We are still in the bottom of Europe and the world. The authors are not consolidated with staging, but over time, and that is not happening. However, increasing budgets are fattened in a society where people do not get to make ends meet. My parents live on 500 euros a month. I must say, without fear: the figures that handle public theaters are very high and the targets are not met. I've never seen him do a Max Aub, for example.
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*- And from the private sector is difficult. Sastre and Jardiel Poncela, for example, in Spain today, are "authors of risk" .* Facebook
A split-force, have lost their identity. What makes the theatrical memory of a country stage are the texts of their authors. That does not happen. We are in another time. Maybe when I come back another government's motivations are older.
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*- Now travels to England, Priestley's hand .* Facebook
"It's a work of a distinctly English flavor … Is the essence of Oscar Wilde and the Victorian era, the character of the father of all.
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*- It was pure art. Today we are more accustomed to "flashbacks." Will it remain so * Facebook
"Priestley was very interested in the experiment had been done while J. W. Dunne. It has three works, "I was here once," "The Corner" and this, that he died saying it was the most liked and felt most proud, though it is true that had a big hit with "Call an inspector. " He was very surprised seriality theory according to which time is not linear, but it happens all the time. That makes the work has an amazing structure, revolutionary. But the story would not tell a story if human tremendously over the responsibility for our destiny. Conway's story happens in the interwar period: in the first act we are on the birthday of Kate, a daughter, all are young, they want to eat the world … Twenty years later we find one of the best acts of the European theater, very hard and emotional substance.
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*- An act of deception. "He wanted to mount the work by the sign of the times we live in * Facebook
"The first time I bought Priestley's work was in 1978 in The Wasp. It's been 33 years … Facebook
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And auquella *- closed library that was a rrence .* Facebook
- I think they now sell hairdressing things! You see, the signs of the times. Even then, the owner, Julia, told me: you have to read someday Priestley. The Wasp was the tavern, the couch in psychoanalysis, there was cooking everything that happened in the theater, alternative or official. I went home, to the page you told me, and I was shocked. Ms. Conway is the protagonist, but it is a choral work are ten characters in search of the public. And thank God I found Louise Martin, who is making one of the roles of his life. It's a very talented woman and a hard worker.
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*- Time passes for everyone, including the theater scene …*< br>
"Sure, Spain has won a kind of theater. I do not know how much we in the catharsis that the theater public should contribute. Has established itself as a cultural drama but failed as a mirror, as a lever and a reflection.
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*- Does the fault of the theater * Facebook
- No, poor theater! The fault is ours, of society. We have an obligation to tell the stories so that they reach people: you have to fill the theaters. This story is tough and must be done with much cynicism. English drama not be understood without the humor. Our playwrights that fails them. A Buero I always said: 'Antonio, with more humor. " The rift has failed, the theater will not be lectured us, but we are excited. We are making a very intellectual love, fuck even intellectually.
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*- Not to mention Facebook ideology .*
"That is another. The public theaters do not have to confront the power, but be opposite: each in its place. I did when I named the PP. It annoys me to see stylistic Lorca as a fact, not theatrical. And we must vindicate Max Aub. We still have many forgotten authors.
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*- There will be yielded to the temptation of clocks that melt …*< br>
"Absolutely. The work has several perfumes. One is of a piece once directed: "The Cherry Orchard." Ms. Conway is a Victorian character, her husband has died and the house becomes a symbol in the second act. Huge planes, architect, set the stage space. It is a time that has happened and will not return. Chekhov's great nostalgia that I have made it this show. I also demonstrate that beauty is crucial, every time I think more on it, unlike some managers, such as Calixto Bieito my friends, whom I respect greatly. But he likes the ugliness. I think that to take a makeup perfectly vomiting, with the pathos of this work, we must keep the house clean.
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*- He dare to the zarzuela in "The unruly" which premiered in April at Canal .* Theaters Facebook
"Yes, I never called any director of the Teatro de la Zarzuela. But Albert has done, I set out to do something more "orthodox": I told you to tell me that word … "The unruly" is one of those wonderful sketches, with beautiful music. But beware: just before the disaster takes place in 1898. The first time I heard it and I felt great party that we see in the spring of 1897 had something metaphorical, a big surprise. And I told the teacher Roa: the end has to be dropping the roof of Madrid. Going to be easy, the room already looks a yard, in which the public is going to be around. I'm going to bring truckloads of people saw my rosemary and lavender to make a feast for the senses, so that the people of Madrid this story alive with people and loves the people. I wanted very Italian: it seems that we have now discovered De Filippo and forget about our Facebook Arniches and Mihura …
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- Is zarzuela * Facebook
"The zarzuela is that no-nonsense review. I do not understand that with that beautiful music directors make proposals as old. And art does not mean we do we put the clown or someone in jeans. Is to do with the energy of today. Musical comedy has triumphed, we Madrid full of music. It's time to do otherwise zarzuela's to get the younger audience. But, of course I like the zarzuela! Facebook
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A LIBERTINE MADRID FOR CNTC * Facebook
Prez de la Fuente debut on 19 February with the National Classical Theatre Company. Will be to "make a fool cent." "When I called Eduardo [Basque] to lead, he gave me three or four texts, says the director. The first thing that dazzled me in this is that the premiere was in the Alcazar of Madrid. Velzquez had painted Las Meninas and Antonio de Sol-s was the secretary of Felipe IV. " He adds, recalls: "I have a show very risky, very crazy. Although, formally, there was much convent in Madrid, there was a libertine and sexy city. "