Years ago, the painter and teacher Roberto Humes-who met Gabriela Mistral, when she was already a poet Consa World-wide, he told that he was inspired by a feeling of admiration and almost religious veneration. He had, he pointed out, that ineffable “something” of the great spirits. I kept that impression. I have read many of Gabriela Mistral’s poems and have followed what has been said about her in time. He forgets it sometimes; It is mostly associated with “feet”; With the infantile rounds or the sonnets inspired by the tragic love for Romelio Ureta; With the love letters to Manuel Magallanes Moure; With his relationship with notable women: Palma Guillén, Laura Rodig and Doris Dana; With the son or nephew Yin Yin; In short, his life does not leave the different generations and historical avatars indifferent. In any case, she is much more than the infantile rounds, the tragic love and the rural teacher wearing the austerity that we know.
I saw in the GAM the work “Mistral, Gabriela (1945)”, this new look-current, although it is set in the year in which it receives the Nobel-since the fiction more than from the known. The plot of this work has been disseminated: she is kidnapped by a feminist group in the year in which she is awarded the Nobel prize and is expected to be pronounced around women – in the end she is the greatest Latin American intellectual of her time – , enrolling the feminist movement; And in those dialogues with one of their kidnappers, you can penetrate the thought of Gabriela Mistral, in her soul, distant from that Olympic figure that has been passed on to us. It is the Mistral immersed, shaken, passed down by its time: The Second World War, the social injustices, the vision of a Chile where, if it had remained, it would have been “the Gaby”, in a critique to what we have been or are. She has always defended the woman, she says, but they will not be able to pigeonhole her, Circunscribirla to any movement, no matter how close. It is interpealed by its captor (Valeria Leyton), but Mistral, even in its honesty, is always elusive, not allowed to capture. It will always leave in the shadows what it does not want to confess: Yin Yin, Laura Rodig, and other topics that nourish the legend.
A dramaturgy (Andrés Kalawski) based on fiction-reality – through fiction delves into the most hidden reality – and the memorable performances of Valeria Leyton and Solange Lackington, the latter as Gabriela Mistral. What a formidable performance! Credible, convincing, moving, from the depths of knowledge of the complexity of the poet’s being. I feel that it approaches the Gabriela Mistral no longer of the books, but to that of flesh, bone, marrow and spirit. Or what I imagine it was. A woman Gabriela Mistral, poet, observer and Transformer of his time, “behind the scenes”, in a space away from “the Chambers”, or what records the story. Confronted in his capture, in his seclusion, to the unveiled Mirror of herself. There, in that corner, in captivity, where there is no place to beautify or change things, the woman, with her history with all the traces and nuances, the poet without the makeup or the transformations of the legend.
A beautiful setting in scene and direction of actresses (Aliocha de la Sotta); a subject so present; A dialogue that calls “deep voices” to be pronounced; And such a human Gabriela Mistral (distanced from the myth); The one by Solange Lackington, unforgettable: a simply magnificent Mistral.
Work “Mistral, Gabriela (1945)”
Until the 22nd of June. Mi a Sá – 21:00 h
Center Gam, building B, Floor 2, Room N1
Older than 12 years
Prices: $6,000 Gral. $3,000 Est. and 3ed.
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